Поиск:house is the cure

Acknowledge Kindness expands San Francisco based The Reds, Pinks And Purples' distinctive brand of emotional pop, music built for the quiet hours and the restless mind. Evolving naturally from the heavier, melancholic indie rock of previous releases, the mood here feels more exposed and reflective, blossoming into lush dreamscapes that recall the bittersweet sorrow of The Cure or the tenderly gloomy transcendence of California by American Music Club. Created from a new headspace, the album finds main man Glenn Donaldson observing both the present and the weight of what came before it. Songs lean into a deeper sense of nostalgia, allowing him to look back with intent and revisit moments that once carried a sting. Donaldson's vocals are captured in high fidelity, raw and immediate, with lyrical abstraction underpinned by chiming acoustic guitars and achingly beautiful piano. Across its 11 tracks, Acknowledge Kindness expands The Reds, Pinks And Purples' emotional and sonic panorama, with Donaldson's ongoing world-building remaining both warmly nostalgic and strikingly original. "Donaldson's best work hides allure within a bigger picture, like a jangle-pop egg hunt" Pitchfork FFO The Smiths, Guided By Voices, The Chills, Leonard Cohen, The Go-Betweens, Robert Wyatt, Twee-, Jangle- & Sophisticated Guitar Pop. Coloured vinyl LP versions and digisleeve CD available

WRWTFWW Records is thrilled to announce their 5th archival release taken from cult Tokyo label FORM@ RECORDS' catalogue, this time with the first-ever vinyl edition of Re-Form Ver-1.0. The remarkable, yet not widely known, 1999 remix compilation is now available as a limited edition 45rpm cut double LP housed in a heavyweight sleeve, as well as in digital format.
Originally only available on CD in extremely limited quantities, Re-Form Ver-1.0 resurfaces as a fascinating document of FORM@ RECORDS' late-1990s creative peak. Re-imagining key pieces from the label's catalogue, the remix collection offers a rare glimpse into Tokyo's electronic underground, where techno, house, ambient, and IDM breathe freely through FORM@'s soulful and exploratory vision.
Highlights include two remixes of Missing Project's adored gem "Poisson D'Avril" (including its well known ethereal ambient Galaxy Dub which appeared on Music From Memory's Virtual Dreams II) as well as the otherworldly Fossil (aka the legend Virgo) Mix of Penance's "Cure & Soul". Throughout, the compilation balances dancefloor sensibility with introspective listening, embodying the warm human approach to machine music FORM@ RECORDS excels in.
Another essential time capsule from a crucial era of underground music, Re-Form Ver-1.0 echoes the spirit of Warp's Artificial Intelligence era, alongside the forward-thinking energy of Ken Ishii, Carl Craig, The Black Dog, and Ian O'Brien, while keeping its feet and individuality firmly rooted in local context - the magic recipe for creating a universal, timeless language of electronic expression.
Re-Form Ver-1.0 follows the vinyl edition of Virgo's Landform Code (1998) and Remnants (1999), as well as the FORM@ compilations Art Form I (1997) and Art Form 2 (1998), further expanding WRWTFWW's archival series dedicated to uncovering hidden gems of late '90s Japanese electronic music.

Planning For Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy is the long-awaited follow-up to 2017’s Below The House. If Below The House was about returning home, following in the footsteps of one’s father and joining a union, and leaving behind youth’s wild days, It’s Closeness, It’s Easy embraces what comes next—the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one—the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.
At its core, It’s Closeness, It’s Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that’s been dealt and searching for meaning in what remains. It speaks to loss—the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions—less an act of construction, more an unveiling of something already waiting to take shape.
Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning For Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Including wanted vinyl tracks by Bob Sinclar, Young Marco, Pegassi, Rusko, Blue Boy, Florence + The Machine, Cherrymoon Trax, Used, Benny Benassi and Fish Go Deep.

2024 repress on pink vinyl

Boston is not exactly worldwide known for its coldwave or synth pop artists. Most of us know the Capital of Massachusetts because of its hardcore legacy that still continues today.

And yet, just like flowers in a rugged land, here comes House Of Harm, a post-punk trio whose new approach to the genre was showcased on their two tape EPs, earning them a cult international following as well as an imposing line up of supporting gigs opening for Editors, She Past Away, Lust For Youth, and The Cure’s Reeves Gabrels. Due on September 4 is their debut full-length Vicious Pastimes out on vinyl LP and digital format.
Nine songs where timeless melodies of Kiss Me Kiss Me Kiss Me-era Cure perfectly match French coldwave moodiness, enhanced by Cocteau Twins ethereal airiness and Creation Records seminal shoegaze sounds. Just enough light reaches House Of Harm’s base layer, giving life to infectious hooks and unforgettable mantras. The gritted core of every song makes expansive moments of release cathartic, always tethered by commanding drums.

Check out the very first single they wrote Isolator and its melancholic synth pop refrain, or Against The Night whose darkwave is as claustrophobic as One Hundred Years. Catch sounds almost like a Sarah Records hit, while the title-track hurls us back into the bleak realms of the Sisterhood. Different influences but everything is just in its place simply because House Of Harm are the rare band where you can feel every individual member’s devotion to each song’s world.

RIYL: The Cure, Depeche Mode, A Flock Of Seagulls, For Against, Drab Majesty.

Commissioned and curated by Flora Yin Wong for her label and publishing house Doyenne, ‘Venus Rising From The Sea’ is a collection of love-themed cover versions featuring Teresa Winter, Susu Laroche, Alex Zhang Hungtai, aya, Maria Minerva, Christina Vantzou, Spivak, Salamanda, clare rousay, Wild Terrier Orchestra, Dania and Flora Yin Wong herself covering songs by The Cure, Robert Wyatt, Mariah Carey, The Cranberries, Pentangle, The Carter Family, Spiritualized, Debussy and more.

‘Venus Rising From The Sea’ takes its cues from the classical deity Aphrodite - whose name literally means “sea foam” - for an ever necessary expression of love in the modern age. The label asked friends and collaborators to interpret “love” in whichever way they saw fit, be it obsession, self-love, unrequited, unconditional, whatever. But despite the open brief, and the vastly different modes of execution, all the artists involved somehow ended up linking hands with a shared determination to smudge the original songs into bleary-eyed, uncanny traces of the originals.

