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The wait is over, Return To The 37th Chamber is El Michels Affair's highly anticipated follow up to 2009's underground cult classic Enter the 37th Chamber. Churning out classic records since then for the likes of Lee Fields, The Arcs, The Shacks, and tons more, it is clear that EMA's signature sound is stronger & sharper than ever. This time, in addition to re-interpreting the Wu compositions for a live band, EMA pays homage to the production and sonic fog that makes a RZA beat so recognizable. Producer and bandleader Leon Michels recorded the album completely analog, sometimes hitting 6 generations of tape before it was ready for mixing, giving the Return to The 37th Chamber it's own hazy sound. Adding to the unique fidelity, the record is laced with psychedelic flourishes, John Carpenter' synths, heavy metal guitars, triumpha0nt horns, and traditional Chinese instruments that make up for the lack of the Wu's superlative vocals. From start to finish it's a dark trip that walks the line between RZA's timeless hip-hop aesthetic and the cinematic soul EMA has become known for. El Michels Affair tackles some classics like 4th Chamber and Wu Tang Aint Nuthin to Fuck Wit, as well as some deeper cuts like Ol Dirty Bastard's Snakes, Raekwon's Verbal Intercourse, and Shaolin Brew, Wu-Tang's contribution to the St. Ide's Hip Hop endorsement campaign from 1994. This time El Michels brings some of the Big Crown family along for the ride. Lee Fields handles vocal duties on Snakes and is joined by Shannon Wise of The Shacks for their version of Tearz, which pays as much homage to the Wendy Rene sample as it does to the Wu-Tang Clan. Lady Wray makes an appearance on the cover of Method Man's hit, All I Need, lending her vocal prowess to what gave the Wu one of their biggest hits of all time. Interspersed throughout the record are some original interludes that are like the rug that ties the room together,' giving Return To The 37th Chamber a cinematic narrative that makes it a proper El Michels Affair record and not just a collection of covers. From the music to the presentation, this album is a perfect example of what can only be achieved through diversity. The end result is as much a kaleidoscope of influences and multiculturalism as the city it was recorded in. El Michels Affair is once again, sounding out the city' that raised them, pulling elements of art and culture from across the country and around the globe to create an album truly unique in it's own right.

2024 Reissue

The second album of songs resulting from the collaboration between Teho Teardo and Blixa Bargeld was released in 2016, three years after the celebrated debut with "Still Smiling". Often the nature of collaborations is fleeting, usually not involving a sequel; in this case, however, we are faced with the evident settling of a bond, human and artistic, that is no longer occasional but has reinvented itself to explore other territories and will not stop there either. The album cover is inspired by the famous 1533 painting by Holbein the Younger, "The Ambassadors": a work celebrating an official visit, a meeting between two friends, the pride of their gazes still strong despite time, distance, despite everything. Teho and Blixa return with an album of new songs, sung in German, English and Italian. "Nerissimo" is the superlative of black in Italian and there is something rather black about the music on this album. Not in the sense of dark, an adjective often used to define certain sounds, but just as it happens with the colour black, which contains all other colours, so this music contains a multitude of possibilities."Nerissimo" is also the title of the track in English that opens the album and closes it, as if between two parentheses, in Italian. A temporal passage between languages that links Rome and Berlin, where the album was recorded, ever more intimately. A crossing of the last three years of work together for Teho and Blixa. This record is also a nocturnal story of apparitions, of colours that disappear from the world just by naming them, of aeroplane flights with the lights off in the cabin, of objects whose symbolism represents the passions and interests of the two artists (starting with the objects reproduced on the cover); a sort of tale through objects, continuous movements and the discovery of sounds, even random ones. Sounds intercepted in the space of these three years and which ended up on the disc as interferences that challenged the structure of some songs, resulting in their adaptation to the invasion of foreign sound bodies. "Nerissimo" does not only contain songs but also features experimental tracks, such as "Ulgæ", in which the lyrics explain, like a subtitle, the sounds that follow one another in a story.

Following his most commercially and critically successful year to date, Conway the Machine returns with his first full length offering of 2024, “Slant Face Killah.” Long teased as the second half of the chart-topping 2023 album, “WON’T HE DO IT,” fans see Conway the Machine embracing his killer instincts on the mic, and doing so with versatility - rapping over the familiar gritty, dark beats fans remember discovering him on during his come up (Milano Nights, Pt. 1) to more unconventional beats, showcasing his ability to adapt and grow (Raw!). With an impressive feature list including Method Man, Raekwon, Joey Bada$$, Larry June, Key Glock, Jay Worthy & more, and production from heavyweight producers such as The Alchemist, Daringer, Conductor Williams, Cardo, Swizz Beatz & more, The Machine illustrates both his reach in today’s rap game, as well as his ability as a tastemaker. Known for consistently delivering quality music for his die-hard fans, The Machine is back to put his stamp on 2024. 2xLP Vinyl, includes Gatefold Jacket.

Next up on Feral Child, sees not only a second ever release from New Zealand based VOR-STELLEN but a teaming up with one of label head dom’s favourite ever labels, the mighty Flying Nun. Despite some patchy European distribution the first VS release “Parallelograms”, was a constant player at FC HQ; 4 superb tracks of super laid back, kraut flavoured slow burners, (lead track “Voyager” especially, comes hugely recommended with its accompanying film clip), so when the band OK’d a second release for Feral Child, we were stoked. Vor-stellen is the experimental project of Brendan Moran, which blends fixated guitars and drums with ad-hoc electronic layers producing perforated waves of sustain which echoes off the fourth wall. Brendan has released work previously as part of avoid!avoid (their album “Particle and Wave” was released by Flying Nun in 2016) and The Subliminals, of which Flying Nun re-released -in 2021- a vinyl edition of their highly acclaimed album “United State”. With Vor-stellen he picks up where those other projects have left off as a foray into 'kraut' inspired compositions “which seek to transform pre-determined ideas of music into open-ended sound objects, untethered from any sense of conventional outcomes”. On this, second VS record, he teams up with his Subliminal buddies once again to continue on an exploration, “folding the weird and the eerie into a dark ecology of long-sound via indefatigable environments of modulation and improvisation, creating sonic counterpoints that hinge on a reanimation of musical gestures”. The record features two side long slow builders and are released in a beautiful Brendan Moran designed sleeve.

First time vinyl reissue of Univers Zero's legendary Crawling Wind, originally released in 1981 on the Japanese 'Chaos International Series' label, with the original cover artwork has been beautifully redesigned by Thierry Moreau.

Toujours Plus à l'Est, as the title suggests, is heavily influenced by the traditional music of Eastern Europe, particularly Bulgaria., and paying tribute to the iconic catchphrase of Professor Calculus (Tournesol), the character from the Belgian comic series Tintin. Before The Heat, played live a few times, is an ambient composition by Andy Kirk, who is part of the EP's lineup alongside Daniel Denis, Guy Segers, Alan Ward, and Dirk Descheemaeker. Central Belgium in the Dark is a live improvisation from a period when Univers Zéro dedicated part of their concerts to complete improvisation. What makes this recording unique is that one of Andy Kirk's effects pedals picked up and emitted the sound of a mysterious radio signal, seemingly coming from "nowhere," especially noticeable at the end of the piece. The title of this improv is a nod to contemporary composer Charles Ives' work Central Park in the Dark. Central Belgium refers to the concert venue where the piece was recorded (Haine-St-Pierre).

