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ADULT. '20 years ODD.'
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" 'Dispassionate Furniture'. This September, twenty years later, Dais Records is proud to announce ADULT.'s seventh full length album: THIS BEHAVIOR.
The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin's kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making - looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.

The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.'s return to aggressive and energetic dancefloor mastery. Album opener 'This Behavior' alongside the follow-up 'Violent Shakes' (which ascends into synths wailing like warning sirens over Kuperus's commanding vocals) set the stage for an on-edge listen, while the heartbreaking 'Silent Exchange' unfolds as a beautiful sad synth dirge.  'Perversions of Humankind' breaks the mood - driving the listener into a slow and low groove before the frantic album midpoint of 'Irregular Pleasure'. 'Does The Body Know' is the album's post-punk anthem, with irresistible singalong 'we're out of order - we're undefined!' The latter half of the album drives forward with 'On The Edge (You Put Me...)' and 'Lick Out The Content', refusing rest and demanding movement and response. 'Everything & Nothing' emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of 'In All The Debris', a goose-bump inducing slow electronic mantra that closes the curtain on a massive album.

Artist statement on the album's writing process:
'It's confounding how often we negate the importance of disconnecting, getting weird, getting lost. Discomfort and joy intertwined. Day to day, theatrical self-presentation set to rest in our frantic social world. Public becomes private, almost too private. Looking out into frozen woods as you deliver your vocals. For who For what Taking walks along icy shorelines as you try to overcome writer's block, as you try to overcome yourself. Not seeing anyone for days and weeks on end. Overwhelming thoughts and feelings come rushing in; anxiety, fear, purpose, banality, futility of task, power structures, power struggles, pointlessness, collapse.You're faced to face yourself. Your awareness is heightened. You are neither here nor there. You are in a liminal state As you work in this isolated cabin your windows become mirrors.'

"Are we distortions. Are we distortions, perversions of humankind.Are we distortions. Are we distortions, twisted somewhere in time."

ADULT. '20 years ODD.'
Over the course of the last two decades, Detroit-based duo ADULT. (Nicola Kuperus and Adam Lee Miller) have released six albums and nineteen EPs and singles across some of our favorite labels: Mute, Ghostly International, Thrill Jockey, Clone Records, Third Man Records, and their own label, the revered Ersatz Audio. November 1998 marked their first release: the five-song 12" 'Dispassionate Furniture'. This September, twenty years later, Dais Records is proud to announce ADULT.'s seventh full length album: THIS BEHAVIOR.
The album began as 23 demos written and recorded in a remote cabin in the woods of Northern Michigan during the dead of winter. In total isolation, and with a reduced amount of gear (a modified version of their live setup) on the cabin's kitchen table, the duo were completely immersed in an incessant inescapable studio of their own making - looping, repetitive analogue sequences grinding away day and night. At the end of the intense demo session, a handful of peers were enlisted by the band for the difficult task of paring down the demos into the final album.

The result is 10 tracks of uncompromising dark electronics, showcasing ADULT.'s return to aggressive and energetic dancefloor mastery. Album opener 'This Behavior' alongside the follow-up 'Violent Shakes' (which ascends into synths wailing like warning sirens over Kuperus's commanding vocals) set the stage for an on-edge listen, while the heartbreaking 'Silent Exchange' unfolds as a beautiful sad synth dirge.  'Perversions of Humankind' breaks the mood - driving the listener into a slow and low groove before the frantic album midpoint of 'Irregular Pleasure'. 'Does The Body Know' is the album's post-punk anthem, with irresistible singalong 'we're out of order - we're undefined!' The latter half of the album drives forward with 'On The Edge (You Put Me...)' and 'Lick Out The Content', refusing rest and demanding movement and response. 'Everything & Nothing' emerges slowly from sparkling synth textures, snowballing with nervous energy into an acid techno stomper before the album comes to a close on the icy landscape of 'In All The Debris', a goose-bump inducing slow electronic mantra that closes the curtain on a massive album.