To open, Pentangle's jaunty 'No Love is Sorrow' is puffed into stormy clouds by Teresa Winter, who retains the original’s unmistakable bass twang and teases Jacqui McShee's siren song into a saturated buzz of layered, obfuscated words. Verses twist into verses, lines into echoed-out lines, capturing the song’s boundless yearning, rather than tracing its exact contours. Next, Susu Laroche yields one of the set’s highlights on a brilliantly nuanced, highly impactful version of Nina Simone’s take on folk standard ‘Black is the Colour of My True Love’s Hair’, turning the original’s multi-faceted Appalachian/Scottish routes into a heart-stopping, Nico-esque fuzz we haven’t stopped playing for weeks. Christina Vantzou (the CV ov CV & JAB) is joined by pianist Ezra Fieremans in the absorbingly filmic scenes of ‘Hot Springs’, while Maria Spivak's interpretation of Robert Wyatt's 'Just as You Are' finds her singing Brazilian vocalist Mônica Vasconcelos' words with reverence, smearing them into a hypnagogic fantasy.

Flora Yin Wong takes an inconspicuous approach on her love-letter to Mariah Carey's 'The Roof (Back in Time)', itself a melodramatic interpolation of Mobb Deep's Herbie Hancock-sampling 'Shook Ones, Part II'. The unmistakable piano line is frayed into a granulated gurgle, fleshed out by gauzy cries; Mariah's ecstatic diva logic haunts the edges like a furtive glance, hanging beautifully behind Wong's dense soundscapes. Alex Zhang Hungtai's take on the 1927 standard 'Me and My Shadow' is even more atomised, reduced to a disembodied vocal that oozes around a clattering woodblock.

Always a standout, aya's tribute to The Cure's 'Lovesong' infuses the 1989 classic with the same self-investigatory charm she exhibited on 'im hole', slowing it down to a giddy, infatuated lurch, and replacing the guitars with eerily-tuned oscillations and drums with hollowed-out, electrically charged thuds. "I will always love you," she moans through a wall of static, like some lost “Pop Artificielle” addendum. The album’s biggest surprise is saved for last, however, a cover of The Cranberries' 'No Need To Argue' from Paralaxe Editions boss Dania Shihab. Already a poignant memory of a faded romance, Dania's version is even more glacial, her tender voice gusting over inverted guitars and looping, wordless moans, guiding us ever so gracefully into the nether-world.

‘Venus Rising From The Sea’ is a gooey, emotionally raw set of recollections and affirmations from some of the scene's most open-hearted operatives. In the end, the love that's most evident is the love each of the artists has for their source material, somehow binding loose threads into a rich tapestry that will leave you gasping, perhaps a little tearful too.

We are so excited to present to the world the 3rd and final instalment in Danny Tenaglia’s GU Trilogy, Danny’s mixes have been a huge part of our DNA for many years, with his seminal Athens and London mixes forming the part of many people’s favourite DJ mixes of all time, Brooklyn is a stunning addition to that heritage and we can’t wait to release this album to the world.

This is the Vinyl Edition #2 of the album, curating a stellar selection of techno and melodic house. "As a native of Williamsburg, Brooklyn, this compilation is not only a celebration of my roots but also a tribute to the dynamic and ever-evolving nightlife that ignited and guided my musical career back in 1975.” Danny Tenaglia

“I’ve always loved mistakes; it’s the hidden beauty in all art” - Andrew Weatherall


Transparent Sound are the original dons of UK electro, not exactly household names yet an act with so many under-repped classics that once you dive into their catalogue you might end up emptying your bank account on Discogs.


To save you going down this calamitous path as well as to finally, raise TS to the level of notoriety they deserve, Tresor Records is very proud to announce the release of Accidents 1994-2023. Formed by Orson Bramley and Martin Brown in Bognor Regis in 1994, Transparent Sound have managed to create 30 years’ worth of some of the best electro from the British Isles, despite claiming to not know what they were doing nor how their instruments work.


It’s likely that it’s this lack of knowledge that led to the quality and longevity of their output - the pair experiment and tinker with the machines until something pleasing appears then follow that sound
down whatever path seems fruitful: “the confidence of ignorance” as a slightly more-famous Orson, Orson Welles, once put it.

This tactic has paid o well and found them stumbling into many notable adventures, from remixing The Cure to performing during an intermission between two halves of a lecture - none of which they understood as it was in Spanish.


The compilation collects a lucky-for-you 13 of their most glorious electrical accidents on a three-disc set including the dancefloor hits Punk Mother Fucker (a mainstay of Villalobos sets at the time of release), and No Call From New York (as heard on Helena Hau’s perfect 2017 Essential Mix). The package also comes with ‘Windows To Your Sole’ from the unreleased white label Transparent Sound 007, other unreleased tracks, and special 2023 edits as well as six digital bonus tracks.

Greek DJ & Producer Le Croque joins Groovin Recordings for his second vinyl release. His latest EP "The Cure" is a mind bending journey into electronic music.

"The Cure" features the legendary artist Baby Blak in spoken word taking you on a melodic afro-deep house trip. The remix by Italian Producer Freakme injects another dimension with a deep-electronic vibe. “Summer love” is a summer soundtrack for a Santorini sunset.

It brings together 80s nostalgia via pads and synths with the amazing piano solos of Tasos Korkovelos, taking it to another level. Last but not least, “Your Story”: a deep-house track carrying memories of the scene’s golden era, influenced by Le Croque’s favourite House Producers like Fred Everything, Jimpster and Opolopo.

Polaroid were an Italian post-punk/new wave band, formed in Turin in 1981. This vinyl re-issue of 'Senza Respiro' contains all 6 original songs with 4 bonus tracks from the band's later period.
.
Polaroid made their debut with the cassette 6-track EP 'Senza Respiro', self-released in 1984. Influenced by Bauhaus, Joy Division, The Cure, Pere Ubu as well as Chic and Talking Heads. The music was dark and cold, but also melodic especially with regards to guitars and voices. At the end of 1984 the band added vocalist Michele Cantoblundo while drummer Marco left and was replaced by a Roland TR-909. With Michele began a period of very dark and poetic music, influenced also by bands like Red Lorry Yellow Lorry and The Sisters of Mercy. The band peacefully broke-up in 1987.

All songs have been remastered by George Horn at Fantasy Studios. The record is housed in custom jacket designed by Eloise Leigh and includes 4 polaroid sized postcards with photos notes and lyrics.

Vor fünf Jahren veröffentlichte Olivia Rodrigo ihr Debütalbum „SOUR“, gleich die erste Single-Auskopplung
„drivers license“ wurde ihr Durchbruch. Seitdem hat sich die Sängerin zu einer festen Größe des Alternative
Pop entwickelt, die mit vielen ihrer Helden die Bühne geteilt hat – darunter Weezer, Robert Smith (The
Cure) und David Byrne (Talking Heads). Letzterer hat zum Jahrestag von „Drivers Lxicence“ eine Coverversion aufgenommen, die am 03.04. als rubinrote, limitierte 7“ Erstpressung erscheint. Auf der B-Seite
ist eine gemeinsame Live-Performance des Talking Heads-Klassikers „Burning Down The House“.