Univers Zero represents one of the longest-living bands in Belgium. It was established in 1974. Drummer Daniel Denis had the brilliant idea to gather together a team of professionals sharing the same taste for music. The band has adopted an instrumental progressive style. Over the last couple of decades, the band has also implemented a series of influences from chamber music - most commonly, chamber music from the 20th century. Even if the line-up changes a lot over the years, the overall sound of UZ remained fairly consistent.

2024 Reissue

"Ellipses dans l"harmonie - Lights in the dark" is the last work released by Teho Teardo on his imprint Specula Records. This work is entirely inspired by the music contained in the pages of one of the iconic texts of the 18th century, the Encyclopédie by Diderot and D"Alembert, the original copy of which is kept in the archives of the Giangiacomo Feltrinelli Foundation, which produced and commissioned the album. This is the first time the Foundation has produced a musical work. In "Ellipses dans l"harmonie", there is not only a homage to the Encyclopédie, but also a political connection to the spirit of the Enlightenment that guided the genesis of the work and the current need for light in the face of the new obscurantism. At the origins of the Encyclopaedia"s cultural enterprise are three roots: memory, reason and imagination. They are three dimensions that draw attention to three needs that still interrogate us today: to know the past in order to understand the origins of the problems we face today; to exercise rational criticism in order to orient ourselves in reality without taking refuge in bewilderment in the face of the complex challenges it poses to us; to continue to think about different balances in order to want to design a different world.

DJ MAG:
"Spanning 10 tracks, 'The Fifth Chakra (Ambient Space Tea)' explores sound system culture, covering one of the British-Jamaican artist's biggest influences. The record is largely beatless and focuses on the power of sub-bass and other electronics, moving away from the percussive house energy of much of his past material."


909Originals:
"The largely ambient album is a departure from the thumping beats that Mr G has become famous for, but it also displays his personal, emotional side - tracks like Constant, Solar Eclipse NYC and The 5th Chakra encapsulate an artist allowing himself the freedom to roam through his influences."


Resident Advisor:
"Never did I think I'd get to a meditative place and learn restraint,' he said. "This is the album I've always wanted to make, never thinking I could. Also, after loving others' bass-heavy albums, it's a joy to put my own into the mix. But I always remember my thing is weight and tone in whatever I take on. Especially in this flat, compressed world."

Italy's finest Alan Backdrop teams up with First Order Approximation for a split release exploring the darkest sides of deep techno. SENSE002 is a selection of mesmerising and mutable tracks that best suit smoky basements and late night moments.

Legendary singer-songwriter Dana Gillespie, with over 70 albums to her credit in a career spanning six decades, adds a new chapter with the release of her stunning new album First Love, available on Fretsore Records. While First Love is a deeply personal album, it marks a shift for Dana who teams up with close friends Marc Almond and Tris Penna who together produced the album. Born in 1949 and raised in London in an era of unrivalled experimentation and artistic rebellion, Dana began her recording career at 15 with Pye Records. Her journey in entertainment is marked by significant milestones, including collaborations with icons such as David Bowie, Bob Dylan and Elton John. A project of refined integrity, recordings including the first single "Spent The Day In Bed" (a Morrissey song) showcase a diversity of influences that only those who have lived the experience could so masterfully convey.

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – Yearbook 1981. NOW – Yearbook 1981; a celebration of the eclectic and creative brilliance of the year in pop. 4 CDs of 85 tracks that defined the charts in 1981. Available on a 4CD special edition which is housed in ‘hard-back book’ packaging, including a 28-page booklet with a summary of the year, a track-by-track guide, a quiz, and original singles artwork, and as a standard 4-CD package. A limited edition 3LP set pressed in translucent red vinyl, limited to 3,000 units and a 4CD set

NOW Music is proud to present the newest addition to the ‘Yearbook’ series: NOW – YEARBOOK 1982. 3 LPs of 44 defining tracks that ruled the charts in 1982.
Featuring number 1s, including ‘Eye Of The Tiger’ (Survivor), ‘Ebony And Ivory’ (Paul McCartney), ‘Town Called Malice’ (The Jam), and 1982’s biggest seller ‘Come On Eileen’ from Dexys Midnight Runners.
1982 saw the first huge hits from a wealth of new artists including Culture Club, Wham! and Tears For Fears, as well as an incredible line-up from artists who had established their chart presence in the prior 18 months and would produce some of the greatest tracks of the decade; Duran Duran, Spandau Ballet, ABC, Haircut 100, Soft Cell, The Human League, and a newly solo Adam Ant.
‘Fame’ was the TV phenomenon of the year, and Irene Cara’s theme from the original 1980 film enjoyed massive success.
As ABBA released their last singles for nearly 40 years, pure-pop from Bucks Fizz, Blondie, and Madness is celebrated alongside synth-pop gems from New Order, Simple Minds, Visage and Japan.
Leading artists from the punk scene enjoyed continued and renewed success, including The Stranglers, The Clash and Pretenders, whilst Foreigner, Meat Loaf with Cher, and Steve Miller Band provided radio-favourite rock and power ballads.
1982 saw a huge chart presence for dance music – from the hi-NRG of Boys Town Gang, to the electro-infused beats of Malcolm McLaren, and Rockers Revenge, the 1980’s disco of Shalamar, alongside soul classics from Marvin Gaye and Donna Summer… plus stellar ballads from Elton John, Lionel Richie, and Roxy Music.

After the Spanish escapade 'Teatro Lucido' and the sweet journey 'Paris Hawai', the group created by Marlon Magnée and Sacha Got continues their world tour with 'Rock Machine,' their first album entirely written in English. Composed over the past few years during various tours around the world, this new LP has been strongly inspired by the succession of dates in the USA, Canada, South America, Australia, and the encounters that ensued. The band returns to its New Wave and Synthwave roots from their acclaimed first LP 'Psycho Tropical Berlin' (Machine), which they mix with an Anglo-Saxon rock sound from the 80s/90s (Rock). This album is an ode to rock'n'roll, its effectiveness, and timelessness, but also an ode to love and despair. La Femme continues to develop with Rock Machine a universe beyond trends with their own sound and aesthetics. In addition to rock and synthwave sounds (of which 'Clover Paradise' is the perfect example), there's still electro (Sweet Babe), surf music (Ciao Paris), disco with a UK punk twist (My Generation), and even elements of western. The list is long but always unique and coherent

This release is part of the Move-E series, but not only that, it is a certified classic. Originally released on a white label in the early 90's, this EP was much sought after then, and remains a personal favourite of many Djs for its eclectic take on early jungle and the incredible combination of samples and sound styles.