Artist statement on the album's writing process:
'It's confounding how often we negate the importance of disconnecting, getting weird, getting lost. Discomfort and joy intertwined. Day to day, theatrical self-presentation set to rest in our frantic social world. Public becomes private, almost too private. Looking out into frozen woods as you deliver your vocals. For who For what Taking walks along icy shorelines as you try to overcome writer's block, as you try to overcome yourself. Not seeing anyone for days and weeks on end. Overwhelming thoughts and feelings come rushing in; anxiety, fear, purpose, banality, futility of task, power structures, power struggles, pointlessness, collapse.You're faced to face yourself. Your awareness is heightened. You are neither here nor there. You are in a liminal state As you work in this isolated cabin your windows become mirrors.'

"Are we distortions. Are we distortions, perversions of humankind.Are we distortions. Are we distortions, twisted somewhere in time."

Freshly Re-pressed

Auf Einer Unscheinbaren Kassette, Die Nur Mit 'robert Rental' Beschriftet Ist, Liegen Diese Demos Seit Jahren Ungehört In Den Kostbaren Besitztümern Seiner Familie. Gepflegte Artefakte Eines Viel Zu Früh Geendeten Lebens.
Diese Lieder, Die Robert 1980 In Seiner Wohnung In Battersea Aufgenommen Hat, Geben Einen Verlockenden Einblick In Seine Allzu Seltene Soloarbeit. Meistens Arbeitete Robert Mit Thomas Leer, Daniel Miller Oder Anderen Musikern Zusammen. Es Handelt Sich Um Rohe Aufnahmen Auf Denen Seine Kreativität Durch Die Dunkelheit Scheint Wie Ein Ungeschliffener Diamant.
Mit Diesen Aufnahmen Scheint Sich Robert In Richtung Mehr In Richtung Songstrukturen Zu Bewegen Als Auf Seinen Früheren Arbeiten, Die Wild & Experimentell Waren Und Oft Direkt Aus Dem Fernsehen Aufgenommene Samples Beinhalteten.
Wir Kennen 2 Dieser Tracks Von Ihrer Späteren Neuaufnahme Für Die Mute Records Single'double Heart' Ende 1980. Robert Sprach Mit Freunden Über Seine Frustration, Seinen Sound In Einem Kommerziellen Studio Nicht Reproduzieren Zu Können - Es War Der Sound Dieser Demos, Den Er Nachbilden Wollte. Manchmal Kann Der Zugang Zu Den Rudimentärsten Geräten Das Kreative Talent Zu Etwas Schärferem Und Konzentrierterem Verfeinern.

First Ever Vinyl Reissue, Limited Edition To 500 Copies Only, Bonus Tracks Not On The Original Lp, Remastered Sound, Insert With Liner Notes By Nick Rossi And Photos, Beautifully Housed In Three Back-flapped 1960s Uk Style Picture Sleeve ! The Wynder K. Frog Story Evolves Around Mick Weaver. After He Switched From Piano To Organ He Joined A Band Named The Chapters That Would Soon Be Renamed Wynder K. Frog And Perform Material From James Brown's Flames, Booker T. And The Mgs Or Even Songs Learned Through Georgie Fame's Recordings And Graham Bond's Repertoire. Wynder K. Frog Moved To London And Became Regulars In The City's R&b Scene Playing At Swingin' London's Clubs Like The Tiles Or The Marquee. A Contract With Island Records Was Secured And -under The Wings Of Producers Like Chris Blackwell, Guy Stevens, Jimmy Miller Or Gus Dudgeon- Wynder K Frog, A Name That Would Eventually Be Used As A Pseudonym For Weaver More Than A Proper Band Name, Did Some Some Amazing Hammond Organ-ized Recordings And Issued In Three Lps And A Bunch Of Cool 45s.

At The End Of The 1960s, Weaver Would Quit The "band Scene" To Become One Of The Most In Demand Session Musicians And Throughout His Career He'd Be Heard Backing Names Such As Eric Burdon, Roger Chapman, Dave Gilmour, Keef Hartley, Alexis Korner, Ralph Mctell, Taj Mahal Or Otis Rush A.o, But His Lps As Wynder K Frog Are Classic Hammond Sound From The 1960s Uk And Will Appeal To Those Into Brian Auger, Graham Bond, The Artwoods, Zoot Money, Jimmy Mcgriff, Booker T. & The Mgs And The Likes.