Repress

Well. Where do we start with 'Deep Inside' Originally released in the golden NYC House era of 1993, this 5 tracker literally smashed everything in sight. And still does now! The epitome of an evergreen, all-time classic release. Masters At Work Louie Vega and Kenny Dope were on a major roll in this era, producing, remixing, dj-ing and everything in-between, these guys put in ridiculous work. They are joined on this EP by a roll-call of names and collaborators, Erick Morillo engineering the title track Check. Maurice Joshua on co-production duties You got it. Vocals by Ms. Barbara tucker They're there. Killer, rock hard drums Stacks of Soul Masterfully chopped up Disco samples All present. Serious stuff. Sometimes a record just manages to capture and distill the true essence of what this is all about and 'Deep Inside' is one such record, it bears all the hallmarks of golden era MAW, all the signposts of what was happening in NYC's clubs in the early to mid 90's were there within it's grooves. You know a record is good when it's still being, quite literally, hammered nearly 25 years later! Now, remastered, and reissued with the full involvement of Strictly Rhythm this seminal piece of NYC House history is made available again with all original, full sleeve artwork intact as per the 1993 original. This one's a straight up essential for any self-respecting dance aficionado. You know what to do!

 ‘Heart Under’, Just Mustard’s second album and first for Partisan Records
(IDLES, Fontaines D.C., Laura Marling), is an album that asks you to forget
what you know. At every turn, this remarkable record reconfigures and
stretches the ideas and ambition of a rock band and turns a year of lockdown
and personal struggles into a breath-taking artistic statement.
 Across its 10 tracks, the album presents a coherent style and ethos - those
scything guitars, Katie’s magical vocals - but still incorporates a wide and
untethered vision. There are brooding, atmospheric rock songs (‘Still’, ‘In
Shade’) and others that apply a lighter, dreamier touch (‘Sore’, ‘Mirrors’), all
tied together with impeccable instrumentation and a united vision.
 On debut ‘Wednesday’, the band played with dreamier soundscapes and
production techniques, and ‘Heart Under’ serves as the next stage of this
development, with every instrument brilliantly pushed to its limit and every
boundary of the band stretched.
 After the band had finished recording and producing the album, ‘Heart Under’
was pushed even further into singular territory when the band worked with
mixer David Wrench, whose previous collaborators include Frank Ocean,
Let’s Eat Grandma, Jamie xx, FKA twigs and beyond. “We wanted someone
who had done pop and electronic records and didn’t just work within rock
music,” Katie says.
 “Ireland’s buzziest new band” - The FADER
 “Their rapturous reception here at SXSW is a testament to their startling
evolution as well as the excitement that can only come from watching a band
just beginning to realise the full extent of their powers.” - NME
 “They have well and truly mastered the art of atmospheric rock” - Loud And
Quiet (9/10)
 Supporting Fontaines D.C. on their European and US tours this year. They
were handpicked by Robert Smith to support The Cure in Dublin in 2019.
 Eire headline tour in June, UK headline tour in September, including Village
Underground, and EU headline tour in October.
 Choice Music Prize nomination for Irish Album Of The Year for their debut
album, ‘Wednesday’.
 CD housed in a cardboard wallet with lyric and photo insert.
 LP pressed on black vinyl and housed in a single sleeve jacket with lyric and
photo insert.

In February 2025, more than 1,000 musicians came together to release a silent album protesting the UK government’s planned changes to copyright law, which would make it easier to train AI models on copyrighted work without a licence. The album, titled Is This What We Want?, featured recordings of empty studios and performance spaces, representing the impact on artists’ and music professionals’ livelihoods that is expected if the government does not change course.

The digital release in February 2025 reached no. 38 in the UK album charts. Now, it is being released on vinyl, with a bonus track - a recording of an empty studio - from Paul McCartney. The vinyl is being released by state51.

Under the heavily criticised proposals, UK copyright law would be upended to benefit global tech giants. AI companies would be free to use an artist’s work to train their AI models without permission or remuneration. The government’s proposed changes would require artists to proactively ‘opt-out’ from the theft of their work – reversing the very principle of copyright law. ‘Opt-out’ models are near impossible to enforce, have yet to be proven effective anywhere else in the world, and place enormous burdens on artists, particularly emerging talent.

Facing major backlash from the creative sector and beyond, the government has said its previous proposal is no longer its preferred option. However, it has not proposed an alternative, simply recommitting to its plan to “modernise the copyright legislation”. In the meantime, it has sent creatives a worrying signal, five times rejecting House of Lords amendments to the data bill that would have given rights holders visibility over when their work was being used against their wishes by AI companies.

The album’s track listing spells out a simple message: “The British government must not legalise music theft to benefit AI companies.”

Ed Newton-Rex, the organiser of the album, said:
“The government must commit to not handing the life’s work of the country’s musicians to AI companies for free. Doing so would be hugely damaging to our world-leading creative industries, and is totally unnecessary, only benefiting overseas."

Paul Sanders, founder of The state51 Conspiracy, said:
"When tech companies lobby governments to give them songs for free, it’s not so they can cure diseases, feed the hungry, or provide clean water where it is needed. It’s simply so they can make millions of fake songs and keep all the profits for themselves. As a company with a lifelong commitment to musicians The state51 Conspiracy was honoured to be asked to help get this message out on vinyl. All profits go to Help Musicians, which is what our politicians should be doing instead of sucking up to tech bros."

Blues and Soul Award winner and double MOBO Awards nominee Ronnie Herel is back with his 2nd volume of his excellent compilation series Neo-Soul Sessions. Ronnie, a massively important figure in the UK Black music scene, is a radio presenter with Mi Soul and includes BBC 1xtra in his broadcasting credits. He is a DJ of international renown and was one half of the Quartz production duo which scored memorable hits with Dina Carroll. His undisputed love for and knowledge of the Neo-Soul genre shines through in the Neo-Soul Sessions and this latest, volume 2, is no exception. Featuring tracks from artists such as Vula, Terri Walker, Aname Rose and Slakah the Beatchild, among others, Neo-Soul Sessions volume 2 is a brilliantly curated and pieced together selection of twelve tracks that absolutely nails the beauty of the later releases in the Neo-Soul genre. Played from start to finish the track selection and order is a pre-made DJ set that flows in a way that would soundtrack a dancefloor, a house party and an excellent backdrop of tunes for any time and day of the week. Ronnie's passion for championing independent artists is also evident in his selections here and the compilation serves as a platform for those voices who deserve to break through. The decision to choose six of his favourite tracks to sit alongside six exclusive and unreleased gems means that a light is now shined on every artist featured on the compilation. An absolute must for serious lovers of Neo-Soul, RnB and Black Music, Neo-Soul Sessions volume 2 is released on double vinyl LP and CD formats.