“Worldwide Heavy Industries Vol.1: A Bold New Vinyl Release fromFlux Musical Art and Brutal Forms Flux Musical Art and Brutal Forms have teamed up to release Worldwide Heavy Industries Vol.1, a groundbreaking vinyl that promises to push the boundaries of industrial and rhythmic music. This limited edition release, available in just 300 copies, offers an immersive exploration of mechanized soundscapes and futuristic themes. An Industrial Sonic Journey The album presents a compelling journey through industrial rhythms and dystopian landscapes, with each track showcasing a unique interpretation of the genre. On side A, Dominik Müller opens with “Too Many Posers,” delivering an intricate and immersive soundscape characterized by his signature depth and complexity. Following this, Ryuji Takeuchi’s “In Your Mind” introduces innovative rhythmic structures, adding a fresh and dynamic dimension to the release. The B-side features a powerful collaboration: 6SISS and Hypnoskull’s “Losss” combines intense rhythms with a raw, industrial edge, creating a track that is both abrasive and compelling. Low Order’s “Taste My Venom” delves into the darker and more experimental aspects of industrial music, bringing a raw, experimental touch. Closing the release is Skumring’s “CorpseRidden,” which blends precise rhythms with expansive sound design, offering a rich atmospheric quality that reflects his role as co-founder of Brutal Forms. With only 300 copies available, this limited edition vinyl is a coveted collector’s item. Each record features bespoke artwork that complements the album’s industrial theme. *Worldwide Heavy Industries Vol.1* is set to reach a global audience of dedicated collectors and fans. This release is more than just a vinyl; it’s a journey into a futuristic world through the lens of industrial music. For further details on track listings and purchasing options, visit Flux Webzine or the official websites of Flux Musical Art and Brutal Forms. Dive into this cutting-edge release and experience the forefront of industrial music with Worldwide Heavy Industries Vol.1.”
Hardware Emotions

The release will be available on super ltd edition black and clear vinyl, including download code.
Up In Her Room are delighted to bring you the latest offering from Uruguay’s Las Cobras!
Emerging from the Uruguayan city of Canelones in 2017, Las Cobras introduced themselves with their debut album, 'Temporal', a 9-track release that quickly became a reference point in global psychedelia after signing with London’s Fuzz Club Records. A couple of years later, the duo—Leandro Rebellato and Sofia Aguerre—expanded to include Dario Macarín and Diego Mercadal, releasing their second album, 'Selva'.
In their debut, Las Cobras blended proto-punk and shoegaze with hints of afrobeat and Tropicalia. With 'Selva', the band amplified these elements, showcasing their evolving sound. Notably, their track "Al más Allá" is featured in the Amazon Prime series "La Cabeza de Joaquín Murrieta."
For their third album, 'Cárcavas', the band explores the concept of the cárcava—a scar on the earth symbolizing a period of desolation. Teaming up with London label 'Up in her Room', they present a darker, more chaotic record that reflects the tumultuous years they've endured. Most tracks were mixed by James Aparicio (Depeche Mode, Spiritualized, Throw Down Bones Grinderman), lending the album a sharper, more defined sound. Las Cobras continue to delve into their sonic palette, incorporating electronic drums, Latin percussion, penetrating synthesizers, and fuzzed-out guitars, all from a more stripped-down perspective.
Black butterfly for example is an espectrum of a lost friend. Like a ghost...Always in orbit. Diving into darker places... Traveling through the universe...

Are you ready to embark on an unforgettable musical adventure across Hyrule? For all fans of this legendary saga, we're pleased to present an exceptional collection: the Legend of Zelda music triple vinyl

Amputechture Beneath the technical flash, the fury, the fearless creative brinkmanship of the first two Mars Volta albums lay a potent seam of the blues, an existential vexation that powered every twist and turn of Omar and Cedric’s imaginations. That mournful vibe would come to the surface of the group’s third full-length Amputechture, a simmering/blistering set that was unquestionably the group’s darkest yet. There was no overarching theme here, no interlinking concept binding the songs together, though Cedric concedes that, lyrically, the album was influenced “by a lot of stuff I was going through, a really bad break-up and a lot of other crazy stuff, and trying to put that feeling into the record.” But Amputechture – its name another of the late Jeremy Michael Ward’s invented words – was no downbeat bummer. Opener Vicarious Atonement might’ve been a deliciously gloomy, slow-burning thing, capturing Cedric in delirious duet with Omar’s swooning guitar lines, accompanied by squalling saxophone by Adrian Terrazas-Gonzales and dream-frequency fuckery by the group’s new sonic manipulator, former At The Drive- In member Paul Hinojos. But second track Tetragrammaton swiftly set pulses racing, an epic-in-miniature and containing more ideas within its 16 minutes than most bands manage over an entire career, its proggy, complex guitar figures tessellating in infinite configurations and converging as if conforming to mathematical formulae from another reality. The raw material Amputechture was hewn from started life on the road. Omar now travelled with his own mobile recording studio – a little Neve ten-channel tape recorder and an array of microphones – and was able to work on new ideas on tourbuses, in hotel rooms and during soundcheck (and, occasionally, after the show was done). After touring for Frances The Mute was complete, Omar relocated to Amsterdam, staying with his photographer friend Danielle Van Ark and her partner, Nils Post. It’s here that he demoed Amputechture, flying in engineer Jon DeBaun, drummer Jon Theodore and his brother, Chino, to work on these raw sketches. He later returned to Los Angeles, where the album was finally recorded. Omar ceded guitar duties to his dear friend and kindred spirit John Frusciante, instead assuming the role of musical director. “I wanted to hear the sound of the band,” he says. “I thought, I’ll be able to sit at the console, feel the air of the speakers moving, the unified sound of everything, and not feel distant from it. It was fun, but it was also challenging.” Part of Omar’s new method was to teach the musicians their parts only moments before the tapes rolled. “To keep things fresh, and to keep everyone on edge,” he says, before chuckling. “No, not on edge – on their toes. Amputechture would prove The Mars Volta’s most diverse set yet, drawing into the group’s tornado of influences moments of fiery jazz spirituality and esoteric folk introspection, finding space for passages of devastating subtlety and also their most fierce and full-on moments to date. The aforementioned Vicarious Atonement found its meditative mood echoed by Asilos Magdalena, an intimate, acoustic piece that invoked traditional Latin folk music, as Cedric sang in Spanish a sorrowful tale of a lost soul’s quest for sanctuary within a Magdalen Asylum, a refuge set up by the Catholic church for “fallen women”. The shadowy, sinister closer El Ciervo Vulnerado, meanwhile, tapped into the darker side of spiritual jazz to further explore the album’s themes of redemption and religious myth and magick. Elsewhere, the interplay between guitar and clarinet on Viscera Eyes created complex, unsettling counter-melodies, while the coiling, ornate Meccamputechture – Cedric’s wild fusion of sacred texts, occultism and dystopian science fiction – proved a great showcase for Ikey Owens’ swarming, infernal organ runs, in concert with Frusciante’s arcane guitar-play. But it was Day Of The Baphomets that would prove Amputechture’s most ambitious and most defining epic. Cedric’s lyrics tore into the hypocrisy of religious cant and myths of sin and punishment. “I wanted to make a song that was like the movie The Believers, where this cabal stole kids and did some occult shit with them,” he explains. “But I wanted it to be like, ‘What if the people you hire to do jobs you don’t wanna do rise up one day and then pull some shit like that?’ Like it was the guerrilla warfare, them taking over – wouldn’t that be some fucked up shit? And the music just lent itself to that – the big intro, the bass solo, and all of the ruckus that occurs.” That ruckus was some of the most thrilling Mars Volta music yet, as Omar directed his musicians to rumble through fiery modes of wild tribal groove, ransack-the-palaces riot- rock and supreme progressive experimentalism. Amputechture, then, is the sound of The Mars Volta in imperial mode: fearless, insatiable, unstoppable.

Mit "Dark Superstition" schlagen Gatecreeper ein neues Kapitel in ihrer Bandhistorie auf: Das kommende Studioalbum ist gleichzeitig die erste Veröffentlichung der Death-Metaller bei Nuclear Blast.