Out Of The Frying Pan

Released At The End Of The Summer Of 1968, And With A Host Of Session Musicians That Included The Brass Section Of John Mayall's Bluesbreakers, Producer Gus Dudgeon Helped Weaver / Wynder K Frog To Improve The Results Obtained On The Debut Lp And Get One Step Closer To The Live Action. The Formula Was More Or Less The Same, Instrumental Hammond A Go Go Covers Of Hits From The Era, Including The Rolling Stones' "jumping Jack Flash", A Funked Up Version Of The Classic Tommy Tucker Blues Number "hi Heel Sneakers", An Exploding Cover Of "tequila" Or The Standard "green Door", But It Also Included The Sensational Weaver-penned "harpsichord Shuffle".

"phantom Dancehall" Is The Exploration Of The Greensleeves / Vp Records Catalogue By Dj Spooky Aka Paul Miller. The Musical Tapestry Is Built On Samples From Familiar (and Not So Familiar) Reggae Tracks Over Electronic Beats And Melodies Produced By Miller And Protégé Stephen Levitin (stage Name Apple Juice Kid). Selected Tracks Include The Keyboard Work Of Alex Thompson Aka Fourth Shift. Guest Vocals From Walshy Fire (major Lazer) And Dancehall Newcomer Sanjay Added To Vocal Samples Of Busy Signal, Lady Saw And Garnett Silk Give The Project An Eclectic, Modern Dancehall Flavor!

Paul Miller, Better Known By His Stage Name Dj Spooky Is A Music Producer, Arranger, Dj, Author And Performance Artist. His Unique Brand Of Experimental Hip-hop, Dubbed 'illbient' Has Resulted In Collaborations With A Diverse Range Of Artists Including Ryuichi Sakamoto, Kronos Quartet, Lee "scratch" Perry And Killa Priest. With Remix Projects For Trojan Records, Manifold Records And Six Degrees Among Others To His Credit, Miller Created "phantom Dancehall" For His Exploration Of The Greensleeves/ Vp Records Reggae Catalogue.

For Fans Of: Major Lazer, Dj Shadow, Kevin Yost

Parrish Smith makes his Dekmantel debut on the label's sister-techno imprint, UFO, with a blend of avant garde electronics and industrial.
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With the 'Sex, Suicide & Speed Metal EP', Dutch producer Parrish Smith works outside of the realm of genres and tempos, creating his own unique template of saturated, electronic post-punk, having won accolades from the likes of Nina Kraviz, and Ron Morelli along the way. An analogue purist at heart, Parrish Smith has already amassed a cult following with regular appearances on Red Light Radio, in which the anarcho-experimentalist broadcasts sessions of heavy industrialism, breakbeats and body music.

Parrish Smith's music brings together classic analogue gear and a love for the fusion of aggressive industrial sounds. With title track 'Sex, Suicide & Speed Metal', Parrish Smith channels his inner Alan Vega, with some screaming guitars, and 65bpm machine-crunching body beats, lurching into a sultry space of slick wave music. 'Mute' jacks up the feeling of tempo, rife with energetic drum machines, pulsing synths and retro-fitted vocals, similar to the sound of something Daniel Miller might have released himself back in the early 80s. 'SKINS', delves further into the mechanical, with a grinding bass that bleeds through the track's entirety, while 'Fall into sin' sees him explore the world of deconstructed, gothic-pop yet further. Parrish Smith will be DJing, and performing live as Volition Immanent at this year's Dekmantel Festival, to fulfil the festival's charter of provocative, and intoxicating, energetic beat-filled music.

During the recent years, Terence Fixmer kept on being prolific by producing and releasing his music output on well esteemed quality labels such as Ostgut Ton, Novamute, Jealous God and recently on Aufnahme+Wiedergabe. Following a constant workflow, Fixmer decided it is now time to restart his label Planete Rouge which he launched back in 1998 already but has always been irregular in terms of releases. The label will relaunch after a 4-year hiatus with his new 12'.