Pacha Ibiza is steeped in dance music history. Originally a playground for the rich and famous during the 70’s and 80’s, the club has transformed into a mecca for music lovers the world over. Pacha is to Ibiza what Studio 54 was to New York, encapsulating glamour and hedonism while regarded as an institution that turns underground hits into global house anthems.

Pacha House Classics compiles twelve undisputed anthems from the vaults of Defected Records’ vast catalogue, all of which have been championed year after year at the legendary nightclub. Spread across three individual records are classics from The Shapeshifters, Kings of Tomorrow, CamelPhat, Shakedown, Spiller and more; Pacha House Classics is the ultimate house soundtrack for Pacha Ibiza’s rich history.

*Long overdue reissue of the first album by The Hanging Stars to coincide with their tour support slot with Edwyn Collins – initial 300 copies come with 12 x 12 print*

“In late-Sixties California, the Byrds and Flying Burrito Brothers combined traditional country music with hippy rock to great success. The influence lingered and whatever cultural relevance it has this is a delightful, transporting listen” – The Times 4/5

London-based psych-folk outfit The Hanging Stars re-release their much-loved debut album Over the Silvery Lake on Crimson Crow. Blending folk pastoralism with swampy 60s Americana, they sound like the missing link between the California desert sun and the grey skies of London Town. The album was recorded between LA, Nashville and Walthamstow, with each of these vastly different places leaving an indelible mark on the songs.

Now signed to the Loose Records label and fronted by London-based songwriter, singer and guitarist Richard Olson (The See See, Eighteenth Day of May), The Hanging Stars are essentially a loose collective of people who weave together a blissed-out psychedelic tapestry. The rest of the core band is made up of Sam Ferman on bass and Paulie Cobra on drums, Horse on pedal steel and Patrick Ralla on banjo, guitar. They jam rather than write and hang out rather than rehearse, harnessing a kind of tipsy euphoria resplendent with luscious arrangements and glorious vocal harmonies.

During 2015, prior to this album’s original release the band released two critically acclaimed singles via The Great Pop Supplement (both of which also appear on the album). “Golden Vanity” was premiered by The Line of Best Fit who said; “you'd be forgiven for thinking you'd just unearthed a rare deep cut from the late 60s/early 70s boom of psychedelia infused Americana” and “The House on The Hill” was described by The Guardian as; "a hazy, desert-dream of a song, nicely sharpened with steely-eyed guitars, Mersey-laced harmonies and just a whiff of the Gun Club”.

There are a number of allusions to nature and the weather on the album, borne in part out of the contrasting surroundings in which it was produced. The band’s fascination with Americana led them to record some of the material Stateside, laying down some of the parts at Battle Tapes Studios in Nashville (Lambchop, Paperhead), as well as at Vision Quest Studios in Los Angeles with Rob Campanella. His work with The Quarter After, The Brian Jonestown Massacre, Beachwood Sparks The Tyde, and GospelbeacH was a perfect match to capture their sound and they even had San Franciscan legend Chrystof Certik step in on lead guitar for a couple of tracks.

Following the LA recordings, a trip to the Californian desert provided the core notion of what they wanted to produce - a shard of light that they clung on to whilst recording the rest of the album in the significantly more rain-soaked atmosphere of Walthamstow, London, under the watchful eye of Brian O'Shaughnessy at Bark Studios (The Clientele, Comet Gain). As the band explained at the time: “Ultimately we hope you can hear both the sand and the rain in this record.”

The Hanging Stars place themselves firmly as part of a long folk tradition encompassing European and North American influences – as a continuation rather than a pastiche of these styles. This is the sound of a band really coming in to their own, fully formed and in no doubt of their vision. With Over the Silvery Lake they succeeded in producing a record, which has the country, blues and folk traditions at its heart.

Special fifth anniversary repress of 2020 debut album by bdrmm. Named after a postcode in their native Hull, the HU5 Edition comes pressed on blackand amber vinyl, features alternate artwork and a printed lyric insert. The almost self-titled Bedroom was hailed by The Guardian as a lockdown classic on its original release and ended up in Rough Trade's top ten albums of the year. The 10-track album was recorded in 2019 at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It's a hugely accomplished debut and a real step up both sonically and lyrically from their early singles and EPs. Musically, there are nods to The Cure's Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints' The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. "A modern day shoegaze classic" - NME "The general roller coaster of being twenty-somethings in post-Brexit England who find themselves awash with a shimmering soundscape that recalls Oshinera DIIV, Deerhunter's Microcastle, or even The Cure at their most ambiently grandiose" - Under The Radar "Assured and brilliant" - The Line Of Best Fit

The extroverted blend of attitude, energy, and ostentatiousness that spills from the New York Dolls’ self-titled debut can be seen in full view on the album cover. Depicting the quintet in its hallmark flash-and-trash apparel and in drag appearance, the 1973 album scared away a considerable amount of potential listeners while capturing the attention of a sizable audience that recognized the band for what it was: zeitgeist pioneers who helped develop the punk and glam rock movements.

Named by Rolling Stone the 301st Greatest Album of All Time and by Mojo the 49th greatest album of all time, New York Dolls receives long-overdue audiophile treatment on Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set. Sourced from the original master tapes, pressed at Fidelity Record Pressing in California, and housed in a Stoughton gatefold jacket, this collectible version marks the first time the group’s career-making statement is available to be experienced in audiophile quality.

Far from harboring the crude elements that became associated with the punk scene, New York Dolls benefits from keen production overseen by none other than Todd Rundgren. Though more accustomed to working far higher-caliber musicians, Rundgren — taken by the New York Dolls’ charisma and cool, if not their instrumental approach — fully understood the ensemble’s aesthetic. He captured what went down at New York City’s Record Plant with an astute blend of live-on-the-floor feel, raw authenticity, and professional acumen.

On Mobile Fidelity’s definitive-sounding reissue, you can hear those facets as well as key details, dynamics, and textures with previously unimaginable insight. Rundgren preserved generous degrees of grit, grime, and grease while bestowing the raucous music with elevated levels of separation, solidity, and impact every landmark recording deserves. His vision extends to introducing choice accents — barroom piano notes, Moog synthesizer passages, Buddy Bowser’s honking saxophones — that add to the songs’ appeal without interfering with the primary architecture.

Afforded extra groove space on this pressing, the tenor, presentation, and attack of both vocalist David Johansen and now-iconic guitarists Johnny Thunders and Sylvain Sylvain come across with stunning vibrancy and vitality. The New York Dolls often seem headed off the rails and into the red, but somehow, the strut, swagger, and sloppiness — and the associated sleaze and scruff, scrape and snarl, frenzy and feverishness those characteristics entail — remain together as a whole that shakes its collective fist at the frustrations, isolation, disarray, and disillusionment of youth chaos and urban decay.

