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Föllakzoid are nearly unparalleled in the hypnotic lysergic drenched neo-psychedelic experience. On their debut it is mostly a rather bulky one, determined by the downright dirty, distorted electric guitar, which is also usually accompanied by a spacey, howling and herbaceous howling one. In addition, there is fat bass and powerful drums. During the prolific post-napster musical era dominated by myspace, the Chilean musical field opened up so that many bands could broaden their creative spectrum by taking global and timeless references as an aesthetic holy grail. This experimentation had the internet and specialized forums as a search engine, which not only provided the world parameters in trends, but also allowed to find true hidden gems, bands that were adored by a few connoisseurs of the real quality left behind by the record labels. In this context, a group of university students who have known each other from school began to rehearse in the Caracol Vip underground (Santiago, Chile), in a room owned by a local heavy-metal legend, Juanzer. Equipped with tube amplifiers, Marshall and other custom made, the members of that time: Gonzalo Laguna on vocals, Juan Pablo Rodriguez on bass, Domingo García-Huidobro on guitar, Diego Lorca on drums and Francisco Zenteno on second guitar, they began to play endless jams without a strict sense of songs or directed compositional notion. The rule was to follow the noise in a journey through valleys and peaks that allowed the spontaneous appearance of textures, lyrics, phrases and some invented chords that did not resemble anything that had been heard at that time. The rehearsals were transformed into true live performances without an audience, which were only seen by a few curious, among alcohol, smoke and deafening noise, which could only end when the owner of the room (Juanzer) entered to turn off the equipment. Over time he himself stayed as an auditor, witnessing how the musicians stripped themselves in their rehearsals. Considered at that time as play or fun, the idea of forming a band with a name came with the real live performances to which they were invited, without yet having songs made, at the end of 2006. The myth of their first live performance alludes to a numerical superstition, on July 7, 2007, in a small bar in Providencia (Santiago), which also provided the band with an upward recognition for the psychedelic-punk music they were doing, with a voracious vocalist who destroyed everything on stage and a band that stood firm on the endless songs they built. The name that was invented for that occasion was the result of a nonsense about the German word feuerzeug brought to the group by their close friend Alfredo Thiermann (who would later make the cover of the first album and become keyboardist), which the members of that time took and Spanishized at will. This neologism represents the second founding myth of the band since the interest in bands like Can, Neu! and AMON DUUL II and the characteristic motorik rhythm would soon arrive, in the form of kosmische musik. By 2008 the band had already added several live performances and some songs appeared, among which were Directo al Sol and Loop (nod to the English band), which allowed a greater deployment of ambient-noise resources, almost close to the 'concrete' music. The deconstructed rock of Spacemen 3 was also present in the form of repeated sequences on the bass and drums, as the layers of shrill guitars formed the foam of the tide bursting in the darkness of space. With the ideas and general feeling of the sound that they already had, the band made the decision to record their first album with the sound engineer and Juan Pablo's brother, Ignacio 'Nes' Rodríguez, who later together with JP would form the BYM label to make the first CDs of the forthcoming debut of Föllakzoid and other bands that Nes was recording. Sheltered that winter in the studio that Nes had built in an old house in Recoleta, the band recorded the bulk of the songs on the album with a new jam that emerged in that room composed of 1 note and moments of rising intensity: Sky Input I and II appeared to complete a set of songs that came from rock but were slowly passing to a level of trance and cacophony typical of orchestrated and atonal music. With three takes per song but only one take of the jam, the album was finished with a few extra takes and overdubs, some made in the house of Nes himself, who contributed a guitar to Loop, although it does not appear in the credits, and additional takes of "Pelao" Zenteno with delay and reverse for almost all songs. The names of the songs came from the lyrics that Laguna had worked from the live versions to the studio finals, except for Loop, Sky Input and El Humo. The cover of the album, which as mentioned was made by Thiermann, represents well the spirit of those days, when creative magma looked for an outlet through the instruments without any restriction or explicit direction from any of the members of the group. The image of the tree towards the sky speaks of the roots that rise towards the immensity, the nature projected towards the stratosphere. Ideas that the neo-psychedelia of those years seemed to capture well, echoing in the Chilean bands that at that time were gathering around the BYM label. Both the creative fluency and the lack of a musical director ensured that Föllakzoid was an original band that did not impose themselves a way of doing things or sounding, collective music took shape in the most wonderful way, without characters, without a record name, without faces. Just an instant in space. 2022 GALAXY GREEN coloured vinyl

White Vinyl

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019's best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. "We're in a fully functional shit show," Mering says. "My heart is a glow stick that's been cracked, lighting up my chest in an explosion of earnestness." And in the Darkness, Hearts Aglow opens with the wistful, winsome "It's Not Just Me, It's Everybody," a song about the interconnectivity of all beings, despite the fraying of society around us. "I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up," Mering says. "Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal." Other tracks follow in kind. The lullaby-like "Grapevine" chronicles the splintering of a human connection. The otherworldly dirge "God Turn Me into a Flower" serves as allegory about our collective hubris. "The Worst Is Done" is an ominous warning, set against a deceivingly breezy pop melody. "Chaos is natural. But so is negentropy, or the tendency for things to fall into order," she says. "These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment."

Technological agitation. Narcissism fatigue. A galaxy of isolation. These are the new norms keeping Weyes Blood (aka Natalie Mering) up at night and the themes at the heart of her latest release, And in the Darkness, Hearts Aglow. The celestial-influenced folk album is her follow-up to the acclaimed Titanic Rising. (Pitchfork, NPR, and The Guardian admiringly named it one of 2019's best.) While Titanic Rising was an observation of doom to come, And in the Darkness, Hearts Aglow is about being in the thick of it: a search for an escape hatch to liberate us from algorithms and ideological chaos. "We're in a fully functional shit show," Mering says. "My heart is a glow stick that's been cracked, lighting up my chest in an explosion of earnestness." And in the Darkness, Hearts Aglow opens with the wistful, winsome "It's Not Just Me, It's Everybody," a song about the interconnectivity of all beings, despite the fraying of society around us. "I was asking a lot of questions while writing these songs. Hyper-isolation kept coming up," Mering says. "Our culture relies less and less on people. Something is off, and even though the feeling appears differently for each individual, it is universal." Other tracks follow in kind. The lullaby-like "Grapevine" chronicles the splintering of a human connection. The otherworldly dirge "God Turn Me into a Flower" serves as allegory about our collective hubris. "The Worst Is Done" is an ominous warning, set against a deceivingly breezy pop melody. "Chaos is natural. But so is negentropy, or the tendency for things to fall into order," she says. "These songs may not be manifestos or solutions, but I know they shed light on the meaning of our contemporary disillusionment."

In the beginning, woman was the sun, and then the monster put its hand in the fire.
Knowing without knowing.
Nature versus Nurture.