Terence Fixmer's 'Oppression' EP is a great resume of his unique sound design signature, delivering a collection of four energetic tracks that speaks to the soul.

On top of it, as an homage to one of his all time favourite tracks of 'The Normal / Warm Leatherette' from 1978, Fixmer decided to rewrite this 40 year old tune from Daniel Miller as a a personal pleasure and fun.
By using as well the Mini Korg 700 S Terence Fixmer recreated nearly the original sound, keeping a track that is loyal to his own sound as well as its original spirit.

Released in solidarity with Tiga's anti-tech house crusade, a silent campaign fought everyday on the streets of your hometown, 'Blaze' finds Russian crypto-whiz Dimitri Veimar still dancing with the rawer-than-the-rawest-dog electro that's brought him to the dizzying heights of the mid-tier crags of Mt. Turbo Mountain. Throwing his weight behind what some in the media are probably already calling 'Tiga's War' was absolutely necessary following the events of a recent gig in Moscow. Veimar opened the night by playing no fewer than three Tiga tracks, which anyone who's read Tiga's Taboos can tell you is definitely a Tiga Taboo. Deeply immersed in the practice of pouring his own mineral water, Tiga ignored the hootin' and hollerin' of the VIPs crowding the DJ booth (including Dennis Miller and Diego Maradona), and proceeded to play a set entirely comprised of recordings of every embarrassing thing Veimar had ever said in his life. Four hours later, an emotionally-shot Veimar collapsed into Tiga's arms, with the magnanimous label boss whispering, 'I forgive you, Dimitri' into his ear. The release also features a 'broken techno' remix from mysterious European producer Florian Kupfer, who made us sign a Non-Disclosure-Agreement dictating that we can only describe him as 'mysterious,' 'enigmatic,' and/or 'European,' so we'll have to let the music do the talking.

* Pioneers of the electronic music scene, Music Producer and Finiflex Studio Owner, John Vick and DJ, Davie Miller are working together on a new project . . . . FINIFLEX

* TA TA OO HA was the first single to be released from the much anticipated forthcoming album SUILVEN, slated for release in May 2018.

* FINIFLEX have been playing the new material live since the end of 2016 with gigs in Edinburgh (Neu Reekie), Glasgow (Let's Go Way Back) Skye (Non Stop Easter Weekender) Barcelona (Kosmopolis), Dundee (Carnival 56) and the TA TA OO HA Single Launch Party (TRANSMISSION) in Glasgow.
The show itself is an immersive experience featuring lights, live projections and video graphics, basically a super slick production rammed with back to back bangers.

* These new releases may by the first in 20 years but in reality it's not been such a long period of silence. The almost a secret FINIFLEX Studio Complex (FINIFLEX HQ) based in Leith, Edinburgh has continued to work away with some of the best in the genre including the likes of Justin Robertson, Lord Of The Isles, DJ Rolando, Andrew Weatherall, Sparks, Billy McKenzie, Jon Pleased Wimmin, Paul Oakenfold, Dave Ball (Soft Cell) to name a few.
It's a given that their past assures their pedigree within the electronic music arena but with the release of TA TA TA OO HA . . . . . FINIFLEX brought it all rushing into the future. . . . . .

Pioneers of the electronic music scene, Music Producer and Finiflex Studio Owner, John Vick and DJ, Davie Miller are working together on a new project . . . . FINIFLEX

Bonus Freaks is the second single to be released from the much anticipated forthcoming album SUILVEN, slated for release in May 2018.

FINIFLEX have been playing the new material live since the end of 2016 with gigs in Edinburgh (Neu Reekie), Glasgow (Let's Go Way Back) Skye (Non Stop Easter Weekender) Barcelona (Kosmopolis), Dundee (Carnival 56) and the TA TA OO HA Single Launch Party (TRANSMISSION) in Glasgow.
The show itself is an immersive experience featuring lights, live projections and video graphics, basically a super slick production rammed with back to back bangers.