Kicking off its debut with “Personality Crisis,” cited by Rolling Stone as one of the 500 Greatest Songs of All Time, the band makes obvious its grasp of alienation, deviance, displacement, and suburban disaffection — as well as its capacity to play hanging-by-a-thread boogie, noisy rock ‘n’ roll, and Brill Building-inspired pop. The lipstick-kissed New York Dolls possesses traits many of its harsher predecessors would overlook: joyfulness and melody, topped with a knack for knowing how and where to take a song inside of three-and-a-half minutes.

Dive and dash with the belligerent “Looking for a Kiss”; stomp your feet and clap your hands to the big choruses of “Jet Boy”; surrender to the demands and provocations of the coded “Vietnamese Baby”; decide whether “Bad Girl” yearns to explode or implode. It’s one of several tunes here that allude to the world coming to end. Of course, that doesn’t mean there isn’t time for a fling before everything burns. “There’s no place I gotta go,” yowls Johansen. And he means it.

Adorned with tonal crunch, glitter, and gristle, New York Dolls takes pride in its brashness and brattiness. The rambunctious effort, which earned the band the distinction of being voted both “Best New Group of the Year” and “Worst New Group of the Year” in the pages of Creem, displays knowing reverence for the blues without calling attention to the style. The folk-laden “Lonely Planet Boy” is nothing if not a collision of heart-on-the-sleeve emotions and the desire in the face of challenges to maintain a tough-skinned exterior. An interpretation of Bo Diddley’s “Pills,” complete with shivering harmonica and clattering rhythms, announces there’s no cure for what infects this band. It’s that contagious. And how.

His deliveries gushing with campy fun, playful irreverence, and sheer decadence, Johansen doubles as the equivalent of an open fire hydrant that spouts at will. He’s at once tender and vicious, serious and tongue-in-cheek. On arguably his finest hour on the album, Johansen’s phrasing, passion, and lyrical ambiguity alone turn “Trash” into an insistent glam-rock gem whose echoing harmonies and girl-group references stamp it a pop classic.

Too much, too soon? Only for those averse to some of the finest rock ‘n’ roll ever put on tape.

Décima Víctima were a Spanish-(Swedish) band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure and other British post-punk bands. Although commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. This LP contains previously unreleased tracks recorded by Décima Víctima in November 1983, one month before their last concert. Seven of these songs feature different lyrics to the ones later recorded for the "Un hombre solo" album. This is the way they performed them that night on the Rock-Ola stage, so this record can be considered, to some extent, an approximation to their last show and to their powerful live sound. After many years a rehearsal session that DV had recorded on an old cassette tape has been resurfaced. It had originally been laid down on a four-track recorder but unfortunately the tape got lost.The story of these tracks goes back to the last weekend of October 1983, when DV went to record at friend Paco Trinidad's family home in the mountains north of Madrid. Paco recorded the latest songs on a four-track tape recorder at the house. It was done live, except for extra takes of clarinet and some guitar details. The garage sound, as the name suggests, was achieved in the garage and an adjoining room where the drums were played. The sleeve design is a photo montage of our performance for the Maqueta de Oro (Gold Demo) at the Diario Pop awards in March 1983, plus another photo of the band in the dressing room at Rock-Ola after playing our last gig. The directness and passion of the tape makes it an interesting item for collectors and fans and the fact that some of the lyrics were not the definitive ones is an added rarity that reveals the development process for the following LP "Un hombre solo".

Load ist das sechste Studioalbum von Metallica, das ursprünglich im Juni 1996 veröffentlicht wurde und mit einer Laufzeit von 79 Minuten das längste Studioalbum der Band ist. Als Nachfolger des „Black Album“ erreichte es in vielen Ländern der Welt Platz 1 der Albumcharts, darunter Großbritannien, Deutschland, Frankreich, Dänemark, Schweden, Norwegen, Finnland, Österreich, die Schweiz, Portugal, Australien und Neuseeland - und enthält die Singles „Until It Sleeps“, „Hero of the Day“, „Mama Said“ und „King Nothing“.

Load ist das sechste Studioalbum von Metallica, das ursprünglich im Juni 1996 veröffentlicht wurde und mit einer Laufzeit von 79 Minuten das längste Studioalbum der Band ist. Als Nachfolger des „Black Album“ erreichte es in vielen Ländern der Welt Platz 1 der Albumcharts, darunter Großbritannien, Deutschland, Frankreich, Dänemark, Schweden, Norwegen, Finnland, Österreich, die Schweiz, Portugal, Australien und Neuseeland - und enthält die Singles „Until It Sleeps“, „Hero of the Day“, „Mama Said“ und „King Nothing“.

Planning For Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy is the long-awaited follow-up to 2017’s Below The House. If Below The House was about returning home, following in the footsteps of one’s father and joining a union, and leaving behind youth’s wild days, It’s Closeness, It’s Easy embraces what comes next—the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one—the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.
At its core, It’s Closeness, It’s Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that’s been dealt and searching for meaning in what remains. It speaks to loss—the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions—less an act of construction, more an unveiling of something already waiting to take shape.
Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning For Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Planning For Burial is the solo project of Thom Wasluck, emerging from Wilkes-Barre, Pennsylvania. It’s Closeness, It’s Easy is the long-awaited follow-up to 2017’s Below The House. If Below The House was about returning home, following in the footsteps of one’s father and joining a union, and leaving behind youth’s wild days, It’s Closeness, It’s Easy embraces what comes next—the weight of all years, the quiet shifts, the reckoning with what remains. This record is many things. It captures the slow drift of time, the unnoticed shifts in a loved one—the creeping changes in mental health, the quiet pull of addiction, the kind of grief that settles in the bones rather than announces itself.
At its core, It’s Closeness, It’s Easy is about stepping into middle age and taking stock. It confronts the reality of living with the hand that’s been dealt and searching for meaning in what remains. It speaks to loss—the crushing weight of saying goodbye to a beloved 17-year old cat, the slow-motion grief of watching friends self-destruct, the inescapable passage of time as it bears down on aging parents and the self. But it also reflects the warmth of reconnection, the kind of love that never burns out but instead deepens. The feeling of picking up where things left off, untouched by the years in between.

While written over the course of two years, the recording process reflects a sense of immediacy. Rather than assembling songs piece by piece over time, the album took shape in singular, immersive sessions—less an act of construction, more an unveiling of something already waiting to take shape.
Rooted in a staunch DIY ethos, Wasluck handles every aspect of Planning For Burial project himself—recording the music, designing the artwork, and performing live as a one-man band. He books his own tours, ever and independent creative. This hands-on approach has led Planning For Burial to play hundreds of shows solidifying his place in the underground music scene. A defining moment came in 2018 when he performed at the Meltdown Festival in London, curated by Robert Smith of The Cure.