Dafür hat sich die US-Band unter anderem Unterstützung von Fred Etsby (Dismember) und Converge-Gitarrist Kurt Ballou geholt. Zum Hintergrund des Albums, auf das es mit "Caught In The Treads" bereits einen ersten Ausblick gegeben hatte, erklärt Frontmann Chase Mason: "Viele der Songs handeln von übernatürliche Ideen, gepaart meinen eigenen Erfahrungen. Allerdings ist der Titel selbst eine Referenz an die Superstition Mountains in unserem Heimatstaat Arizona. Es ist eine wunderschöne Bergkette, umgeben von Tragödien und Legenden über verborgenes Glück." An das Thema des Übernatürlichen schließen sie auch mit der neuesten Singleveröffentlichung "The Black Curtain" sowie dem dazugehörigen Musikvideo an.

Darin ist die Band von einer Friedhofskulisse umgeben, der sie mit ihrer Mischung aus straightem Rock, peitschenden Death Metal und ausufernden Shoutings Kontur und standesgemäße Düsternis verleihen. Dazu führt Mason weiter aus: "Es geht darum, zwischen Leben und Sterben gefangen zu sein. Eine Seele, die im Fegefeuer gefangen ist und darum bettelt, von einer übernatürlichen Kraft zurückgebracht zu werden."

For Dutch artist Stefan Vincent, the feeling of melancholy also offers the opportunity for beauty to be found. “Decay and loneliness can serve a purpose. Depression can teach you things. To feel deep sadness also means the ability to feel profound
emotions.” he says. With this in mind, his debut album on MUSAR Recordings, “Post- Melancholy”, unpacks the twists and turns of grappling with this emotion, drawing from breaks, electro and IDM to make his most intricate work to date, after previous releases on Token, Dynamic Reflection, Symbolism, and Non-Series. Throughout “Post-Melancholy” Vincent traces the wave of melancholy and how it moves through the body, which allows for lighter moments alongside darker moods. Perhaps the lightest track on the album is its acidic-breaks opener, “Eyes Unclouded”, with its soaring acid lines and dazzling synths, which acts as a false pretense for the rest of the album. Tracks like “Poise”, “Arpeggino” and the meditative “Yonghegong Lama Temple Exit F” also break up the intensity. However, nestled between the more pacey, bass-weighted tracks on the album, these lighter openings still feel like tear-jerkers.

The more common associations of melancholy show up on tracks like “Another Skin To Wear” and “You Know This Isn’t Going To End Well”, which all create a more ominous feel via IDM and the polyrhythmic structures of drum’n’bass. Particularly on “Another Skin To Wear”, which borrows its name from a Radiohead lyric, the track's swooping motion feels realistic to melancholy’s chaotic and often unpredictable path. But, like all great storytellers, Vincent leaves the most poignant moment of the album for last with the rolling “8AM on the Train… (For Maarten)” devoted to his dear friend, Maarten, who sadly passed away at the young age of 36. This LP is dedicated to Maarten de Vries (1986-2022)

With a Yamaha organ and a dream, South African artist Pops Mohamed started his musical journey in the mid-1970s as the bandleader and composer of Black Disco, creating a hip melange of chill-out jazz with futuristic drum machine sounds and spiritual overtones. His cosmic organ transmissions were accompanied by two of the most sought-after session players on the South African scene, the sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit "Mannenberg," and Sipho Gumede, the young bass prodigy who was already rubbing shoulders with the old guard at the outset of his career. Backed at first with polyphonic beats from Mohamed's electric organ and later taking on a drummer, Black Disco created a signature sound and a trilogy of innovative albums in a burst of studio creativity between 1975 and 1976.

This is the first full reissue of their 3rd album, from the original masters. Limited Edition

Dry_Feel is the personal project of the Greek label founder Dystatik, encompassing various types of experimental and darkwave music.

This is what you will find in his vinyl debut, which includes a collaboration with Fluora. You can expect extremely fresh minimal synth, synthwave, EBM, dark elektro, and new beat tracks, all created with a dancefloor riot in mind.. Presented in a ONE-OFF truly limited edition of 300 copies lacquered pressed on 180 gr. high quality solid BLACK vinyl. All tracks have been specially mastered for vinyl by Daniel Hallhuber at Young and Cold Studios (Germany).

Italienischer Prog-Power-Metal vom Feinsten!
Vision Divine sind wieder da und liefern eine Handvoll glorreichen und sanften Progressive Power Metal. Eine epische Saga, die sich über zwei
monumentale Alben erstreckt, mit "Blood And Angels' Tears" als erstem Teil: angesiedelt in einer fernen Epoche vor den bekannten Zivilisationen,
dreht sich die Erzählung um drei Engel, die wegen ihrer Unentschlossenheit während des katastrophalen Krieges zwischen Luzifer und Erzengel
Michael aus dem Himmel verbannt wurden. Jedes Album ist ein Kapitel in einer großen, filmischen Geschichte: Themen wie Erlösung, Einheit und
Widerstandskraft durchdringen die melodischen Orchestrationen und den eindringlichen Gesang. Erlebt die cineastische Majestät von "Blood And
Angels' Tears", wo jede Note und jeder Text verschmilzt, um einen zeitlosen Kampf und eine heldenhafte Reise durch die Gefilde des alten Mythos
und der fantastischen Fantasie zu beschwören!

Son Goku is back to face a new threat that is descending upon Earth. Synopsis: Goku goes to train with Master Kaio, who informs him that a powerful enemy has awakened from a 39-year slumber: Beerus, God of Destruction. Beerus is searching for a warrior who appeared to him in a dream, the Super Saiyan God, whom he wishes to challenge. The vinyl includes numerous BGM from the Future Trunks and Universe Survival arcs. They range from dark to epic in a very orchestral style with the legendary Norihito Sumitomo composing (DBZ: Battle of Gods, the film, as well as video games like Gran Turismo). Some BGMs were created by Kazuya Yoshii and Takafumi Iwasaki, the latter having worked on musical projects for spin-offs of Digimon and Konosuba.

Cher's FOREVER mit 21 neu gemasterten Songs ihrer großen Hits wie „Believe“, „If I Could Turn Back Time“, „The Shoop Shoop Song“, „Strong Enough“ die von Cher persönlich kuratiert wurden.

Opium Warlords' sixth album "Strength!" out on Svart Records in September 2024! Opium Warlords, led by Sami Albert ”Witchfinder” Hynninen (Reverend Bizarre, The Puritan, The Candles Burning Blue), return with their sixth album Strength! It is a versatile but tight combination of pussy techno, sludge, industrial pop, hardcore punk, drone, shamanistic pulse, noise, heavy metal, old school gothic rock and march music. It is a take on European rhythmic patterns: stagnant factory beat – no groove, no swing, just a rhythm of industrialism that pierces through different genres and styles. Comparing to the dark and oppressive Nembutal (2020), Strength! is significantly more light-hearted, with its postmodern lyrics emitting from sources such as shampoo bottles and television UFO series to the Pan-Europa myth or morbid lore of death-hungry Transylvanian Iron Guard. However, the sting of irony and sarcasm is balanced with more serious subjects: Strength! is a hate/love letter to Europe and a self-reflection on Machiavellian and Nietzschean philosophies of strength and elitism. True to the band’s soul everything is covered with pure toxic misanthropy. Strength! 2LP/digital/2CD will be released 13th of September on Svart Records. Album’s first outtake, Erotomania, is out right now via digital services worldwide.