These new releases may by the first in 20 years but in reality it's not been such a long period of silence. The almost a secret FINIFLEX Studio Complex (FINIFLEX HQ) based in Leith, Edinburgh has continued to work away with some of the best in the genre including the likes of Justin Robertson, Lord Of The Isles, DJ Rolando, Andrew Weatherall, Sparks, Billy McKenzie, John Pleased Wimmin, Paul Oakenfold, Dave Ball (Soft Cell) to name a few.
It's a given that their past assures their pedigree within the electronic music arena but with this NEW release 'Bonus Freaks'. . . . . FINIFLEX brings it all rushing into the future. . . . . .

Wild Oats is happy to present this debut release entitled Pure Amethyst' from Caron Miller aka Q'uran D'Mar aka Q'D' who is another gifted young brother from Detroit. Our hope is this record adds some thoughtfulness, love and intentionality to your inner world at the beginning of this Lunar new year.

February's birthstone is the Amethyst so we found it very synchronistic that this debut is released in February.
The Amethyst crystal guards against psychic attack and transmutes that energy into love. From The Crystal Bible by Judy Hall, she also states this valuable piece, This stone facilitates the decision-making process,bringing in common sense and spiritual insights,and putting decisions and insights into practice. Mentally it calms and synthesizes, and aids the transmission of neural signals through the brain.'

Pure Amethyst Sonically personifies this internal shadow dance that one must participate in in order to get to a grounded and positively intentioned state of being. Questioning ones motives, accepting and releasing the blame of past traumatic experiences as the reasons for deficiencies inspires you to find a new way forward from where you are. Ultimately realizing it is you today who is going to inspire the goodness in your life. As the great Arthur Ashe states, "To achieve greatness, start where you are, use what you have, do what you can."

Sincerely, Kyle J Hall

Im September 2017 haben der DIY-Tausendsassa Angela Aux alias Florian Kreier und der Downbeat-Slacker Leroy Miller eine Kassette mit dem Titel "Grain In Vain" veröffentlicht. Nun, nur wenige Monate später, schiebt das Label Schamoni Musik die gleichnamige LP der Supergroup der Münchner Subkultur hinterher. Leroy kennt man zum Beispiel aus den Bands Das Hobos und Chat Group sowie solo als DJ und Produzent. Angela Aux ist Teil von Aloa Input, veröffentlicht als Heiner Hendrix Kurzgeschichten sowie Gedichte und organisiert das multimediale Kulturfestival Panama Plus. "Grain In Vain" zelebriert mit knisternden Gitarrenakkorden und analogen Beats anrüchige Lo-fi-Hymnen auf das Leben zwischen Grundeinkommen und Überschwang. Das Ganze siedelt mit Mut zur Lücke irgendwo zwischen Blues, Americana, Folk und Indiepop einerseits sowie Freak Brothers und Donald Duck andererseits. Dem Vernehmen nach verbrachten die beiden Künstler nur zwei Stunden im Studio, um so den berühmten Moment auch wirklich einzufangen. Das Experiment scheint geglückt.

Music From Memory's final 12" for 2017 is a reissue of Dub Oven's self released, and sadly one-off, 1983 EP 'Skin N Bones'.
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Pioneers in the Post Punk Industrial and New Wave scene in 1980's San Francisco, Gary Miles (Voice Farm) and Blaise Smith (Minimal Man), met at San Francisco's notorious 181 Club in December of 1982. This straight/same sex/swing-both-ways late night dive bar was tucked away in one of the city's most risky, drug riddled neighbourhoods. Stationed near the SF Museum of modern Art it attracted a wild audience of local patrons, aspiring young artists and music heads. In the thick of all this the duo felt impartial to a lot what was going on musically and set out to produce electronic music that could break through the "somewhat exhausted post disco sound that was then competing in the local San Francisco clubs". Enlisting soul vocalist Celeste Miller, the duo were also inspired by Lee 'Scratch' Perry / Upsetters dub tracks being produced in Jamaica and created a unique breed of avant guard hybrid New Wave/Electronic Funk.