Selected Productions is a collection of tracks produced by Tom Chasteen in the late 90s and released on the Exist Dance label.
Exist Dance started in Los Angeles in 1991 and was among the first labels to emerge from the LA Rave scene of the time, although musically the label pursued its own path , sometime in tune with rhythmic warehouse madness, sometimes heading elsewhere.
These tracks emerge from later in the Exist Dance story, when Tom Chasteen was living in Prescott, AZ, performing at Phoenix and Tucson raves and clubs and steadily releasing small pressings of 12” singles and EPs.

Ghost Story is a high desert tale, emerging from the hours long Roland 303 and Space Echo based live performances Tom was doing at the time, condensed into a dramatic vinyl side and featuring guest guitar work from Clive Wright.

Champion Sound is a remix of a 1991 Exist Dance release, the original being perhaps the first “Breakbeat” track from the West Coast. This version expands the concept of remix to its limits, keeping only some vocals from the original and setting them free in a new psychedelic landscape.

The Accident Of Birth takes the breakbeat style to a darker galaxy.

Black & Opaque Silver vinyl. ZZK Records Presents Uji's TIMEBEING. A prehistoric tribe dances around the fire. Young revelers lose themselves on a packed dancefloor. Explorers fly a rocket toward another galaxy. In the TIMEBEING universe, these things are all connected. From the earliest days of humanity, people have strived to expand their reality beyond the limitations of the here and now and have used technology to make it happen. Their methods and machines may have changed across the centuries, but the drive remains constant, vibrating through history and occupying a space where time loses all meaning. "The art of making music is the art of manipulating time," says Uji. "I have had experiences where time shifts dramatically; sometimes it slows down to a halt, while moments seemingly become infinite. This is where the magic happens. This is when the fabric of what we call reality begins to show its seams." An Argentinian electronic producer and ethnomusicologist, Uji has been navigating those seams for more than two decades, initially as one half of the pioneering duo Lulacruza, but more recently with his own solo work. TIMEBEING continues that lineage, but also elevates it, taking shape as a interdisciplinary multimedia journey that includes a new album, an accompanying short film, an immersive live show and the birth of a new decentralized community of like-minded artists, creators, seekers, and dreamers. Mesmerizing and deeply psychedelic, the TIMEBEING LP certainly reflects the rich sound palette of Latin America and its intersection with various strains of electronic music but Uji taps into traditions both musical and spiritual that can't be hemmed in by borders and boundaries. Transcendence is the goal, and the album moves through fantastical spaces that may or may not exist: a metallic jungle, a Balkan spaceship, a cloud that morphs into a tumultuous whirlpool. All the while, Uji criss-crosses history, consulting elders and futurists alike as he throws open the doors of perception and pens a new mythology about what it means to be human. Some of that mythology takes shape in the TIMEBEING film. Written by Uji himself, the eight-part opus has been brought to life by Jazmin Calcarami, who makes her directorial debut following years of working as an experimental make-up artist with the likes of Björk and Cirque de Soleil. On stage, the transportive TIMEBEING live show is set to premiere at the Artlab Cultural Center in Buenos Aires, where it will be debuted as a part of a weekly residency this spring. More than just a concert, it's a dazzling theatrical experience, complete with dancers, costume changes, arresting visuals and even an on-stage "ship" (shaped like mollusk) where Uji himself will perform. "What we see on the surface, is only that the surface," says Uji. "There is so much more. Music is the bridge and the possibilities are limitless." Track listing: 1. Mito 2. Oropo 3. Truenatruena 4. QuemaQuema (feat. Nyaruach) 5. Kinto 6. Lunay (feat. Zola Dubnikova) 7. Flechas 8. Sirios (feat. Kristine Barrett)

Robodrum is simply one of the most talented electro producers out there now.

50 min of top-level retrofuturistic electro that will take you to an unknown (maybe hostile?) galaxy

The A-side 'Bye Bye Mon Amour' is a re-recorded French language version of previous 7” 'Want You! Like a Cigarette'. The original English language version features on the B-Side. Great news for anyone who missed out on the now sold out 7” from 2020! Here's Flavia Couri with a few words about the single... “We are big fans of '60s French pop - Gainsbourg, Sylvie Vartan, Jacques Dutronc, France Gall and many more. We love the versions made in France of the British and American hits back them, like Marie Laforet’s version of Stones’ 'Paint it Black' ('Marie Douceur') and Petula Clark’s version of The Kinks’ 'A Well Respected Man' ('A Jeune Homme Bien'). So we decided to have our own Frenchy pop hit! Please welcome 'Bye Bye, mon amour'! Because nous desirons les francophone fans comme a un cigarette! Hope the French, the Canadians, the English, the Danes, the Brazilian, the whole planet, the whole galaxy enjoy it. Turn up your volume and allez-y!”

As a duo they embrace both sides of the coin, drums and guitar, chaos and order, male and female, ying and yang, the angel and the devil. They are more than the sum of both counterparts though, making for a maximalist auditory experience. PIKA brings her skills of mystifying performance to the table, all free-drum bluster and vocals veering between shrine maiden and wild spirit. Kawabata's guitar-work moves from a roar to a whisper, a yell to a sob, he's working on the same canvas of extremes. The aim of their unity is to write truly celestial hymns for the outer world and odes of love for the inner cosmic context.
 
No strangers to one another, the pair have not only gigged together with their respective bands but also recorded together, when these two outfits temporarily fused in 2005 to become Acid Mothers Afrirampo (releasing an album of the same name). Two years later they distilled their collaboration, all other players being stripped away to leave the core of Pikacyu's manic drums and pop vocal, and Makoto's schizoid guitar conjurings. In 2011 they spent five weeks touring the US and their first album, 'OM Sweet Home: We Are Shining Stars From Darkside', which was released by the esteemed UK label of all things heavy and brilliant, Riot Season. Last year they spent two weeks touring through Europe whilst writing a new album suffused with the outreaching sound and message of their impulsive live performances. This new album is entitled 'Galaxilympics' and will be released by Upset The Rhythm on August 4th on LP and CD.
'Galaxilympics' is an album of contrasts, so much colour, so much shade! 'Space Sumo' kicks off the record in explosive style. Pikacyu's drums jitter, crash and stumble, but steadfastly refuse to groove. Makoto attacks his guitar, cloaking himself in reverb to produce a wall-of-sound, alternating between melody and noise. 'Funifunikonefuni' follows with it's frenzied take on pop music, bubbling with energy and PIKA's multiple vocal layers. 'I'll Forgive' is chant-like in its devotion to following the tumbling melody line of the song even to absurd and unpredictable dimensions. 'Pika Mako Hall' is a more serene affair, with whispered echoes and guitar drones swirling amongst bursts of rapid sequencer ambience. 'Castle Of Sand' picks up on this more spacious approach with slowly developing programmed electronics, before the title track erupts with gurgling synths, soaring guitar trails and PIKA's most searching vocal yet.
 