Opium Warlords' sixth album "Strength!" out on Svart Records in September 2024! Opium Warlords, led by Sami Albert ”Witchfinder” Hynninen (Reverend Bizarre, The Puritan, The Candles Burning Blue), return with their sixth album Strength! It is a versatile but tight combination of pussy techno, sludge, industrial pop, hardcore punk, drone, shamanistic pulse, noise, heavy metal, old school gothic rock and march music. It is a take on European rhythmic patterns: stagnant factory beat – no groove, no swing, just a rhythm of industrialism that pierces through different genres and styles. Comparing to the dark and oppressive Nembutal (2020), Strength! is significantly more light-hearted, with its postmodern lyrics emitting from sources such as shampoo bottles and television UFO series to the Pan-Europa myth or morbid lore of death-hungry Transylvanian Iron Guard. However, the sting of irony and sarcasm is balanced with more serious subjects: Strength! is a hate/love letter to Europe and a self-reflection on Machiavellian and Nietzschean philosophies of strength and elitism. True to the band’s soul everything is covered with pure toxic misanthropy. Strength! 2LP/digital/2CD will be released 13th of September on Svart Records. Album’s first outtake, Erotomania, is out right now via digital services worldwide.

Die meist übersehenen Urväter des schwedischen Death Metal! Aufgenommen in den frühen 90er Jahren in den legendären Sunlight Studios!
God Macabre gründeten sich Ende der 80er Jahre unter dem Namen Macabre End. 1991 änderten sie ihren Namen in God Macabre und
veröffentlichten einen Song für die Pantalgia-Compilation und ein Album über das kleine deutsche Label Mangled Beyond Recognition Records, bevor
sie sich auflösten. Ursprünglich in 1993 veröffentlicht, wurde "The Winterlong" 1991 in den legendären Sunlight Studios in Stockholm aufgenommen
und von Tomas Skogsberg (Amorphis, At The Gates, Entombed) produziert. Die Wiederveröffentlichung von "The Winterlong", die nun vollständig
remastered und wieder erhältlich ist, enthält außerdem vier Bonus-Tracks, darunter das ursprüngliche 7"-Demo der Band aus dem Jahr 1990 sowie
den bisher unveröffentlichten Track "Life's Verge", die erste neue GodMacabre-Aufnahme seit über 20 Jahren.

On August 16, Toronto-based musician and producer David Psutka aka ACT! (fka Egyptrixx / Anamai / Ceramic TL) will release his latest project ‘Face to Face, Day by Day’ for his own Halocline Trance imprint.

This is is Psutka’s third album proper as ACT! following the release of the “sonic mixtape” ‘Universalist’ in 2018 and the augmented reality soundtrack ‘Grey Matter AR’ in 2021; a series of Snapchat filters created by artist Karen Vanderborght and soundtracked by ACT! which explored the poetic and existential potential of AR and social media.

“Aesthetic accidents in the periphery of the ‘work’ can be the message. In 2018, at an Egyptrixx concert at Bagni Misteriosi de Teatro Franco Parenti - a gorgeous, sprawling outdoor pool theatre in Milan - I had a clarifying moment. Gigs around then had mostly been in pummelling, dark music venues, so I wasn't prepared for this expansive space (and the thoughtful work of the organisers who had layered sheets of plastic film on the pool to parallel eco-materialist themes from a previous album). It was the midday soundcheck that struck me most - brittle digital sounds from the set echoed off the colonial Milanese facades and ricocheted down the Via Carlo Botta, pinging off buildings in the distance and clashing with the noise of traffic, tourists and whatever else. It was a strange, collisionist moment, and a reminder that my essential approach to music is, above all, a preoccupation with the materiality of sound. 

Everything on Face to Face, Day by Day began as an improvisation. Openness to accidents and the emotional complexity that comes from centering them in composition has become important to my work, and helps the music go beyond the possibility of what is playable, imaginable. I also wanted to channel adventurous solo pop records of the 1970’s and 80’s, like Yasuaki Shimizu, Jon + Vangelis and Stevie Wonder. These came from an interesting era in commercial music as studio production techniques became increasingly formalised as compositional devices, like AMS RMX16 percussion sounds and early digital stereo effects. 

Like many musicians, I’ve been travelling and performing less since the pandemic and as a result, have wanted studio sessions to feel more collaborative and improvisational. There were great writing and recording sessions for this album. Vox, synth, sax and guitar jams - much of what ended up on the record isn’t edited much, if at all. I jammed a sm57 into Colin Fisher’s sax bell and created feedback loops using various preamps and distortion units. The clunky sounds were sampled and used as percussion elements. I also had a great synth jam session with Jeremy Greenspan at Barton Building Studio in Hamilton, which was recorded by filmmaker Liz Adler. 

I’ve had a few months to sit with this album and see clear throughlines connecting it to previous projects. There are aspects of the experiential and structuralist sound design ideas from the EGYPTRIXX records; and also some arrangement tricks borrowed from ANAMAI - specifically, the use of interruptionist sound events. Perhaps most of all, it feels connected to the Ceramic TL + Ipek Gorgun record ‘Perfect Lung’ and its splattered take on musical complexity. “ (David Psutka)

In addition to ACT!, Psutka has released music with numerous projects including Anamai, Egyptrixx and Ceramic TL, he has collaborated widely with artists such as Junior Boys, Ipek Gorgun, and Kuedo as well as Jessy Lanza (2016) and an official remix for Massive Attack’s ‘Hymn of the Big Wheel (2012). The contributions on this album, from Robin Dann and Ben Gunning, reflect the deeply collaborative nature of the Halocline Trance label and the Toronto creative scene more broadly.

Many of Psutka’s releases have received critical acclaim from media outlets such as Pitchfork, Exclaim, The Quietus and Resident Advisor. As a live performer, he has toured extensively including performing at Sonar Festival, Roskilde, Mutek, MOMA PS1 Warm-UP and CTM Festival. He’s also presented sound installations at various institutions such as Galeria Civica Commune di Modena, and Art Gallery of Ontario (AGO).

In 2015, Psutka launched Halocline Trance as a home for his various sound projects, events and collaborations. Now a creative collective and label, it has grown to include a diverse array of artists including Casey MQ, Xuan Ye, Myst Milano, Colin Fisher and others. The label is described as “genre-agnostic” and conceptually open, supporting work across a wide spectrum of creative fields including soundtrack recording, AR design and traditional artist albums. Their impeccable roster also includes, theorist/improviser Eldritch Priest, and AR/VR artist Karen Vanderborght. In recent years, Halocline Trance has established itself as a platform that facilitates many of Canada’s most exciting creative music projects. Many of the releases have received critical acclaim from outlets including Pitchfork, Exclaim, Bandcamp and Resident Advisor.

It is on dark and sweaty dance floors that we get inspired, connect and leave our differences away to live in the present. With this compilation of music pressed in two parts and written by a set of artists from very diverse horizons, it is Polychrome’s perspective on the rave that we want to share. One where sound and light are the only points of reference, opening the space for liberating experiences.

Diffraction EP takes you through the full journey of waveforms traveling through our beloved clubs. Sparking the A-side, Hong Kong’s wonder producer and Mihn Club resident Xiaolin fires up with a progressive and flamboyant house cut, opening an ambitious dance. The tension is taken one notch deeper with Barcelona’s duo Iro Aka signature hypnotic and driving techno sound, dimming the lights for an introspective groove. On the B-side, Lyon’s Desire flirts with an electrifying psy-infused track where pounding beats and floating melodies dance in harmony and psychedelia. It is in a firework that Dublin’s prodigy Dylan Forbes closes out the EP, with an energetic progressive anthem that will light up the space

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

Ltd Edition - 200 copies**

Canadian-currently-residing-in-Berlin and multi intstrumentalist Aidan Baker teamed up with Dutch demolition duo Dead Neanderthals late 2023 to work on the collaborative album entitled Cast Down and Hunted.