With it's influences seemingly as much rooted in the past and the present as it was focused on the future, Dub Oven formed a distinct, mystical approach to music intended for the dance floor. All three tracks on this 12" embody a signature groove and an inventive synthesized abstraction to express a languishing urban unsettledness and spiritual awareness. Recorded at L7 Studios in San Francisco with the assistance of the the studio's in house producer Marco Perry (who currently now works with Bjork) the record was unfortunately overlooked by A&R at several major and even local labels and was finally self-released in very limited quantities. Utilising analog electronics and instrumentation, the record draws on elements of dub, new wave, soul and funk to create a sound that is uncategorizable and one that was perhaps simply too forward thinking for it's time.

Looky Looky is the new project from Jeffrey Sfire and Ian Clark, both residing in Detroit, Michigan. The pair met in the late 90s when Ian was performing as one half of Le Car with Adam Miller of ADULT. Ian also recorded under the moniker Perspects, and released on Clone, Ersatz Audio and Interdimensional Transmissions. Jeffrey has released a series of singles and remix EPs with Samuel Long as Sfire on CockTail d'Amore Music and Ultramajic.
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The duo released their 8-track debut album 'Part Flamingo' in 2016. All 8 tracks represent one body of work but are presented as 2 distinct concept EP's: 'Part Flamingo' and 'Nurse Coven'. They're loose, fun pastiches of 80's movie soundtracks with accompanying imagery. For the 'Flamingo Boots' EP we chose 4 songs from the album which the pair extended for maxi 12' throbbing dance mixes. Looky Looky describe the project as equal parts light and dark, a contemporary recasting of Italo, Hi-NRG and electro. The songs infuse bright '80s sonic textures with a seedy, sweaty thump. The Motor City duo is about a year into the project, but is already known for their hardware-heavy live set after playing the Honcho Summer Campout last year and the 2017 edition of Gays Hate Techno in northern California.

Horse Follows Darkness is the second record by Delia Gonzalez, her follow up to the album In Remembrance'.

The title is taken from a werewolf genre film her 8 year old son Wolfgang had created. At this time, Wolfgang also turned Delia onto a genre of cinema she had always resisted - the American Western.

Delia explains that what she observed was all relevant - the album is based on our personal experience of moving back to America (from Berlin) and the journey that followed. The record is a manifestation of that, and what one creates for themselves under the given circumstances. Coming back to America, I felt like a foreigner and NYC / America felt like the Wild West. Most Westerns from the 1960s to the present have revisionist themes. Many were made by emerging major filmmakers who saw the Western as an opportunity to expand their criticism of American society and values into
a new genre.'

The narrative of the record is one of re-encountering the frontier mentality that shaped the country but somehow never faded. This time as a foreigner. The genre of the Western remains pertinent, many of the same stories of that brutally deromanticised era are still relevant today. America hasn't changed - the cast, times and settings have, but we still hold onto the same ideal.

Horse Follows Darkness is essentially a modern electronic soundtrack for the Revisionist Western. Even the idea for the record cover is inspired by one of the most well known modern Westerns, Robert Altman's McCabe & Mrs Miller.

The album was recorded with Abe Seiferth at Transmitter Park studios, which Delia likens to going to the finest tailor'. Abe became an integral part of the recording, playing guitar and helping to suggest experimenting with different synthesizers, something Delia was keen to do. Delia refers to Abe as a magical and incredibly intuitive collaborator' regarding the sound of the record.

The music that emerged from these recording sessions combines a range of influences - from the compositions of Erik Satie to 'Salon De Musique', the solo piano record by Su Tissue (of the L.A. punk band Suburban Lawns). The record also took on a much different shape and sound with the introduction of the Sequential Circuits Prophet VS, as well as a vintage Korg Poly synth and the Roland SH-101. The golden era Krautrock recordings of bands like Neu!, Cluster & Harmonia were touchstones as well, the repetition, swirling soundscapes and locked-in rhythm tracks.

Hey, we should start a band. Dann Verpflichtungen und Logistik und Leben und Zeit und Raum. Das klappt nur selten, egal wie gut geplant es war. Gegründet 2014 auf dem Groezrock Festival in Belgien, wuchs Vanishing Life aus Unterhaltungen zu einer vollen Band.