Bingo Crowd (formerly known as BC) released their debut album "Sinecure" back in 2008. The band have been meticulously assembling the follow up over the last 17 years. Teaming up with legendary producer Alan Moulder (Foo Fighters, U2, Interpol, The Cure, The Killers, Nine Inch Nails, Beach House, Depeche Mode, Queens of the Stone Age, The Smashing Pumpkins and Wet Leg to name a few..)for the completion of the album that is "Manners". The result is ten fantastic tracks with an overall sound reminiscent of the earlyMute/Factory Records records that we all loved or should have loved.

De Ti Depende is salsa legend Hector Lavoe’s second solo album, released on Fania Records in 1976, in which he steps out as the leader of his own orchestra for the first time. Hit tracks include Tite Curet Alonso’s “Periódico de Ayer,” the ever popular anthem “Hacha y Machete” and Perucho Torcat’s uplifting “Vamos a Reír Un Poco.” Featuring (AAA) lacquers cut from the original master tapes, this remastered reissue is pressed on 180-gram vinyl and housed in a classic tip-on jacket.

Jabu return with ‘A Soft and Gatherable Star’, an LP that sees the Bristol-based trio evolve from a uniquely spectral take on trip hop to proffer a singular vision between cloudy, downered dream-pop, off-kilter ambient, and the warm, low-end throb of sound system culture. This development is aligned with contemporaries like HTRK, Dean Blunt, Tarquin Manek, YL Hooi and Rat Heart Ensemble, whilst also harkening back to the likes of AR Kane (with whom they are set to play shows and release a collaborative single), the languorous drift of 'Victorialand' era Cocteau Twins or The Cure circa ‘Disintegration’. Comprising Jasmine Butt (vocals, guitar), Alex Rendall (vocals, keys) and Amos Childs (production, bass guitar), the trio’s method may have shifted but the feel remains consistent - slow, spatial, sensuous and gently melancholic. With a career arc unlike almost any other current guitar outfit, Jabu sit within a strong lineage of off-centre Bristolian music, and a very British strain of home-spun DIY bands. Self-recorded between Jas and Amos’ home in South Bristol and Amos’ mum’s house in rural North Somerset, the album came together via a process of trial and error - learning to play on borrowed instruments, using the equipment “wrong”, staying up late recording and slipping into strange, semi-conscious sleep deprived/inebriated headspaces. Having captured over 50 tracks, they honed in on those they liked most, shaping them further, whilst carving out space to allow input from people they love and admire - Daniela Dyson’s voice and Will Memotone's clarinet on ‘Ashes Over Shute Shelve’, Birthmark's synth on ‘Gently Fade’ and ‘Sea Mills’, Rakhi Singh (Manchester Collective) and Sebastian Gainsborough (Vessel)’s strings and arrangements on ‘All Night’, Josh Horsley’s cello on ‘If I Asked You, You'd Tell Me’, and Lorenzo Prati’s sax, again on ‘Sea Mills’. The album was mastered by Amir Shoat (HTRK, ML Buch, Dean Blunt, Carla Dal Forno). Influence-wise, the guitar-based material recalls the bands Amos listened to when younger, and Jas’ more folk-leaning inspirations. Deep-lying dub, hip hop and soul influences are also evident in both the way the LP was mixed, and the space ingrained in their subconscious. Tinged with melancholy, the songs cohere as a set of soliloquies and ruminations on love and tenderness. The album’s title comes from a poem by Amos’ late father which hangs on his wall and seeped into the record. ‘Ashes Over Shute Shelve’ is formed of lines from another poem of his. Recited by longtime collaborator Daniela Dyson and with Will Yates (Memotone) playing his mother’s clarinet, the track was imagined as a conversation between his parents. Geography and location also play a big part in the record, with several significant places name-checked in songs. Shute Shelve itself is a hill near Amos’ mum’s house, who explains “There’s a tree at the top with a 360° view of the Mendips, where my dad’s ashes were scattered. We used to go up there when we could first buy booze from the petrol station down the road, get drunk, light a fire, listen to music from my little battery powered CD player and sleep out without tents.” Titled after a Bristol suburb near where Amos’ grandparents lived and where Jas would spend time as a teenager, ‘Sea Mills’ references her being abandoned by friends on the Downs while high on mushrooms, stranded and missing the bus back. ‘Kosiše Flower’ references the city in Slovakia where Amos and Jas holidayed shortly after getting together and a flower he gave her, which she pressed in a book after an argument. ‘Oceanside Spider House’ is a location in Nintendo 64 game The Legend of Zelda: Majora’s Mask, where someone seeks shelter from the falling moon. Genre: Electronic / Ambient / Dream-pop

"The Affectionate Punch is the debut studio album by the Scottish post-punk and new wave band the Associates. The album was released on 1 August 1980. From the album ""The Affectionate Punch"" and ""A"" were released as singles. Upon its release, The Affectionate Punch was declared ""a kind of masterpiece"" by Paul Morley of the NME, who described it as ""a passionate cabaret soul music, a fulfilment of the European white dance music Bowie was flirting with back then."" None other than Robert Smith (the Cure) can be heard doing backing vocals on ""The Affectionate Punch"" and ""Even Dogs in the Wild"". Nigel Glockler (Saxon) is the drummer on this album. The Affectionate Punch is available as a limited edition of 1000 individually numbered copies on turquoise coloured vinyl and includes an insert."

2024 coloured (violet) vinyl repress for this year's Sonic Cathedral's 20th anniversary! Hull/Leeds based five-piece bdrmm release their much anticipated debut Bedroom on July 3, via Sonic Cathedral. The 10-track album was recorded late last year at The Nave studio in Leeds by Alex Greaves (Working Mens Club, Bo Ningen) and mastered in Brooklyn by Heba Kadry (Slowdive, Beach House). It's a hugely accomplished debut and a real step up both sonically and lyrically from their early singles, which were rounded up on last year's If Not, When? EP. Musically, there are nods to The Cure's Disintegration, Deerhunter and DIIV, while the band reference RIDE and Radiohead. There are also echoes of krautrock and post-punk, from The Chameleons to Protomartyr, plus the proto shoegaze of the Pale Saints' The Comforts Of Madness, not least in the cross fading of some tracks, meaning the album is an almost seamless listen. As a result, Bedroom becomes an unexpected and unintentional concept album, running through the different stages of a break-up set against the backdrop of the ups and downs of your early twenties. "The subject matter spans mental health, alcohol abuse, unplanned pregnancy, drugs_ basically every cliché topic that you could think of," reveals frontman Ryan Smith. "But that doesn't mean they ever stop being relevant. It's a fucker growing up, but I'm lucky enough to have been able to project my feelings in the form of this band, surrounded by four of the best people I've ever met." And that band name, in case it needs explaining, is pronounced the same way as the album title. "I never thought I'd get to the stage where I would have to explain it so much," says Ryan. "We have been pronounced as Boredom, Bdum and my old boss thought we were a ska band called Bad Riddim. We're all sarcastic cunts, so Bedroom spelt correctly seemed like the perfect title." He's right. The perfect title for the perfect debut album. "A modern day shoegaze classic" - NME "The general roller coaster of being twenty-somethings in post-Brexit England who find themselves awash with a shimmering soundscape that recalls Oshin-era DIIV, Deerhunter's Microcastle, or even The Cure at their most ambiently grandiose" - Under The Radar