Cast Down and Hunted is an abstract affair. Angular and dark, droney and lush. Two lengthy tracks, Subterfuge and Paranoia, each fill one side of the LP, which will be released by the Dutch label Moving Furniture Records.
The artwork was made by Steven Kenny and the album layout was done by Rutger Zuydervelt (Machinefabriek).

The album was mixed and mastered by Marlon Wolterink at White Noise Studio.

ABOUT AIDEN BAKER
Aidan Baker is a classically-trained multi-instrumentalist focusing on the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from post-rock, shoegaze, electronica, neo-classical, and jazz.
A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects—most notably his dreamsludge duo, Nadja—and including collaborations with Tim Hecker, Carla Bozulich, Jussi Lehtisalo, and Andrea Belfi, among others—on such independent labels as Karlrecords, Gizeh Records, Important Records, and his own imprint, Broken Spine Productions. A frequent live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, Roadburn, and Mutek.
Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.

ABOUT DEAD NEANDERTHALS
Dead Neanderthals have spent more than a decade putting together an eclectic and envious back catalogue that spans multiple genres – from free-jazz to grindcore to doom drone by way of psychedelia – and continuously throwing curve balls that defy expectations. You never know what you’ll get, but you know it’ll be heavy.


ABOUT MOVING FURNITURE RECORDS
Moving Furniture Records is a label based in Amsterdam, The Netherlands specialized in releasing experimental electronic music, run by Sietse van Erve, started in October 2008. We are mostly interested in drones, minimalist, microtonal and field-recordings music.
Moving Furniture Records has released music by both renowned, musicians such as Richard Chartier, BJNilsen, Jos Smolders, Gareth Davis & Merzbow and Machinefabriek, as (young) new talent such as Gagi Petrovic, Fani Konstantinidou, and Ryan van Haesendonck.
Aside from the regular releases Moving Furniture Records has two special series: Eliane Tapes: music inspired by and dedicated to the work of Éliane Radigue. Contemporary Series: contemporary music written for acoustic and electro-acoustic ensembles and solo artists.
Moving Furniture Records also organizes concerts in various venues in Amsterdam. For all our releases and more information

At once a spiritually-charged journey and a shit-kicking party record, American Cream Band comes to Quindi covering all the bases.
American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward.
The band's previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in December 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota. Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter's planetary frequency and the studio's abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record.
'Taste What We Taste' is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. 'Banana' celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On 'Royal Tears', the jagged guitar chops call back to Gang Of Four, while the hot n' heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits.
Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn't be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52's Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras.
There's space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as 'Sirens' opens the album up in a swirling pond of rag tag percussion and molten synths. 'Words Would Handcuff Us' cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships.
Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience - a joyously transient chapter in the evolution of American Cream Band.

Harde Smart is back again! With the new Harde Smart 7" Sampler, you get a taste of the upcoming Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's, the successor to the acclaimed original Harde Smart compilation that showcased the best of the Dutch-linguistic territory back in the '70s. Even in the decade that followed, a whole host of gems were made that were remarkably danceable, catchy and playful, as proven by the two tracks on this sampler. Joost Belinfante puts it nicely on the B-side: 'nothing to prove, nothing to claim, it is as it is.' Harde Smart never disappoints.

Harde Smart Volume 2: Flemish & Dutch grooves from the 1980's

Harde Smart is on it with the sophomore compilation effort Flemish & Dutch grooves from the 1980's. Vinyl aficionado's No Sleep Richy and Micha Marva teamed up with Sjefke De Kok (one of Holland's illest to rack those crates!) to continue their journey. While raking deep in the dusty bins with Dutch and Flemish records, they once again discovered an exquisite selection of tracks. Too weird to play, too rare to throw away. From butt-shaking boogie to weird disco adventures on wax, this album is sounding like all the good stuff the eighties had to offer: both smooth and sexy as well as dark and wavy. Get ready for an atypical introduction into the Dutch lyric-driven music from the 1980's.

The Harde Smart 7" Sampler will be released on Friday 15 March 2024 via Sdban. Harde Smart volume 2: Flemish & Dutch Grooves From the 80's will be released soon via Sdban

Dubstep's origins lie in dark 2-step mutations that evolved on dancefloors and in studios in the early 2000s. That same fusion of swing and space and subs can be found by the bucketload throughout the new EP by one of DNO’s staples, Kercha.
Skippy speed garage hats and slippery globules of bass animate the otherwise sparse production on the opening track ‘Feature’, while the wild beat on ‘Absurd’ could catch out any DJs not giving it their full attention. Wrapped in Kercha’s signature sonic debris, it delivers three and a half minutes of rattling, clicking, squelching wizardry.

The B-side gives us ‘Stimulate’, a collaboration with new-gen rising star Hypho. Indebted to trap, it’s full of militant 808 hi-hat rolls and the kind of firing synth tones that spell doom in a sci-fi movie (and tear up festival stages).

Finally, ‘Saturday’ is classic Kercha: sub-bass from the Seventh Circle, and so many suspicious chirps, whistles and hoots that it could soundtrack a nighttime stroll through the woods just as easily as skanking in a smoked-out sweatbox. The track is peppered with voice notes from a friend — snatches of funny, halfcut chatter, as random in content as Kercha's non-vocal sampladelia. The final snippet, which translates to “Saturday dictates its rules”, gives the track its name. A statement that can be read in all sorts of ways, it could even confer a motto for this whole collection, reflecting Kercha’s trademark originality.

The ‘Absurd’ EP is one of Kercha’s most dancefloor-directed releases to date, and whether conjuring the ghosts of club nights past or envisioning the raves of the future, it’ll be dominating sound systems for a long time to come.

Rhythms of postmodern realism at the very bottom of the DNO.

Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, The San Francisco Sound.' Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

By the mid-70's, Patrick's synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like You Make Me Feel (Mighty Real)', Dance Disco Heat' and Stars.' This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer's I Feel Love' and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12 singles, like Menergy' and Megatron Man'. He also had founded Megatone Records, the label upon which he released his debut album, Menergy'. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, Do You Wanna Funk' for Sylvester, and Right On Target' for Paul Parker, as well as a second solo album Mind Warp'. On November 12, 1982, he passed away.

In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick's songs in-sync with the film scenes. The result was the VHS collections Muscle Up' and School Daze' released in 1979 and 1980. Afternooners' is the third collection of Cowley's instrumental songs, recorded in May 1982. These recordings were culled from two 23-minute reels in the Fox Studio vaults. All songs were originally untitled, so we've used the titles from Fox Studio's 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick's time spent in the bathhouses of San Francisco. The songs on Afternooners' reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.

Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick's 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.