Mit Autry Fulbright II (...And You Will Know Us By the Trail of Dead) als Motor und Ideengeber entstand zusammen mit Walter Schreifels von Quicksand und dem Bad Religion Drummer Jamie Miller das Line Up. Anfangs sollten des Weiteren der Trail Of Dead Sänger Jason Reece und Thursday's Geoff Rickley dabei sein. Reece musste allerdings aus Zeitgründen passen und auch Rickley hatte zu viel um die Ohren.

Allerdings veröffentlichte dieser dann Vanishing Life's Debüt Single People Running auf seinem Label Collect Records und war somit auch an der Entwicklung der Band beteiligt.

A Complex Web - The Story of THE SHINING PATH...began in 1982 when Peter Miller (aka Dr. William S Ray - vocals, tapes, guitar) met Andrew Millar (aka Maurice Spectograph the Nose-y Pieman - program execution) in Gold Coast, Australia. While sharing a similar taste in music, they decided to form a band, so DIVE POSITION was born. Equipped with a Korg synthesiser and Tascam 4-track recorder, they 'wanted to have the 'sound' of Kraftwerk, the groove of Can, and the 'menace' of Throbbing Gristle', ending up with 'a cross of Suicide and the Residents', as Peter recalls. In a local record shop they met Stig Andre Leonardson (aka Vincent Blackshadow), who joined the duo on percussion and drum machine programming. Their motto was 'Now is Then'. DIVE POSITION then became THE FATAL CHARM around 1984, and THE FATAL CHARM became THE SHINING PATH who eventually released their only album 'Basic Training Manual' in an edition of only 250 copies, most probably in 1986. The band then started to drift apart, and shortly after Andrew sadly passed away - this re-issue of 'Basic Training Manual' and the upcoming compilation 'Now is Then' comprised of previously unreleased DIVE POSITION and THE SHINING PATH material is dedicated to his memory.

REPRESSED !! Available for the first time in 25 years Death Waltz Recording Company are immensely proud to be reissuing the score to Twin Peaks an era defining TV show and Soundtrack. Freshly re-mastered for this re-release and approved by both director David Lynch and composer Angelo Badalamenti.I'm glad that after 25 years, Death Waltz Recording Company has re-released the original soundtrack for Twin Peaks for a new audience to enjoy. This is my defining work as a composer and I'm happy it will get a fresh listen; Angelo Badalamenti 2016
Artwork by Sam Smith
Layout by Jay Shaw
Director approved artwork
Sleeve notes By Angelo Badalamenti
Vinyl re-master by Tal Miller
Laquers cut by David Cheppa at Plush Vinyl
180G damn fine coffee colour vinyl
425gsm Gatefold sleeve housed inside a bespoke white die cut outer jacket with white spot varnish finish, complete with obi strip.

Teenage Jesus and the Jerks began to formulate their visionary brand of aural catharsis sometime during the first half of 1977, amidst the sordid ruins of a then fully down-and-out Lower Manhattan. The mastermind behind this juggernaut of sonic libertinage was a barely pubescent but world-weary runaway who called herself Lydia Lunch. Influenced strongly by the Marquis de Sade and Henry Miller, Lunch shrewdly decided to graft the existential horror of her own writing onto harsh, atonal music after being exposed to the room-clearing live output of other contemporary rock-music deconstructionists like Suicide and Mars. With an agenda of conjuring nightmarish intensity in lieu of technical instrumental ability, Teenage Jesus instantly made the supposedly nihilistic' and raw' current wave of so-called Punk acts sound like slick, good-timey pop music by comparison. Teenage Jesus and the Jerks were The Texas Chainsaw Massacre, lisa, She Wolf of the SS, and Salò, or the 120 Days of Sodom, transliterated into a blatant mockery of the increasingly tired, basic rock-band format. Posthumously, there have been numerous reissues of the primary Teenage Jesus corpus, namely the first side of the Lydia Lunch double compilation album Hysterie (CD Presents, 1986), a very incomplete anthology titled Everything (Atavistic, 1995) and Shut Up and Bleed (Cherry Red/Atavistic, 2008), which also featured Beirut Slump tracks. These less-than-fastidious documents contained reverb-laden transcriptions of the studio cuts directly from vinyl copies, as well as random live tracks of mediocre fidelity. This particular collection about to be released on Other-People is meticulously edited and mastered from rare bootlegs taped during the initial 1977-1979 period of classic band, and only one title (Crown of Thorns from January 17,1979) has been legitimately released to date, albeit in a completely different sound quality.