The album concludes in reflective manner with the suitably titled 'Sayonownara', a song as much in the present as it is in the act of saying farewell. It's positively elegiac with washes of cymbal and deep acres of guitar drone for the first five minutes before PIKA's drums take things up a gear and into more psychedelic out-rock terrain. This insurgence eventually peaks and the album melts away to silence. PIKACYU-MAKOTO have made an album that takes you on a trip into your very soul before emerging once more at the edge of another galaxy. 'Galaxilympics' is a triumph of opposites united, it enjoys walking out into the unknown, but it's also a portal into the very real world of two musicians who find peace and semblance through their interaction. Hymns and odes to one side, this is a giant album of future-facing song and noise, where better to find harmony enthroned

A prehistoric tribe dances around the fire. Young revelers lose themselves on a packed dancefloor. Explorers fly a rocket toward another galaxy. In the TIMEBEING universe, these things are all connected. From the earliest days of humanity, people have strived to expand their reality beyond the limitations of the here and now_and have used technology to make it happen. Their methods and machines may have changed across the centuries, but the drive remains constant, vibrating through history and occupying a space where time loses all meaning. "The art of making music is the art of manipulating time," says Uji. "I have had experiences where time shifts dramatically; sometimes it slows down to a halt, while moments seemingly become infinite. This is where the magic happens. This is when the fabric of what we call reality begins to show its seams." An Argentintian electronic producer and ethnomusicologist, Uji has been navigating those seams for more than two decades, initially as one half of the pioneering duo Lulacruza, but more recently with his own solo work. TIMEBEING continues that lineage, but also elevates it, taking shape as a interdisciplinary multimedia journey that includes a new album, an accompanying short film, an immersive live show and the birth of a new decentralized community of like-minded artists, creators, seekers, and dreamers. Mesmerizing and deeply psychedelic, the TIMEBEING LP certainly reflects the rich sound palette of Latin America_and its intersection with various strains of electronic music_but Uji taps into traditions_both musical and spiritual_that can't be hemmed in by borders and boundaries. Transcendence is the goal, and the album moves through fantastical spaces that may or may not exist: a metallic jungle, a Balkan spaceship, a cloud that morphs into a tumultuous whirlpool. All the while, Uji criss-crosses history, consulting elders and futurists alike as he throws open the doors of perception and pens a new mythology about what it means to be human. FOR FANS OF: Floating Points, Four Tet, Oneohtrix Point Never, Actress, Nicola Cruz, Dengue Dengue Dengue, Nicolas Jaar, Mount Kimbie, Mucho Indio.

The end of the Doc Pavlonium's trilogy has come. Third and final chapter of the series.

"Is 2333 dc and humanity decided to leave planet earth as they don't need it anymore. The Earth is only but a limit to the inescapable human evolution: from simple terrestrial to new outer space inhabitants who are able to live without a planet, nature, art or music. In this robotic, hi-tech, and perfectly controlled future, somebody will be wondering if they can discover another moon, another sun, another galaxy..."

Yazzus follows up her appearance on the Tresor 30 compilation with a new EP named BLACK METROPOLIS.

Within its, at times, rough-hewn textures lies a core
that explores joy and energy within the roots of black techno. In her words: “I want this release to be black and beautiful, to be queer, and playful, a nostalgic nod to the 90s but also reimagining it in the current times.”

The Ghana-born, London-bred, now Berlin-based producer’s research into afro-futurism, envisaging a path forward for science, technology and culture through the black experience, has impressed a deep
vision on this EP. Yazzus sets like a cartographer, using her tracks to explore a technologically advanced world, each representing dierent regions and environments.

Human Error Processor introduces an ear-worming percussion pattern nearly swamped by distorted bass drums and a vocal sample screwed just beyond recognition. Perforated leads with a 150bpm four to the floor stomp, infectious and supercharged. Gluey synth
motions soak in an otherworldliness, where industrious,
mechanical rhythms map out futurist structures in all directions.

Metro City Bay Area exhibits a ghettotech soul, lean and bouncy - this part of the galaxy is an infinite source of fun, with the heart of groove at it’s core. Three Deities brings adventurers of its region towards higher powers, its ravey synths and an engulfing bass provoke a complete NRG release, ascending into a spiritual trance where dense melodies bubble and fizz.

Digital-only track United By Fate meddles busy vocal samples with searching melodies, a fitting end to the kaleidoscopic that is BLACK METROPOLIS.

Indie store exclusive is a Gatefold sleeve, Galaxy blue vinyl, the Bonus Disc Banana Yellow vinyl. Standard LP is a Gatefold sleeve, Black vinyl with a banana yellow vinyl bonus disc. Double CD digipak with a Bonus Disc tht includes Flood era tracks Proud, Morning Song, BBC R1 Sessions and 12 page booklet with original lyric illustrations. Trapped Animal is pleased to announce the return of 90's legends Headswim! We present a reissue of their seminal psych-grunge masterpiece, Flood. Pressed on 180G, Double Vinyl Gatefold with photo lyric insert all printed on uncoated card, this is an absolutely stunning package that truly matches the timeless quality of the songs it houses. Flood #Redux - Headswim's seminal 1994 Psych-Grunge masterpiece gets its first reissue since the original 1994 pressing. A highly sought after record and produced with mountains of love between label and artists. Previously unreleased BBC sessions, and material from the Flood era. Available on double vinyl, double CD and lossless download.

What do you get when you mix a Culture LP with the dub stylings of the master of dub Scientist? An extraordinary LP that is, simply put, out of this world! By implementing the vocals of the great Joseph Hill from Culture and flavoring these with his dub touch, Scientist has flavored this concoction in a way that only he is capable of doing. This stellar release will take you where no man has gone before. Deep into a solar system that has no bounds and where the infinite endless vastness of space has no beginning. And no end. Take the journey beyond our galaxy into a parallel universe and rediscover a dubwise experience that will have you drifting weightless into the inexplicable unknown. Let your mind and body go.

And in addition to this brilliant musical journey you may also feast your eyes upon the impressive album cover art which has been thoughtfully created by noted American artist extraordinaire Eric White. Eric’s work has created much excitement in art galleries and collections around the world and it is an honor to have him lend his artistic eloquence to such an important project.