2024 Repress

Thomas Fehlmann remains as one of the most endearing and respected artists on Kompakt. He has inspired generations of fans and musicians over the course of his 30+ year career. From his early days as part of the legendary band Palais Schaumburg, and the pioneering Detroit/Berlin act 3mb (With Juan Atkins and Moritz Von Oswald), to his longstanding membership with The Orb, combined with his contributions as a solo artist to esteemed imprints R&S, Plug Research and of course Kompakt, where we have proudly released two full length solo albums: Visions Of Blah (Kompakt CD 20/Kompakt 67) and Honigpumpe (Kompakt CD 59 / Kompakt 157), his musical works have been prolific, not to mention four singles and a full serving of tracks found on our Pop Ambient and Total collections. Now, after 3 years, Fehlmann returns with 'Gute Luft'…

'Gute Luft' is the result of months of work scoring the hit German TV film 24h Berlin - the longest documentary film in history which featured 80 camera teams following the lives of berliners over a 24 hour period. Obviously a huge challenge for Fehlmann, beyond the scope of the project and hours of music involved in a 24 hour film, there was dealing with the decision making process that went with working with such a large production team. As he shared scoring duties with another musician (separately), inevitably a lot of his music ended up not making the final cut. 'Gute Luft' is about re-tweaking and editing material from the countless hours of recording he had created. In a sense, 'Gute Luft' is Fehlmann's ideal soundtrack to the 24h Berlin documentary.

“while scoring the film and subsequently shaping it into a album, i found myself questioning what holds it all together in Berlin. I figured that 'Air', the good old 'Berliner Luft', is something that is guaranteed to touch everyone and everything in the city. Also with that Berlin is very green, the combination with the unavoidable city dirt makes for a distinctive blend which seems to infuse its vibrant scene unknowingly with a constructive drive. Besides that, 'Gute Luft' was also the title of a song from my old band Palais Schaumburg, of which I have very fond memories. Also (as he says with a wink) “Gut” is one word I have a profound relation to…”

Fans shall rejoice as Thomas Fehlmann doesn't feer far from his signature path of trailblazing the finer links of classic Detroit House and Techno with the submerged beauty of Berlin Dub. One will immediately recognize the classic scoring techniques Fehlmann brings to 'Gute Luft' - various themes and sounds resonate in various forms and versions throughout the tracks. As Thomas states, “There are also More Subtle Connections That Should Give An Overall Feel To The Score. I Also Brought In Elements From Tunes From My Previous Albums In recognition of the fact that I often feel that there would be so many more ways to explore and experiment with certain ideas than just on a single track”. Fehlmann clearly succeeds in synergizing the best of the past 20 years of Berlin's expansive history of electronic and dance music with 'Gute Luft'. A recreational album in every way in which he hopes will make you “Feel at peace with you and your environment, inspire you to lush, imaginative dinners, make babies, or just walk your own way with open eyes”. Well put Thomas!

This is a re-release of " Gute Luft " orginally released in 2010 on Kompakt.

Thomas Fehlmann ist nach wie vor einer der liebenswertesten und gleichzeitig angesehensten Künstler bei Kompakt. Im Laufe seiner über 30-jährigen Karriere hat er Generationen von Fans und Musikern inspiriert. Von seinen frühen Tagen als Teil der legendären Band Palais Schaumburg und dem bahnbrechenden Detroit/Berlin Act 3MB (mit Juan Atkins und Moritz von Oswald), bis hin zu seiner langjährigen Mitgliedschaft bei The Orb, kombiniert mit seinen Arbeiten als Solokünstler für Imprints wie R&S, Plug Research und natürlich Kompakt: Sein musikalisches Gesamtwerk ist beeindruckend. Wir sind stolz, bereits zwei seiner Soloalben veröffentlicht zu haben: “Visions Of Blah“ (KOM CD 20/KOM 67) und “Honigpumpe“ (KOM CD 59 / KOM 157). Ganz zu schweigen von vier Singles und jeder Menge Tracks, die sich auf diversen Pop Ambient- und Total-Sammlungen finden lassen. Jetzt, nach drei Jahren, kehrt Fehlmann mit “Gute Luft“ zurück ...

“Gute Luft“ ist das Ergebnis monatelanger Arbeit für den deutschen Fernsehfilm “24h Berlin - Ein Tag im Leben“ - der wohl längste Dokumentarfilm der Geschichte. 80 Kamerateams verfolgen das Leben der Berliner*innen über einen Zeitraum von 24 Stunden. Die größte Herausforderung stellte für Fehlmann dabei nicht die Komposition für einen solchen Film dar; vielmehr waren es die Entscheidungsprozesse im großen Produktionsteam, die ihm die meiste Arbeit abrangen. Da er sich die Aufgabe mit einem anderen Musiker teilte, endete es unweigerlich so, dass einige seiner Tracks nicht in den Final Cut kamen. Bei “Gute Luft“ ging es nun darum, Material aus den unzähligen Stunden an Aufnahmen neu zu bearbeiten und zu editieren. In gewissem Sinne ist “Gute Luft“ Fehlmanns eigentlicher Soundtrack zum 24-Stunden-Dokumentarfilm.

"Während ich den Film vertonte und anschließend zu einem Album geformt habe, habe ich mich gefragt, was hier in Berlin alles zusammenhält. Ich habe mir gedacht, dass 'Luft', die gute alte Berliner Luft, etwas ist, das garantiert jeden und alles in der Stadt berührt. Die Tatsache, dass Berlin sehr grün ist; gleichzeitig die Kombination mit dem unvermeidlichen Dreck einer solchen Stadt – das ergibt eine unverwechselbare Mischung, die ihrer lebendigen Szene unterbewusst einen bestimmten Drive zu verleihen scheint. 'Gute Luft' war übrigens auch der Titel eines Liedes meiner alten Band Palais Schaumburg, an das ich mich sehr gerne erinnere. Außerdem (das sagt er mit einem Augenzwinkern) ist ‚Gut‘ ein Wort, zu dem ich eine enge Beziehung habe ..."

Seine Fans können sich freuen, denn Thomas Fehlmann entfernt sich nicht weit von seinem charakteristischen Sound, mit dem er die feinen Verbindungen von klassischem Detroit House und Techno mit der versunkenen Schönheit des Berliner Dubs aufspürt. Man wird sofort klassische Soundtrack-Techniken erkennen, die Fehlmann auf “Gute Luft“ verwendet - bestimmte Themen und Sounds durchziehen in unterschiedlichen Formen und Versionen die einzelnen Tracks. Thomas sagt dazu: "Es gibt subtile Verbindungen, die der Erzählung ein zusammenhängendes Gefühl geben sollten. Ich habe Melodie-Fragmente aus früheren Alben einbezogen, um der Tatsache Rechnung zu tragen, dass ich oft das Gefühl habe, es gäbe so viele weitere Möglichkeiten, bestimmte Ideen weiterzuverfolgen und mit ihnen zu experimentieren, als nur in einem einzigen Track.” Fehlmann gelingt es hier, das Beste aus den vergangenen 20 Jahren Berliner Elektronik- und Tanzmusik-Geschichte zu bündeln. Ein wohltuendes Album in jeder Hinsicht, von dem er sich selbst erhofft, dass es seinen Hörer*innen "ein Gefühl des Friedens mit sich selbst und ihrer Umgebung vermittelt, sie zu phantasievollen Abendessen inspiriert, zum Babys machen oder sie einfach nur mit offenen Augen Ihren eigenen Weg gehen lässt." Gut gesagt, Thomas!

Dies ist die Wiederveröffentlichung von “Gute Luft“, erstmals erschienen 2010 auf Kompakt.

Having gathered up praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Gilles Peterson, Huey Morgan, The Guardian, Jazzwise and more, for his lauded ‘Crisis & Opportunity’, drummer and composer Myele Manzanza returns with the fourth instalment of his series, titled ‘Meditations’.

