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Danny Daze presents a brand new alias for Slacker 85 first solo artist EP - D33 is a long-gestating alter-ego through which the Miami DJ & producer plans to explore a more house-leaning output.

The Operator EP sees the Omnidisc label owner channeling his multi-genre, Miami bass-infused sound into a quartet of stripped-down machine jams tailored for house DJ sets, with the fidgety title track issued in two flavors, the D33 ‘Wet Mix’ and Danny Daze ‘Dry Mix’, while on the B-side the heavy kick and evil bassline of ‘Azuca’ is offset by the hypnotic Jonny From Space collab ‘C’mon’.

“D33 is an alias I’ve had floating around in my head for years. It leans more towards my house music side and allows my head to dig into simpler production of dance music. My D33 production and DJ sets purposely feel a bit more laid back. Now I have the time to give out a crazy amount of hugs in between tracks while DJing… :) ” - Danny Daze aka D33

Repress!

Little Dragon return with a spectacular second album offering in August, a pulsating electro pop epic that Prince would be proud of (only fronted by a beautiful Swedish lady with a sultry voice). A bold and surprising side/two step onwards from their self titled debut, released two years ago to great acclaim especially among specialist circles. Machine Dreams, with its nagging hooks and gloriously infectious tunes, should finally see the band break out into the mainstream.

Recorded in their home city of Gothenburg, Machine Dreams is a gigantic leap on from previous material but still maintains a distinct sound that can only be Little Dragon. Be it Yukimi s warmly inviting vocals, Erik s dextrous drumming, the vast array of synths and bleeps created by Hakan or Frederik s bubbling bass lines, together they don t sound like anything else around right now. The move towards a more electronic sound was a conscious one, as Yukimi explains; The title Machine Dreams seems obvious. These days, humans seem more and more like machines, and as technology evolves, machines feel more human and it becomes fuzzy and beautiful and science fiction-ish. We feel dependent on our machines to create and live, and their sounds reflect us .

Album opener A New breaks us in gently with a single whirring note on the synthesiser, an almost alien sound that gradually morphs into a slow, thumping bassline. Yukimi s vocals flow alongside Hakan s assortment of sound effects interspersed with militaristic drums breaks. A magical opener that sets the scene and seems to sink into itself, taking us with it, until the pace is swiftly ratcheted skywards with Looking Glass , the massive snare, crisp driving beat and experimental synths revealing the band s current penchant for the 80 s. This influence continues apace into stand out track My Step . Utilising a solid drumbeat that nestles next to jagged and playful synthlines, the track breaks down into motorik propulsion with a scuzzy techno bassline that Yukimi works with ease.

Upcoming single Feather finds Yukimi s voice at its most detached and blaze, seemingly nonchalant yet magnificently seductive. Backed by Hakan s keyboard atmospherics, the song creates a soundscape reminiscent of Tears For Fears more reflective moods. Gradually layering more vocals, synths, echoes and reverb, it builds to a quietly psychedelic, dreamy cosmic swirl. Runabout brings forth a mini Airto style percussive breakdown at the tail end of yet another Little Dragon pop gem. Swimming bursts forth into vision with stabbing keys and reflective bass alongside yet another wonderful vocal performance from Yukimi who sings of young love and now so many years have past, my memories as clear as glass . The song is over as quickly as it started, flowing into the next miniature masterpiece in the form of Blinking Pigs

The album closes with the stunning track Fortune , which has already caught the attention of none other than DJ Shadow. It s no wonder really, as the textured melodies blend with the drifting percussion, creating a blissful sonic mood. With a smattering of drums and bass and the magic of Yukimi s voice and Hakan s electronic dynamics floating on top, it s the perfect track to end this fascinating journey through Little Dragon s brave new world.

With disparate influences from Depeche Mode to Prince, LCD Soundsystem to James Holden, Dancehall to R&B, Jazz and Soul, Little Dragon take their place among artists who straddle many genres, yet somehow create their own and in doing so create sounds that make time stop (Yukimi). Futuristic yet somehow retro, Machine Dreams sees Little Dragon achieve something timeless; that elusive pop classic.

NOW Music is proud to present the second in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres from the incredible diversity that were all part of 1980’s Dance music.

This volume, featuring 29 tracks across 2-LPs, pressed on 1 Purple and 1 Pink vinyl, presents the best in DISCO and ELECTRO.