On 14 October 2022, wildly creative free-form songwriter Rachael Dadd is to release her brand new studio album 'Kaleidoscope' via Memphis Industries and follows 2019's 'Flux', which was released to much acclaim and which she was touring when the pandemic struck. Like so many people disconnected from their communities and struggling through the lockdowns, Rachael Dadd turned inwards, seeking escape through music and connection through song writing, and her hope is that when people listen to 'Kaleidoscope' "they will feel held and find space to breathe, grieve and celebrate." "This album is a lot more honest and personal than 'Flux'" she shares, "but I feel the songs are universal as they are largely rooted in truth and love. If I had to pick a favourite album it would be this one because of the magical rekindling of human connection when me and my band got back in a room together again. All that magic went into these songs." Co-produced "intuitively, boldly, and playfully" by Rachael and Rob Pemberton (The Staves, Emily Barker, Maja Lena), 'Kaleidoscope' includes musical collaborators such as Maja Lena (Low Chimes), long-time collaborator Emma Gatrill (Willy Mason), Alex Heane (bass), Charlotte West (synths), Alex Garden (strings) and 'Flux' producer Marcus Hamblett (Villagers, James Holden, The Staves), giving the record "just the right colour combination, just the right pattern of shapes, plenty of space where needed and finally landing in a sound world that feels fresh and open and true" reflects Rachael.

On 14 October 2022, wildly creative free-form songwriter Rachael Dadd is to release her brand new studio album 'Kaleidoscope' via Memphis Industries and follows 2019's 'Flux', which was released to much acclaim and which she was touring when the pandemic struck. Like so many people disconnected from their communities and struggling through the lockdowns, Rachael Dadd turned inwards, seeking escape through music and connection through song writing, and her hope is that when people listen to 'Kaleidoscope' "they will feel held and find space to breathe, grieve and celebrate." "This album is a lot more honest and personal than 'Flux'" she shares, "but I feel the songs are universal as they are largely rooted in truth and love. If I had to pick a favourite album it would be this one because of the magical rekindling of human connection when me and my band got back in a room together again. All that magic went into these songs." Co-produced "intuitively, boldly, and playfully" by Rachael and Rob Pemberton (The Staves, Emily Barker, Maja Lena), 'Kaleidoscope' includes musical collaborators such as Maja Lena (Low Chimes), long-time collaborator Emma Gatrill (Willy Mason), Alex Heane (bass), Charlotte West (synths), Alex Garden (strings) and 'Flux' producer Marcus Hamblett (Villagers, James Holden, The Staves), giving the record "just the right colour combination, just the right pattern of shapes, plenty of space where needed and finally landing in a sound world that feels fresh and open and true" reflects Rachael.

The most beautiful themes of the famous science fiction universe Star Wars created by the American director George Lucas are now gathered in this exclusive vinyl record! First conceived as a cinematic trilogy in 1977, the franchise now counts films, series, novels and other goodies taking place «a long time ago in a galaxy far far away» in which a conflict between Jedi knights and Sith warriors remains.

The award-winning Star Wars soundtrack composed by John Williams and inspired by Wagner’s operas has influenced the greatest film musics. They are performed by The City of Prague Philharmonic Orchestra.

Empathy is the codeword when it comes to The AM’s second solo EP: The ‘Sexworker’ EP. A short story through music and art, allowing you a moment to walk a mile in another seasoned professional’s shoes… Imagine life through her eyes, her thoughts, her feelings, her actions and motivations as her work takes her from flirty fun to a much more severe and fierce role as a vigilante, fighting for justice and retribution for women who’ve been abused and wronged. As the EP progresses, the further we’re plunged into this dark nocturnal world of carnal chaos, deceit and danger.

Sat in a not-so distant neon tomorrow, downtown Detroit, this is the vivid concept and narrative conjured by Detroit native, violinist-turned-techno artist The AM (Ann-Marie Teasley) Sliding into our collections since her debut tracks last year as one half of HLX-1, 2022 has been all about The AM solo releases; in March we had ‘Black Majik’ on Tresor. Now on Deeptrax ‘Sexworker’ is another revelation from the agenda-setting artist who’s crafted a completely immersive narrative that ranges from the playful electro beats of ‘Intercosmic Lap Dance’ to the runaway juggernaut ‘Black Galaxy’ (a collaboration with Scan 7's Track Masta Lou). Each track adding layers of tension and intrigue, cutting through the late night sleaze and exploitation with raw machine soul, ‘Sexworker’ is steeped in detail… But loaded with enough space for your imagination.

Fronted by a stark futuristic city artwork, ‘Sexworker’ takes place in The AM’s stomping ground but could just as easily happen anywhere in the world… Amsterdam, London and right now, our speakers. This bumps in an exciting yet timeless way. It’s AM 24/7 right now.

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Double LP documenting a realtime collaboration between Terrence Dixon (Metroplex/Tresor/Rush Hour) and Jordan GCZ (Off Minor/Minimal Detroit/Rush Hour). Finally the full results of these special sessions see the light of day (a ltd edition 12" of exclusive tracks owas released in 2020).
BIG TIP!

"In September 2019, Motor City techno legend Terrence Dixon made a rare trip to Europe. He was introduced to Jordan Czamanski AKA Jordan GCZ, a serial collaborator and electronic music improviser best known for his work as part of Juju & Jordash and, alongside David Moufang and Gal “Juju” Aner, as Magic Mountain High.

The pair hit it off immediately, so Czamanski powered up his studio and the pair began to jam. Over the following five days, the pair improvised extensively, stopping only periodically to drink coffee and discuss music, life and much more besides. While in the studio, they barely uttered a word to each other, instead responding almost psychically to the rhythms, grooves, riffs and musical motifs the other was spinning into the mix.

The results of these surprisingly magical 2019 studio sessions are showcased on Keep In Mind, I’m Out of My Mind, the pair’s first joint album and Dixon’s most significant musical collaboration since the Detroiter’s 2018 hook-up with German techno and ambient veteran Thomas Fehlmann.

In keeping with the project’s improvised roots, the six-track set is notable for its immediacy, pleasing looseness – it was mostly created using outboard equipment including synthesizers, drum machines and effects units – and sonic fluidity. It offers a neat, symmetrical blend of the two producers’ trademark styles, with Czamanski’s attractive chords, melodies and jazz-flecked motifs rising above hypnotic, cymbal-heavy rhythms that have long been the hallmark of Detroit’s sci-fi-fuelled techno sound.

This unique and appealing, dancefloor-focused sound ripples through album opener ‘Fretless’, an ultra-deep chunk of heady liquid techno, and the breathless bustle of ‘Operation Delete’, where bubbly synthesizer motifs, cascading ambient electronics and urgent bass cluster around a killer broken techno groove.

It’s there, too, throughout the surging, deliciously percussive ‘Space Chime’, an alien-sounding concoction that sounds like it was beamed down from some distant galaxy, the warming-but-intoxicating minor key swirl of ‘Axis Mundi’ – a two-part slab of techno psychedelia full of trippy electronics, dystopian jazz riffs and intergalactic intent – and the pitched-down, mind-altering oddness of closing cut ‘Above Ground’, when the pair goes all-out in pursuit of leftfield techno perfection.

Created from scratch in a few days by two of electronic music’s most accomplished improvisers, Keep In Mind, I’m Out of My Mind is an exemplary meeting of musical minds and sonic sensibilities."