On ‘Meditations’, we see Myele revert to a purely acoustic line-up, channeling a focused and razor-sharp return to his Jazz roots. Showcasing an incredible level of musicianship between three musicians at the top of their game - including Matthew Sheens (Ross McHenry, John Patitucci) on piano and Matt Penman (Joshua Redman, Sfjazz Collective) on double bass - the trio exchange motifs over the length of 7 tracks.

Opening proceedings with frenetic rhythmic improvisation, complimented by melancholic and cinematic layers of sound, ‘Crayford’s Room’ is a tribute to Myele’s musical mentor back in New Zealand. Remembering his time as a student in Wellington, Myele shows his deep connection to his origins, manifesting itself as lament on ‘Winter’ and ‘Homesick’. Introducing hypnotic, contemplative melodies take centre stage on ‘Something Old Something New’ (the first single to be released from the project)’ It maintains a sense of tension and intrigue throughout, and intensity rises to a crescendo sending sonic particles sprawling into space.

Intuitive, darker and deeply contemplative, Myele shares his innermost thoughts on ‘Crisis and Opportunities Vol.4 - Meditations’. He divulges:

‘The personal angst and existential frustration I was going through across 2020 - 2022 I believe is well reflected here. The album is deeply informed by the musicianship and sound of my trio, Matthew Sheens on piano and Matt Penman on double bass. Knowing that musicians of their calibre were going to be involved gave me licence to go further in my writing, deploying odd time signatures, sharing the melody roles across the piano and the bass, and delving deeper into the nuances of what the acoustic piano / bass / drums trio can do. The compositions present a challenge even to the best musicians, and I knew that it was essential to have a team on this level to really move the music beyond an academic exercise and draw out the emotion and colour from the material.’

Fera’s trajectory sticks out like a sore thumb, you need to invest time, carefully divided between body & mind, to truly take a deep dive into his audacious output. After the acclaimed ‘Stupidamutaforma’ and ‘Corpo Senza Carne’, Fera is back with ‘Psiche Liberata’, an oblique, imperfect and broken record, in other words, exactly the type of magical voyage you want to be on. The mind, finally liberated.

Fera is Andrea De Franco, electronic composer from Southern Italy now residing in Bologna, also known for his work as visual artist/designer and member of the Undicesimacasa collective. His musical cosmos is profound and imaginative, intergalactic atmospheres that condense fragmented IDM, scintillating textures, distorted synthscapes, crunchy technoid rhythms and swirling abstractions that weave gently, sometimes moody and stark, more often celestial and awe-inspiring.

Mixed in Berlin by Steve Scanu ‘Psiche Liberata’ encapsulates Fera’s dense and intricate thought process in contrast with his simple and direct approach to writing and recording that finds its more natural output in his rapturous live sets where a mono signal runs through a few analog pedals transforming instantly into menacing alien grooves and fluid ecstasis.

Like ‘Psiche Liberata’s artwork, hand-drawn by Fera, every detailed miniature leads to a single cell of sound, tracks collide against each other in a psychotic kaleidoscope where every safe space is confronted with subsequent noise, alterations or interruptions. The black terror of ‘Celestial Anacusma’ is followed by the space-jazz banquet of ‘Milk Tears In The Hug Chamber’ doped up cyber Sun Ra extravaganza featuring Laura Agnusdei and Luigi Monteanni (Artetetra) on saxophones and flutes; ‘Silenzio Solare’ sprinkles Mille Plateaux era minimalism all over hallucinations, while ‘Diluvia’ crosses industrial acid with perpetual motion; title track ‘Psiche Liberata’ murmurs mechanically, a downtempo drifter for the wide-eyed 7AM comedown: ‘Simulacrima’ melts Boards Of Canada’s mellow pastoralism with dystopian meta-level dreamland and ‘Riposa’ showcases an overwhelming melancholy executed with elegance in a slo-mo world where the ineffable transcends notions of ambient and becomes a warm embrace.

Created on a Monotribe, MS20 & Volca Sample/fm, ‘Psiche Liberata’s velvet heaviness was achieved by re-amping many of the instruments through a Leslie Rotary Speaker and a reel-to-reel Telefunken. Fera’s sonic tapestry is in constant flux, underlying themes of love longing and affection run through the record but in a turbulent, volcanic, unleashed fashion, almost on the brink of utter noise or complete silence, reminding us that this is an artist like no other amidst the ever changing electronic scene. These are transmissions from the gutter, where the inevitable meets the unattainable and collapses.

"Fera’s tarnished materials are destined for ruin; “Stupida,” full of longing and regret, sounds like an elegy for a fallen world." Pitchfork

"A cut of dark magic that fits like a glove to overcast days, wild winds and lashing rains. Insistent, the treacle-thick bassline oozes out, soaking the space between the melancholic synth lines." Inverted Audio

"The songs on Stupidamutaforma feel hypnotizing...it establishes De Franco as a composer who uses space and time to create a set of rich, immersive works." Bandcamp 'Album Of The Day'

Releasing as a vinyl 45, Bad Night is the lead offering from The Cromagnon Band's new album Mode. This is the band's second LP and the first of theirs to be released on BBE Music. Mode itself is an album of cinematic and psychedelic dark Funk tinged and tinted with Nordic psych/jazz, classical, boom-bap Hip-Hop breaks and riff heavy rock. Bad Night is backed with Quadrant, a stand alone track that won't be on the album, thus making the vinyl single release a unique addition to the music lover's record collection. That said, these are are two tracks which give both a genuine flavour of the forthcoming album as well as the band's own musical influences and heritage as instrumentalists and producers. The Cromagnon Band's recording technique of taking breaks, riffs and melodies from favourite tracks and then improvising from there with completely live jam sessions in the studio allows them to record in their distinct and trademark 'reverse engineering' style. The trio of Drummer Tom Watt, Bassist Lenny Walker and multi-instrumentalist Bert Page work by making music as a team, playing for hours and united by a love of Hip-Hop breaks and psychedelic Jazz/Rock/Funk and classical music. They choose to record only instrumentals which allows space for Bert to weave intricate soundscape with Fender Rhodes, Moog, Sax and Clarinet over the beats and breaks they have written from their improvised jams. Bad Night b/w Quadrant are the lead releases from The Cromagnon Band's new album Mode. They will be released as a 7" vinyl and digitally.

140g transparent blue and green galaxy marble vinyl housed in a matte 3mm cardboard sleeve with lyrics insert featuring photography and artwork by Hidrico Rubens. Limited to 300 copies. The creation of ‘Chrysalis’ was a retreat from a seemingly endless string of unfortunate events, a cocoon from which Zanias could weave hope from hopelessness. In each of its eight songs she has engineered unique worlds to express alternate facets of the modern human experience, from burnout and the toxicity of capitalism to processing death and the inherent isolation of personal trauma. Written and recorded between Berlin and the rainforest of Queensland, Australia, the sound design of ‘Chrysalis’ reflects the rich biodiversity of the latter environment, where she drew much of her inspiration. Her voice shifts and morphs into ghostly, alien forms between catchy hooks that plant this album firmly in the ‘pop’ genre, without losing the underground rawness and lyrical depth for which she is known. With her third full-length album, Zanias is expressing her truest form thus far, fusing her seemingly discordant influences into a genre-defying electronic artpop, as dark and evocative as it is ethereal and uplifting. Written and produced by Alison Lewis Bass guitar on ‘Lovelife’ by Laura Bailey Mixed by Ewan Kay Mastered by Alain Paul Photography and artwork by Hidrico Rubens Sigil by Nat Soba Design and layout by Alison Lewis Makeup by Eavan Derbyshire