Following the height of its’ popularity in the late 1970s, Disco in the early 1980s retained the irresistible melodies and beat but became primarily synth driven. The era saw some of the genres’ biggest hits including this collections’ opener ‘Flashdance…What A Feeling’ from Irene Cara – this theme from the film ‘Flashdance’ was not only a massive selling single, but the song also won multiple awards including an Academy Award. Lipps Inc. produced a timeless hit with ‘Funkytown’, and Shalamar with ‘A Night To Remember’, Odyssey with ‘Use It Up And Wear It Out’ and Indeep’s ‘Last Night A DJ Saved My Life’ were all huge commercial Disco hits.

Disco royalty Nile Rodgers and Bernard Edwards of Chic feature here in their roles as producers and writers with Diana Ross’s massive hit ‘Upside Down’, ‘Why’ from Carly Simon, and the peerless ‘Spacer’ from Sheila & B. Devotion and in 1984 remixed Sister Sledge’s ‘Lost In Music’ which became a massive hit again and is included here in its full 12” version.



Amii Stewart’s classic version of ‘Knock On Wood’ was remixed and a hit again, Donna Summer enjoyed huge success with ‘She Works Hard For The Money’, and other established Disco superstars celebrated returns to the charts with an 80’s Disco sound including, and featured on this collection, KC & The Sunshine Band, Patrick Cowley feat. Sylvester and Evelyn “Champagne” King.



The prevalence of the synth in the 1980s gave rise to new and exciting sounds and to tracks that were created with fusions of genres. On this collection we are celebrating ‘ELECTRO’ – a sub-genre of Electronic Dance music that combined elements of Disco, Funk and Hip-Hop and featuring a heavy synth backing, and the commercial Electro-Pop hits it produced. In 1984, Chaka Khan who had achieved huge success with the Disco classic ‘I’m Every Woman’, had a worldwide smash with a cover of Prince’s ‘I Feel For You’ which combined Disco, Funk, R&B, Synth-Pop and Hip-Hop – to stunning effect. Also a hit in 1984, Jimmy Jam and Terry Lewis produced a classic fusion of Disco, R&B, Funk and Synth-Pop for the S.O.S Band with ‘Just Be Good To Me’ and also included here are hugely influential Electro-Pop gems from Freeez, Rockers Revenge feat. Donnie Calvin, Malcolm McLaren, Break Machine, and Rock Steady Crew.



In the latter half of the 80s, Disco and Electro-Pop continued to evolve and fill dance-floors. Taking influences from both genres, Expose and Company B enjoyed ‘freestyle’ hits and DJ, remixer and producer Jellybean had a string of hits including ‘Just A Mirage’, and Whitney Houston became a global superstar. One of her signature tracks ‘I Wanna Dance With Somebody (Who Loves Me)’ serves as a stellar example of how Dance music had evolved through the decade and remained as vital and uplifting as ever.

Almost four years after their first collaborative project, Machinedrum and Holly are back on VISION with a six-track EP, exploring a fusion of styles, sounds and genres.

‘Life & Love’ is the third album from Skinshape (with ‘Filoxiny’ being his fourth). Written, Recorded and Produced by Will Dorey at the Arch Studio, London, and in his bedroom. Great melting pot of styles and tunes, D.I.Y. Funk Soul Jazz. Recommended if you're into Khruangbin. Skinshape is the project of British musician William Dorey. The sound has roots in many genres but in particular 1960s-0s Funk, Soul, Reggae, Psychedelic Rock, Afrobeat and Folk. Skinshape grew out of a love for old music and the way it sounded. Initially Dorey experimented with samples (especially drum breaks) to create instrumental Hip-Hop/Trip-Hop tracks but then later started to play around with tape machines as a means to create his own 'samples'. This process gave birth to Skinshape with all elements being recorded by Dorey since the first self-titled album released in 2014. Aside from the Skinshape project Dorey was bassist for the band Palace from 2014-2017 and runs a reggae label called Horus Records based in North London.