Kid Simius is back with his third full length album, this time via Bristol label Shall Not Fade.
JOSE LP is 10 tracks of high-quality dance music, delving deep on all things jazz, house & disco, showing with Kid Simius is one of the most innovating producers in the current dance music scene.

engorn - This new label invites you on a trip through ambient, house, and techno with an unmistakable vibe. It proudly presents the first catalogue number as a various artist compilation with two as yet unknown artists: gustav krach and taschendrachen.

The A-side of the record, curated by taschendrachen, is a true feast for the dancefloor. Two warm house tracks, accompanied by catchy vocals, create a good vibe on the floor.

If we turn the record over, we find ourselves in a completely different world. The B-side, presented by gustav krach, creates an atmospheric soundscape away from the tumult. Four ambient tracks with breakbeats create a dreamy, calm, and beautiful mood.

- The Black Angels' classic sophomore album - Special color edition pressed on Metallic Silver Wax. - Triple LP housed in a Stoughton tri-fold gatefold jacket // "The Black Angels bring the aura of mid-1966 the drilling guitars of early Velvet Underground shows, the raga inflections of late-show Fillmore jams, the acid-prayer stomp of Austin avatars the 13th Floor Elevators everywhere they go, including the levitations on their second album, Directions to See a Ghost. Mid-Eighties echoes of Spacemen 3 and the Jesus and Mary Chain also roll through the scoured-guitar sustain and Alex Maas' rocker-monk incantations. But he knows what time it is. 'You say the Beatles stopped the war," Maas sings in `Never/Ever.' `They might've helped to find a cure/But it's still not over.' Even so, this medicine works wonders." - David Fricke, Rolling Stone Last time we met The Black Angels, they were staring into the desert sun somewhere outside of Austin, Texas. Two years later, night has fallen and the spirits have come out. It's time for The Black Angels to provide Directions On How To See A Ghost. If you're familiar with Passover, the band's 2006 debut, you'll know that The Black Angels's music alone is enough to invoke spirits. There's a name for the band's sound; they call it `hypno-drone 'n roll'. It's the sound of long nights on peyote, of dreams of a new world order, and of half-invented memories of the seamy side of '60s psychedelia. While the Iraq war is still a major influence on the band's lyrics, there are new forces at work here, including Eugene Zamyatin's dystopian novel We and in Christian Bland's words "psychic information from the past and future." See, The Black Angels really are in contact with ghosts. "Civil War battlefields are prime spots for seeing ghosts," says Bland. "One time at Kennesaw mountain in Georgia, I was climbing the mountain in the middle of June and it must have been close to 100 degrees, but in this one particular spot it was very cold. The hairs on my neck stood up and I knew something strange was happening. Then the wind whispered something like `retreat,' and I did. I later learned that the spot where I was on the battlefield was known as `the dead angle', the place where the fiercest fighting took place. The confederates ended up retreating from the mountain towards Peachtree Creek." The Black Angels formed in Austin, Texas, in 2004, comprising from six people (now five) from very different backgrounds. Singer/vocalist Christian Bland is the son of a Presbyterian Pastor and was raised in a devoutly religious household. Bassist / guitarist Nate Ryan was born on a cult compound and drummer Stephanie Bailey claims she's a descendent of Davy Crocket. She and Alex Maas (vocals/guitar) believe a little girl in a red linen dress haunts the group's home. The band released Passover in 2006 to critical acclaim for both the album and the song "The First Vietnamese War". Most of all, Passover established The Black Angels as a band with brains, balls and a strong message. And this time around, the message is there to read in a 16-page booklet that comes with the album. "Our central theme is that people need to open up their minds and let everything come through, and to learn from past mistakes," says Christian. "Only then will we understand the reality of this world and progress beyond where we are now as humans. We've built upon that theme with Directions to See a Ghost. We want people to study the booklet we are providing with the album in hopes that they will be able to relate each song to something in their life." _"War is Peace. Freedom is Slavery. Ignorance is Strength. Keep Music Evil."_

Serie Noire Is a Brand New Skylax Records Sub-Label Dedicated to What Can Be So Called Indie Dance, Dark Disco & Italo-Disco, Genre That We Have Promoted & Pioneered for Years. in This First Part, You Will Be Able to Find the Explosive &Ldquo;free Gluten” Signed David Body, the Very Mental &Ldquo;waves” by Facets, the Fabulous Neurotiker &Ldquo;bdsm” Which Reminds Us of the Best of Viewlexx and on the B Side Our National Signal St, With a Title Dedicated in Tribute to Our Label, an Improbable Collision of House Music & New Order (Our Lifelong Love) and to Close It All Silicodisco With “Mirror Constellation”, an Incredible Spanish Producer Who Reminds Us at Times Waxtrax but Also the Sepulchral Atmospheres of the Cure's Disintegration....

How Cheeky Do You Want It? the Hedzup Crew Have Been Transmitting Crafty-as-Hell Minimal House From Paris to the World for Many a Year Now, and They're Not Letting Up in Their Quest to Inject Some Freaky Fun Into the Club. This Latest Drop Is Another Split From Label Main Men Mancini and Wlad, Leading in With the Former's 'Cure Hater' Which Bounces Into Ear Shot With an Irrepressible Groove and Plenty of Wriggling Noises Snaking Around the Mix. Nu Zau Then Steps Up With a Remix Which Tips the Ingredients Into a Tougher, 90s-Styled Beatdown Without Losing Any of That Heads Down Energy You Expect From a Hedzup Release. Wlad Brings a Shimmering Sophistication to the Chords on 'Lucky Star' Without Losing That Naughty Rhythm Section, Giving Floog Plenty to Work With for a Remix Which Heads Further Into Techy Territory....

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series – and our first to celebrate the ‘90s, NOW – Yearbook 1992; 79 tracks from a brilliant year in Pop! Available as a Special Edition CD housed in ‘hard-back-book’ packaging, including a 28-page booklet featuring a summary of the year, a track-by-track guide, a quiz, and original singles artwork, a standard 4CD package, and a Limited edition 3-LP set pressed on green vinyl.