Matt Annis

Comes with insert with photographs by Atelier Fantasma (Jop Verberne).

Originally released in the UK on 13 May 1996 through Virgin Records, ‘Older’, George Michael’s iconic album, reached the pinnacle of chart success, where it remained for three consecutive weeks, spending 35 weeks in the top 10 overall. The album produced six singles, two of which - ‘Fastlove’ and the haunting ‘Jesus To A Child’ - reached No.1, with the other four peaking in the top three.

The album was a huge global commercial success, going 6x platinum in the UK, as well as verified platinum in another 22 countries – an achievement which is unparalleled to this day.

‘Older’ was George’s third album as a solo artist and would see him experimenting with new musical styles and expanding his artistic horizons. Hailed by critics as a triumph, it told the story of an extraordinary period in the life of the man who wrote, recorded and produced it, as he journeyed through one of the most turbulent periods of his professional and personal life. George channeled all his painful life experiences into one of the most personal, heart-felt albums he had ever written.

Space is the place - at least, it's the place uppermost in the mind of midwest US label Past Inside The Present founder zake and his sonic partner Ossa - location given as the north pole according to his Twitter - as they embark on collaborative 10 tracks. The fact that that the National Aeronautics and Space Administration - NASA to you and me - has supplied them with celestial sound emissions for the tracks is a bonus. But ultimately, the real headline factor once it's actually on your turntable is the vivid atmosopheres and gorgeous textures that the pair are capable of generating. The album's closer, 'Metric Expansion', is a tremulous glory, peaking and slipping away like rays of sunlight. 'Space & Time', meanwhile, is a simple, gliding analogue delight, and 'Drifting' proves you can carve imperceptible beauty from a couple of well crafted chords.

Fortuna Records return with a mysterious album by the anonymous artist known only as Moontribe. A deep-space journey between tribal percussion, hypnotizing organs and long echo ripples, all joining in for a snake-charming voodoo ritual of which Moontribe is the Shaman. Expect African drums, hints of cumbia, and distant galaxy exploration in unmeasured doses. An absolute must-have For fans of Sun Ra, Moondog and Idris Ackamoor.

Space is the place - at least, it's the place uppermost in the mind of midwest US label Past Inside The Present founder zake and his sonic partner Ossa - location given as the north pole according to his Twitter - as they embark on collaborative 10 tracks. The fact that that the National Aeronautics and Space Administration - NASA to you and me - has supplied them with celestial sound emissions for the tracks is a bonus. But ultimately, the real headline factor once it's actually on your turntable is the vivid atmosopheres and gorgeous textures that the pair are capable of generating. The album's closer, 'Metric Expansion', is a tremulous glory, peaking and slipping away like rays of sunlight. 'Space & Time', meanwhile, is a simple, gliding analogue delight, and 'Drifting' proves you can carve imperceptible beauty from a couple of well crafted chords.

Pretty Girl is in some sort of purple patch. Storming off the back of stellar releases ‘Arc’ and ‘Sun Phase’, the Naarm neophyte has officially arrived with her debut EP ‘Middle Ground’. What is now becoming somewhat of a signature, the artist lathers the debut in her very own saintly vocals. This is a four-track exposé of emotive dance music. 


The A1 ‘Arc’ sets the tone. Flexing her muscles in sound design, PG pieces together a shimmering house runner. Featuring laser-like chords and delectable drum patterns, ‘Arc’ sends you skyward. Racking up giant streaming numbers and snaring features on more than 20 Spotify Editorial playlists, this one’s an underground bullseye. 


'Empathy’ is the next to arrive. A call and response record that walks a lovely tightrope, perfectly balanced in both vocals and production. As the name suggests, the piece is stacked with deep motif’s that act as a window into Pretty Girl’s day-to-day. Her standout vocal production to date is met with her distinctive driving percussion and melancholic chord progressions. 


'Lavender’ is a sharp percussive creation and a fitting welcome to the B-side. A one-line affair that burrows deeper and deeper. Once again, showing off her prowess in production, PG plays masterfully with sub-bass and glitchy drums resulting in a stellar display of late-night audio. 


Although devoid of lyrics ‘The Only Way Is Through’, brims with feeling and is the perfect climax. Here’s a record full of hope and promise. Manipulating an array of judiciously chosen synths, PG shapes a vast interstellar space. Over the 8 minute trip, a palette of tight drum patterns come knocking, pleasantly surprising you with each visit. With time on her side, the producer gives each sonic element its moment in the spotlight. And girl do they shine! Where there is light, there is darkness and PG plays with both moods to perfection. Listen closely and you can almost hear the concentration involved in piecing this moving galaxy together. 


With staggering streaming numbers across multiple platforms along with additions to some of the world’s most sought-after playlists, the time is now for Pretty Girl and the release of ‘Middle Ground’.

A legendary indie audio artist blurring his lifelong attachments, from spontaneous composition (in the late 70's with John Zorn) to experimental rock (with Bongwater and other bands in the 80's) alongside his recent inquiries into the intricacies of ambient-folk songcraft (with his most recent solo LP, "And The Wind Blew It All Away"), Kramer continues to explore the possibilities of shaping naturally occuring aural landscapes into intoxicatingly affecting music. Sound and language - not just melody and ambient textures - has been his raw material for decades. He nowjuggles them more deftly than ever on his newest ambient opus. In the ten compositions that comprise this new LP, mournful at times yet mysteriouslylife-affirming and generous in their scope, Kramer sees films where there arenone, and composes his accompanying ambient soundtracks in a state of interrupted grace. Words, text, complete screenplays, character arcs, shooting scripts and storyboards swirl through his head as he puts his imagery to sound, and the results evoke a world in which moths, drawn to the bright flickering lightsof Cinema and the low humming lights of Dreams, in Kramer's own words, "...might never die". The LP's nature reveals an interior dialogue between musician and choice. Each piece represents Kramer's encounter with the blank canvas of silence that greets him as a composer. Embracing sounds as objects and instruments of Truth, the end result of his process is as much about what is absent and what has been removed or edited away than what is left in its wake as artifacts of emotion. These pieces are the Spring frost of lost imaginings, vanitas to broken connections, visions nearly unrecordable by the human eye. Kramer envisions a music that functions to stoptime, as an event that always plays in the present and never needs a past to give it a reference point. It is music that communicates in the most intimate way possible, as intricately and as deeply as the way it blossoms and shifts and evades categorizationwhen exposed to thin air. Drawn toward the light of a multitude of influences, we hear echoes of the feverishly frozen dreams of composers Morton Feldman, Terry Riley, Brian Eno and Arvo Part, melting alongside the surreal cinemas of David Lynch and The Brothers Quay, all parts converging to evoke a time and place that does not exist outside of the mind's eye of the listener. These ten works are fluid adventures in fathomless landscapes, emotions distilled and offered as a paintless painting without a physical home. Each individual composition is an offering to a future memory, a chalice to be filled with the listener's own reactions to them. As a whole, the ten pieces form an image of ten circling planets in an expanding galaxy that colors itself anew with each subsequent listen. Movement, grace, and Peace.