The perfect Christmas gift for discerning fans of cutting edge analogue electronica. And Kraftwerk!

Radioland was initially devised as a breathtaking audio-visual live experience by the Anglo-French trio of Matthew Bourne (synthesisers, voice), Franck Vigroux (electronics) and visual artist Antoine Schmitt.

The original music has been transformed with hurricanes of modulated electronics, earth-shattering bass frequencies, vocoders ebbing and throbbing and the occasional drop into periods of eerie near-silence.

Using a variety of vintage analogue synthesisers and electronics, they have recreated the futuristic, industrial world of ominous darkness and dazzling light imagined by Kraftwerk in 1975 and reconstructed in this bold new manifestation for 2015.

The album is mastered by Denis Blackham, who mastered Kraftwerk's classic 1974 album Autobahn

The LP edition is limited to just 1,000 copies for the world in a deluxe gatefold sleeve with a CD included

Both versions include liner notes by David Stubbs, author of Future Days: Krautrock and the Building of Modern Germany, and photographs and images from the project

The album cover artwork is taken from the video work of Antoine Schmitt, creator of the captivating visuals that are a vital component of the Radioland performance

Matthew Bourne and Franck Vigroux's impressive collective CV boasts collaborations with artists such as John Zorn, Nostalgia 77, Marc Ribot, Annette Peacock, Elliot Sharp, Mika Vainio, Ben Miller and Zeena Parkins

More Radioland shows are expected to follow the release in 2016

Kevin Saunderson's Detroit-based imprint celebrated its 25th Anniversary back in 2012, and the label's continued to cement its legacy with key vinyl reissues over the past couple of years. The recent campaign included Saunderson's Just Want Another Chance, the track which contains the "Reese" bassline—rivaled only by the Amen break as a formative element of drum & bass—as well as '90s releases from MK, Kreem (Saunderson's duo with Juan Atkins) and Chez (Damier) N (Ron) Trent.

The two remix compilations dwell on Chez N Trent versions produced during the 1993 through 1995 period, when they released enduring originals like "Morning Factory" and "The Choice." Volume One contains remixes of Sonya Blade and Miller/Scott Project while the second EP includes Damier and Trent's versions of Kreem as well as Saunderson's seminal vocal house group, Inner City. Chez N Trent's takes on Naomi Daniel's "Feel The Fire" and Essar'ay's "Forces" are also included.

Driving weirdo techno, warm melodic acid and daring sound experiments - Killekill welcomes a new duo on board: SKEW & SATIRIST are Max Cooper and Gareth Williams who met in the Not- tingham, UK club scene in the early 00s, living together for a number of years, leading to an effec- tive collaboration.
Max learnt production from sitting and watching Gareth in the studio, Max helped show Gareth the way with his DJing. Both became successful in their solo projects, Max as a regular guest
on stages all over the world, Gareth starting a music technology business with partners such as Richie Hawtin, John Acquaviva or Daniel Miller.
Over the years the musical collaboration between the two friends has continued in the background and they've finally found the time to bring it to fruition and start this project for their darker, more extreme and twisted techno which has been lying dormant over the years.

Nachgepresst und mit leicht erhöhtem Preis wieder lieferbar ist die Doppel-LP von und mit der Produzentenlegende Winston Holness aka Niney The Observer, vollgepackt mit 28 Klassikern aus der Bütezeit des Reggae inklusive Nineys Hit "Blood & Fire". Mit allen Artists mit Rang und Namen und den Musikern der Aggrovators, The Revolutionaries und dem Soul Syndicate, eingespielt in Randy's Studio 17, King Tubby's, Dynamic Sounds, Channel One, Joe Gibbs und dem Black Ark Studio!