Limited Edition RED Vinyl – 100 units Hand numbered

Omid's parents were Iranian but he spent his childhood in Putney, London. He grew up listening to rock music, and listed Jimi Hendrix, Neil Young and the Cure among his favourite artists – after Robert Smith became a fan Omid would later remix various Cure songs. He learnt to play guitar and formed a rock band, but after hearing hardcore records played on pirate music stations he began making his own tracks on basic equipment that he had bought. Beginning in 1995, his early house and techno singles were released on his own Alola and Disclosure labels under the names of 16B and Phaser, but they soon attracted the attention of big-name DJs such as Derrick Carter, François Kevorkian and Sasha, and he signed to Sven Väth's Eye Q label to release his debut album Sounds from Another Room in March 1998, which was described by the Independent on Sunday as "avant-garde" and by Muzik as "quite breathtaking".
Although he started out as a producer, Omid gradually moved into DJing, at the request of friends who asked him to play records at parties. He secured a regular spot playing the Elements club night run by Hooj Choons record label boss Red Jerry. In October 2001 Omid released The Witch/Which Equation under the alias of the Sixteen Million Dollar Man.Inspired by Prince initially releasing his Planet Earth album as a covermount with a British newspaper, Omid released his third studio album Like 3 Ears and 1 Eye (Part 1) in a similar manner as a covermount with the November 2007 issue of DJ Mag.
Omid also formed the SOS collective of DJs, consisting of him, Desyn Masiello and Demi. The trio secured a residency at London's Ministry of Sound nightclub, and were asked to produce the club's first mix CD in 2010

Death and Vanilla return with 'Flicker', presenting their unique pop music that defies categorisation. Housed in a beautifully austere post-ironic de-constructed sleeve; 'Flicker' is a modern reflection on these difficult times. World crises notwithstanding, they return reborn, re-arranged and revitalised after assimilating dub reggae, the motorik spirals of Can, the modal meander of Philip Glass and The Cure's dreamier pop sounds; plus the twice removed symphonic ambience of Spiritualized and Talking Heads under heavy manners from Brian Eno. By osmosis their period of transition since 2019's much darker 'Are You A Dreamer?' has hatched new eclectic electronica anthems riddled with melody lines, and layered for lush love. - Forming in Malmö, Sweden, Death And Vanilla gravitated towards vintage musical equipment; from vibraphone, organ and mellotron, to tremolo guitar and Moog synthesisers. Soaking up soundtracks from the 60s and 70s, listening to library music, kosmiche, French Ye-ye pop and 60s psych, Marleen Nilsson, Anders Hansson and Magnus Bodin were fashioned by the city's austere industrial past and flat pack present, and all in the shadow of the Orsesund Bridge that links their dreamworld to mainland Europe and a darker reality. Death And Vanilla at once sound like everything is possible; but nothing else at all. There is a flicker of hope for everyone. - "Deploying vintage instruments in their quest for melancholic utopia." Electronic Sound * "Baroque pop through a dreampop filter." The Guardian Ltd Indie Retail Only Yellow Vinyl LP including DLC!

Tape

The next issue in the on-going Mastermix series features a centerpiece of Frankfurt’s club history: Wild Pitch Club.

A predecessor to the esteemed Robert Johnson and a stepping stone for Panorama Bar’s very own nd_baumecker.

Founded by Playhouse masterminds Ata and the late Heiko M/S/O it was a Thursday club night that heavily featured house music as a prescription to the ongoing techno fever. Enamored with the US-American roots of it and all things deep, it not only presented the right records, but also their creators and protagonists. With a string of guest DJs from Robert Hood and Claude Young to Kerri Chandler and Theo Parrish as well as talent from the UK and Europe, it was one of the culture’s hubs at the time.

Here you have its testimony. Selected and mixed by Ata and nd_baumecker, it’s an authentic snapshot of the club’s vibe and spirit, spread over a collectable tape (download included) and a pleasant streaming version, it’s the full dosage. Like Roach Motel confessed: Wild Pitch, I love you.

Five tracks of masterful, ritualistic, and pitch-black evil make up the
entirety of Ng'ambu - an album which is meant to be interpreted as a
hymnal to invoke and praise spirits - shows the band drenched in
offerings to the bands personal connection and dedication to Quimbanda,
the Afro-Brazilian diasporic belief system based around magic, rituals,
and offerings
The band explains, "It is both an offering to our Cabula, that is our house, as it is
to the spirits of Quimbanda themselves. In some sense we are turning what could
otherwise be poison into medicine. It is a process of engaging, through struggle,
with those aspects of ourselves and the world which live at the pivot point of
chance and desire. It is about seeking agency even in the thistles of the road.
Quimbanda is the fire by which we forge our iron and the strangling plantst that
cure disease. Quimbanda is both the pox and the inoculation. Quimbanda is our
anxiety and the motivation that anxiety produces. It is conflict and the strength
that comes from engaging that conflict. People say, idle hands are the devil's
plaything, and so we have put those hands and The Devil to work."
For the band's sophomore release, MEHENET connects a powerful fury of black
metal mastery to the deeply rooted sounds of New Orleans - by way of utilizing
samples of the bustling French Quarter and by paying respect and praise to the
cultural music of the city by incorporating congas, whistles, and bells. Recorded
and mixed in 2019 by James Whitten at High Tower Recording in New Orleans,
LA.

Five tracks of masterful, ritualistic, and pitch-black evil make up the
entirety of Ng'ambu - an album which is meant to be interpreted as a
hymnal to invoke and praise spirits - shows the band drenched in
offerings to the bands personal connection and dedication to Quimbanda,
the Afro-Brazilian diasporic belief system based around magic, rituals,
and offerings
The band explains, "It is both an offering to our Cabula, that is our house, as it is
to the spirits of Quimbanda themselves. In some sense we are turning what could
otherwise be poison into medicine. It is a process of engaging, through struggle,
with those aspects of ourselves and the world which live at the pivot point of
chance and desire. It is about seeking agency even in the thistles of the road.
Quimbanda is the fire by which we forge our iron and the strangling plantst that
cure disease. Quimbanda is both the pox and the inoculation. Quimbanda is our
anxiety and the motivation that anxiety produces. It is conflict and the strength
that comes from engaging that conflict. People say, idle hands are the devil's
plaything, and so we have put those hands and The Devil to work."
For the band's sophomore release, MEHENET connects a powerful fury of black
metal mastery to the deeply rooted sounds of New Orleans - by way of utilizing
samples of the bustling French Quarter and by paying respect and praise to the
cultural music of the city by incorporating congas, whistles, and bells. Recorded
and mixed in 2019 by James Whitten at High Tower Recording in New Orleans,
LA.