Shadows by The Mysterious Flying Orchestra (Remastered Edit) b/w Morning (Remastered Edit) / Acquarius (Remastered Edit) by Cal Tjader | Black Hole BLKG-3 | Fresh delivery via @galaxy_sound_company test pressing! Black Hole's 3rd release in the Sample Series finds Black Cash & Theo link up for a trio of #jazzfunk, #soul sounds, all served up as special remastered edits.

Side A’s “Shadows” by The Mysterious Flying Orchestra is taken from their self-titled & sole 1977 LP & Is a cover of a Lonnie Liston Smith tune from 1974. Sampled by the likes of @gangstarr, Curren$y, & others, “Shadows” a stand-out track from an obscure album by the legendary jazz producer Bob Thiele that is wonderfully moody. Smith's melody is rather slight, which requires TMFO, in Ott's arrangement, to create the right atmosphere, perfectly voiced by the horn section. Smith is heard beautifully dancing throughout the piece on electric piano, offering a voice that was already one of the instrument's most distinctive at this point. Marcus solos on tenor sax. It is funky fusion made by some of jazz's best improvisers of the time & an absolutely essential addition to your 45 crates.

Side B offers up 2 tasty #CalTjader tunes that many hip-hop & beat heads fans are more than familiar with. Tjader is known for his deep love affair with Latin music & his fusion with his jazz sensibilities to form an inimitable & intoxicating heady blend of grooviness. “Morning” is taken from his 1971 LP “Agua Dulce” & was sampled by the likes of Gangstarr, Pete Rock, the Beatnuts & Buckwild. “Aquarius”, from Tjader’s 1968 LP “The Prophet”) is a lullaby #90shiphop heads immediate recognize via @atcq’s use on an interlude for the 1993 hip-hop classic LP #MidnightMarauders.

The music on this long-awaited solo vinyl album by legendary tape artist Jérôme Noetinger was recorded live in the studio with no overdubs. Signals were sent through tube broadcast monitors and picked up with room microphones. Produced by Tobias Levin. Cover by Meeuw.

Long-time touchstone of international experimental music presents his monolithic (and first) solo vinyl »Sur Quelques Mondes Étranges« on Felix Kubin’s Gagarin Records. Jérôme Noetinger is known to most for the audio-visual trio Cellule d’Intervention Metamkine, alongside his countless recorded & live collaborations, compositions for radio & stage, and breathtaking multi-channel diffusions in the acousmatic tradition.

Discovering the ReVox B77 tape machine as his tool for live electro-acoustic music in 1987, Noetinger has doggedly investigated his instrument over 35 years, establishing him as a vital contemporary composer/performer of the medium. His work is radical and interrogatory, using a pan-historical array of analogue devices to construct soundworlds which sidestep digital monochrome, landing in a galaxy of simmering malfunction, dynamic physicality & rhythmic debris. Programming Le 102 in Grenoble for over a decade, as well as directing Metamkine distribution for over three, his encyclopaedic knowledge of manifold sonic traditions is on display here; unified by a staunch discipline, impressive dedication and flat rejection of empty trends.

The results synthesise his tireless timbral research into 11 striking sonic investigations which combine modern studio possibilities with years of performance experience worldwide. An ominous malaise hovers over proceedings; yet it never feels nihilistic, presenting solutions which electrify the listener with ecstatic discovery. The perceptual orchestration therein - from throwing our ears right against the body of the tape machine to flinging them into cavernous space alive with the aurally strange - is both delirious & calming. Noetinger is all too aware things are bad, but his drive for discovery and joyous belief in music somehow coruscates brilliantly through contemporary gloom.

Meticulously recorded & produced with Tobias Levin in Hamburg, Sur quelques mondes étranges presents a detailed & rich vocabulary both real & unreal: gesture & repetition, structure & collapse, familiar & uncanny all dance with each in the most pumping discothèque concrète in this universe. This is a powerful and exacting statement from an elegant composer & extraordinary musician who has humbly dedicated his life to his practice.

– Anthony Pateras

VINYL REPRESS FINALLY ON THE WAY..

*Since the release of 2011’s award winning debut, 'No Time for Dreaming', Charles Bradley has transformed from a rising star in the Daptone galaxy into a bona-fide headliner, now affectionately known across the globe as "The Screaming Eagle of Soul."

*The popularity of 'No Time For Dreaming' resulted in an appearance on 'Later With Jools Holland' in 2012 and such glowing reviews as:

-LEAD 4/5 BOXED REVIEW IN MOJO : “THE GRIT AND GUSTO OF OTIS REDDING, THE RAW POWER OF JAMES BROWN, THE SMOULDER AND SHUDDER OF JAMES CARR, TOGETHER THEY MAKE AN INTOXICATING SOUND.
-LEAD 4/5 REVIEW IN Q MAGAZINE : “THERE'S A NEW/OLD SOUL MAN ON THE BLOCK. 'NO TIME FOR DREAMING' HAS THE GRITTY FEEL OF THE REAL THING, A MAN WHO HAS KNOWN MOSTLY HARD TIMES AND TELLS IT WITH A PLEADING, THROATY ROAR AND BLOOD-CURDLING SCREAM WORTHY OF JAMES BROWN . A REAL FIND.”

*The raw emotion and soulfulness of Bradley's voice lifts him up among the greats of the golden age of Soul - Otis, JB, Wilson Pickett, and Darrell Banks. Anyone who has had the privilege of hearing him sing has experienced how Bradley can captivate an entire audience with a simple "Ooooo..."

*Bradley and writer/producer/multi-instrumentalist Thomas “TNT” Brenneck returned to Dunham studios and recorded the most exciting Daptone release to date, Victim of Love. On this album, Bradley moves past his "Heartaches and Pain" to the great promise of hope and love. Though quite at home among the music that has affirmed Daptone as the world’s #1 authority on Soul Music, Victim of Love proves to be a genre-bending masterpiece, picking up where the early 70’s Temptations left off and edging boldly forward into psychedelic soul exploration.

Nastia presents Lee Holman's latest EP on her rising record label "NECHTO".

As an artist whose music is firmly rooted in techno, Lee is not shy of mixing the broad range of sounds the genre presents. When taking his machines on an auditory journey, the music producer strongly depends on his inner self and aims to stir a range of feelings through his work.

With a focus on the dancefloor in terms of its rhythm, the "Footprints on the Moon" EP released via "NECHTO", delves into the theme of the cosmos. The experience one has on the dance floor is set side by side with a dream-like voyage through the infinite galaxy. The EP also includes a vocoder - the first time the artist has used such an element in his music production.

In terms of the process, completing the EP took 18 months of hard and diligent work. "I had to dig very deep working on this EP. I made so many tracks throughout the process to arrive at something that worked for the label, Nastia and myself", says Lee. "I worked night and day and in between, while out of the studio, listened back to my day's work over and over, finding the small details and making mental notes on what to target for my next studio session. It was a process."

Tripped has been producing hard Industrial electronic music for over 17 years. Releasing a ton of quality EPs and 12" records ranging from full force terror to slow industrial techno. Always pushing forward perfecting his unique signature sound no matter what style or BPM range.

Now after 17 years we are super excited to be able to present his first ever full length album, on PRSPCT recordings.

Unboxed by Tripped is a 3 x 12" vinyl album consisting of 13 tracks that take the listener on one giant musical journey passing all corners of the Tripped galaxy.

From experimental noisy industrial tracks like "Pain" & "909". To speeding up the pace on a track like "Fartbox" while throwing in some heavy pounding schranz on "Shinyuku Heat".

Bringing back the oldschool vibes on "Misfits" together with ISR legend Lenny Dee and than going full force hardcore/breakcore war mode on "Kapsalon".

This album just keeps the listener moving, never a dull moment, pure adrenaline & excitement.

Here at PRSPCT we gave Unboxed by Tripped a 5 star rating on Yelp. It's simply that F-ing good!

Now go buy the record or spend the rest of your life full of regret.. Trust us.. You don't want that..

Germany exclusive edition on White & Blue Galaxy Vinyl. Sacred Bones celebrates its 15th year label anniversary with this repress of the haunting and monolithic May Our Chambers Be Full. "The juxtaposition of Rundle's long distance melodies and Bryan Funck of Thou dredging up his guts to scream into the sky shows two sides working together to create something surprising and new." - The Fader // "The whole LP would be a great release for either artist, but it's the brilliant convergence of sensibilities that sets it apart in the landscape of alternative metal... an excellent entry point for any would-be Thou fans, and a potential game-changer for Rundle ones." - Loud & Quiet

On Goose Bumps, Connecticut's Boyscott present ten upbeat tracks that
forge together elements of surf rock and bedroom pop
Weaving these supple sounds of yore into the techniques of today, Boyscott's
distinct bedroom- recorded bops betray the limitations of their modest studio
situation with a sonic depth not commonly associated with lo- fi
projects.Originally released in 2015, Goose Bumps is getting its first vinyl reissue
with a co-release by Topshelf Records and Babe City Records. Although it took a
few years of rotating casts, various makeshift studio experiences, and over a
hundred shows, Boyscott have clearly carved out their own place in the world,
garnering millions of streams and selling out many DIY physical pressings in the
process. Pressed on Dark Blue & Powder Blue Galaxy vinyl.
Audio Link:

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

The LP ‘All Welcome on Planet Ree-Vo’ due for release on 29th July could only really have been made in one city steeped as it is in Bristol’s decades of less conventional hip hop and bass music. Tweaked and fine tuned during the summer of 2020 the record punches with a mix of red eyed paranoia to a playful future funk.
The album was all recorded, produced and mixed by Andy at Christchurch Studios, Bristol (home of Mezzanine era Massive Attack) with all vocals written and performed by T. Relly.
During 2021 the first two singles from the LP were released. The first was the juggernaut that is ‘Groove With It’. T. Relly growling out polemic against the relentless cacophony spun by Andy Spaceland, The brutality of the bass and horns is temporarily smoothed with Relly’s soulful, swaggering placation of ‘Turn your speakers on/ Till ya speakers blown baby/ If you’re feeling strong baby/ We can keep it going baby’.
This was followed in April by the 12” release of Combat featuring a thumping remix by Surgeon (Tresor Records) and an extended electro remix by Ree-Vo themselves.
2022 began with the limited red 7” release of remixes by NØISE and Batbirds with stunning original artwork by Shepard Fairey who came to the project via mutual friend Joe Cassidy (Butterfly Child). The release was announced on OBEY’s website
‘Spacebox’ which will be the last single to be released in time with the album is their hookiest, a party throwing chorus spinning tipsy visitors around the intergalactic control booth of mission control.
“Lift off, blast off, shirt off, dance off! Naked in the dancehall SPACE BOX!” is the beamed mantra, Relly transmitting to all occupants of the galaxy.
“We wanted to make a hedonistic and colourful dancehall track, a bold response to the suppressive circumstances of the last two years”.
About Ree-Vo:
T. Relly​ is pure Bristol hip-hop royalty – known in the community variously for his links to all of the city’s major club nights, his passion and support for the most disadvantaged (through his work with the youth and prison leavers), through to compering stages at St Paul’s Carnival and his seminal 2018 LP with DJ Rogue ‘Let Them Know’. He collaborates with many crews including Innalife and Killer Crab Men.
Andy Spaceland​ (AKA Andy Jenks) got involved in Bristol bass music as soon as he moved to the city with Static Sound System​ and a collaborative 12” with Rudy Tambala (​AR Kane​) as Sugarboat Vs Sufi, before his band ​Alpha​ were signed to ​Massive Attack​’s label Melankolic, whilst he also became one of their tour DJ’s. His CV of collaborations range from ​Smith and Mighty​ to Madonna. He has released music on Dj Die’s label, Gutterfunk as White Bully and he is also currently releasing music with US producer ​Butch Vig​ in the band ​5 Billion in Diamonds​, whilst working on new tracks with ​Mark Stewart (The Pop Group) including remixes by Adrian Sherwood. His signature sound can also be heard on this remix for ​Elizabeth Fraser​ -

Acid Rooster were described by ‘Le Guess Who Festival’ as a ‘wet dream for heads who cram their record collection with Amon Düül, Spacemen 3, Wooden Shjips, Tangerine Dream’ – a statement we wholeheartedly endorse.

Ad Astra was recorded live in July 2020 in a private garden with a field recorder in front of a small audience of friends during the lockdown in the middle of the corona pandemic. The two long jams were the opening and the closing track of a completely improvised concert and are a spontaneous snapshot of Acid Roosters approach to free floating consciousness expanding psychedelic music.
So 2 tracks and 46 minutes of Acid Rooster digging deep into the well of far-out psychedelic rock that is one mind-expanding journey to the innermost limits of your mind.

Zu den Sternen was the intro and is a slow-burn trip where you ride wave upon wave of ecstatic highs until you eventually hit the peak in freak out territory as Acid Rooster merge with the cosmos and then ride the golden afterglow home into an eternal locked groove.

Phasenschieber rides that afterglow of galactic intensity – a place where you can just let go as the music created drifts and pulses away. It is a Beautiful, hypnotic, spaced out, blissful state where Acid Rooster takes you beyond the Astral Planes.
Released by Cardinal Fuzz (UK), Sunhair Music (EU) and Little Cloud Records (US) in an edition of 600 (300 x Galaxy and 300 x Black)
Artwork by our beloved Chris Kröber

Cabaret Voltaire co-founder Stephen Mallinder's second solo outing for Dais further distills his signature fusion of minimal synth, oblique wordplay, and "wonky disco" into a riveting rhythm suite ripe for our Age of Escalation: Tick Tick Tick. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Recorded across a handful of sessions at Meme Tune Studios in Cornwall with frequent collaborator Benge (aka Ben Edwards), Mallinder cites no guiding aesthetic premise for the collection beyond "cowbell on every track, and entirely no reverb." From the first coiled cybernetic groove of opener "Contact," the album's spatial dynamics are disorienting and asymmetrical, alternately cold and sensual, opiated and claustrophobic. But, throughout, "rhythm is the default, the bedrock, the building block-even the melodies are rhythmic." Across 40-plus years of electronic musicianship, Mallinder's sense of timing and tempo has honed into a rare tier of mastery, limber and fluid but knotted with strange frictions. Shades of Detroit technoid industrial ("ringdropp," "Shock To The Body") crossfade into now avy punk-funk ("Guernica Gallery," "Galaxy," "The Trial"), bad trip IDM ("Wasteland"), and jittery vapor house ("Hush"), at the threshold of modes both familiar and foreign. Lyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life. But the lack of fixed meaning remains Mallinder's main muse: "Music should draw you in; lyrics should make you think. Most interpretation is misinterpretation." This is music of countdowns and comedowns, fleeting pleasures and opaque futures, observing the great decline while dancing on its ashes. Flux is deathless and forever; the rest, illusion: "I will be a constant figure / Flickering a moving picture / Turning in your head forever / Split apart but held together."

Cabaret Voltaire co-founder Stephen Mallinder's second solo outing for Dais further distills his signature fusion of minimal synth, oblique wordplay, and "wonky disco" into a riveting rhythm suite ripe for our Age of Escalation: Tick Tick Tick. Channeling the temporal malaise of lockdown through a lusher palette of modular electronics and stereo strings, the songs embrace ambiguity and plasticity, loose systems of percolating circuitry and airless funk. Recorded across a handful of sessions at Meme Tune Studios in Cornwall with frequent collaborator Benge (aka Ben Edwards), Mallinder cites no guiding aesthetic premise for the collection beyond "cowbell on every track, and entirely no reverb." From the first coiled cybernetic groove of opener "Contact," the album's spatial dynamics are disorienting and asymmetrical, alternately cold and sensual, opiated and claustrophobic. But, throughout, "rhythm is the default, the bedrock, the building block-even the melodies are rhythmic." Across 40-plus years of electronic musicianship, Mallinder's sense of timing and tempo has honed into a rare tier of mastery, limber and fluid but knotted with strange frictions. Shades of Detroit technoid industrial ("ringdropp," "Shock To The Body") crossfade into now avy punk-funk ("Guernica Gallery," "Galaxy," "The Trial"), bad trip IDM ("Wasteland"), and jittery vapor house ("Hush"), at the threshold of modes both familiar and foreign. Lyrically the record is equally evasive, rich with allusions and associative linguistics, surveying liquid notions of societal noise, ecological ruin, art world pretension, and the trials of daily life. But the lack of fixed meaning remains Mallinder's main muse: "Music should draw you in; lyrics should make you think. Most interpretation is misinterpretation." This is music of countdowns and comedowns, fleeting pleasures and opaque futures, observing the great decline while dancing on its ashes. Flux is deathless and forever; the rest, illusion: "I will be a constant figure / Flickering a moving picture / Turning in your head forever / Split apart but held together."

"The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“

Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.

Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career. “Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in places like Texas, it’s simultaneously angry and full of love.

Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it, this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a method of upending the power structures who need things to be perfect.

They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith, or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of jewels, it might be the shining star.

Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love.

Lush Fresh Handmade Sound and Mark Constantine are proud to unveil
'Life's What You Make It', following from the acclaimed compilation
albums 'Self Preservation Society' and 'Instant Replay'
This stunning vinyl triple album has once again been personally curated by Mark
Constantine, co founder of Lush and passionate music fan.It features 30 brand
new versions of songs originally recorded between 1981 to 1991, including some
of the finest pop, folk, rock and ballads of the time.
You'll find the familiar and the unfamiliar, unexpected collisions of styles, radical
reworkings and faithful renditions, all in celebration of a musical golden era.
Many of these tracks will have specific associations for each of us, but
collectively they formed the soundtrack to Mark's decade during Cosmetics to Go
and the pre-Lush Cosmetics years: "What I remember from that time is working
every hour God sent," he says. "We'd be waking up at 4am, switching on the
boilers and mixing up product as fast as we could. And there'd always be music
playing."
Compositions by artists as diverse as The Cure, Phil Collins, Tina Turner, Kate
Bush and Nirvana have been reinterpreted by a galaxy of established and rising
stars including Teddy Thompson, Eliza Carthy, Jackie Oates, Marry Waterson,
Stealing Sheep andHoneyfeet, many of which you'll found on Lush's bespoke Spa
Treatment soundtracks.
The result is a magnificently diverse, six-sided jewel of a record

'Mellow Moon' is the debut album from Alfie Templeman - an album that
"feels like something of a miracle, landing somewhere between an
otherworldly trip and a joy-filled ode to life back on earth"
Like all journeys, the change in mood is palpable throughout Mellow Moon, with
songs like the nostalgic '3D Feelings' or 'Broken', which is about "all the little
wobbles of being a teen and figuring yourself out," that bristle with the energy of a
life being lived again.
There's nuance in there, too. Candyfloss suggests that life can sometimes appear
too good to be true, something Alfie has felt since was a kid. "There's always a
downside to the cool shit," he says. "Candyfloss is what it all appears to be until
you get deeper into it."
The result is an easily accessible comfort place. Across 14 tracks Alfie closes his
eyes and imagines another world, one where he's at ease and not distracted by
life's many challenges.
Inspired by modern influences like Steve Lacy, Khruangbin and Leon Bridges, as
well as Alfie's constant cosmic guide Todd Rundgren, Mellow Moon flows with an
ease that belies its difficult creation. "It's a moment in my life that I want to
remember forever. I've put so much effort into this and it's a real experience to
listen to."
Acting as both an intimate diary entry and a communal call to arms, Mellow
Moon is Alfie's most complete work to date and a platform from which he will
surely use to propel himself further into the stratosphere. If ever proof were
needed that music is a salvation or a transportative force, this is it.
Live sessions with Radio 1, Radio 2 and Virgin have now aired.
TV performances confirmed with Sunday Brunch (22 May) and Blue Peter (20
May), the week prior to album release (EMBARGOED!!!!!).
135M total global career streams