This new FRANKIE-45 is more raw, primitive, philosophical, fuzzy and dissonant than you'd expect! The theme of this 45 (and most of the upcoming album) is fear.. Perfect for Halloween. However, this record is a not a record about spooky skeletons and ghouls but rather a record about deep and day-to-day fears. The first song "Panick Attack" depicts the inner emotions and experience of a panic attack. The next track "Agnost" is more philosophical, wandering into the most abstract of thoughts. In this land of ambiguity you easily spook yourself and try to seek comfort in the thought that existential questions about infinity and reality are just too big for a tiny human brain and that's what that song is all about. The last track is "Time", the devourer of everything is both relative and an unstoppable force that will turn everything to nothing. Filled with paradoxes that'll bend reality itself. This song is about the fear of being late, but humorously instead of blaming oneself, the blame is put on the boss for expecting to control such an uncontrollable power of the universe. So, after FRANKIE's first release, which was more folky and upbeat, this 45 is primitive, fuzzy and straight from the raw emotion that is fear! If you like: The MUSIC MACHINE, BOHEMIAN VENDETTA, THE SEEDS, SYD BARRETT and are into TRITONES... this is the 45 for your youACHINE, BOHEMIAN VENDETTA, THE SEEDS, SYD BARRETT and are into TRITONES... this is the 45 for you

This EP is 6 unreleased tracks in the Thomas Brinkmann celebrated Max Ernst series of 12", all with female names, released with names ordered alphabetically. Starting with. 1. Anna Beate, the series ran for 12 releases over the 2 years from 1998 to 2000. 2. Clara Doris 3. Erika Frauke 4. Gisela Heidi 5. Inge Jutta 6. Karin Lotte 7. Monika Nikola 8. Olga Petra 9. Susie Trixi 10. Ulla Vera 11. Wanda Xenia 12. Yvette Zara, followed. There was never an ep with Q and R. Number 9 is Susie and Trixie. The tapes were lost. But have come to light nearly 25 years later. So now, here is Q/R; Quila 1-3 and Romy 1-3. What we have here are the original tracks as intended for release, with some minor editing and rearranging for release now. The original series was very successful. The first 3 12", released at the same time were a sensation on release. Suddenly, Thomas Brinkmann was the name to check. Today, these Quila/Romy tracks may well have the same impact as the other tracks in the series had when they were released. There is still nothing that sounds like this music. It seems to be an example of a perfect melding of soul and machine. 25 five years later... a annniversary of sorts, offered up by the machines.

Southern California hard rock mainstays FU MANCHU are announcing details of their forthcoming new album, itled "GIGANTOID," out June 9th the band's own At The Dojo Records distributed throughout the US and Europe via Cargo Records. After almost 25 years together, and following last year's Scion A/V Club split 7" with friends MOAB and 2009's "Signs of Infinite Power," Scott Hill and company return with their first full-length album in close to five years. Recorded with Andrew Giacumakis, singer / guitarist for he aforementioned MOAB at his studio in Simi Valley, CA, the album features a slightly more primitive, raw and ultra fuzzed-out sound than previous releases. "We wrote 17 new songs for this record and got our favorite 9 songs out of that together," says Hill. "We were planning on releasing a 'part 2' record later this year but have plans for some of the other songs to appear in early 2015 to line up with our upcoming 25-year anniversary."

Satoshi Suzuki (鈴木慧) described his musical practice perfectly on the OBI strip of his 1987 privately pressed LP - Tokyo Contemporary! consisting of 40% Jazz, 30% Soul, 20% Brazil, and 10% Kayokyoku - a musical mixture not too far off from what is now referred to as City Pop.

However, this archival compilation of Satoshi Suzuki's works presents a perspective of the City Pop sound not from affluent 1980s Japanese bubble economy-era studios and highly paid studio musicians, but from a one-person band making the most of the instruments in their home studio, inspired by musical traditions from around the world.

With notes of city pop, AOR, jazz, soul, bossa, and kayōkyoku - Satoshi Suzuki's intimately recorded pop songs are charming and full of wit, with a seasonal and poetic approach to these musical forms using only a drum machine and an array of digital synthesizers. Sounding a little like Pacific Breeze played on a Casio keyboard and drum machine, Uku Kuut soundtracking a SEGA video game, or the wonderful lo-fi works of Suzuki’s lo-fi homemade pop & jazz contemporaries Ronald Langestraat, Lewis, and Joe Tossini — though most of all, SUZUKI's works show a new and singular perspective of the bubble-era city pop of the Showa period.

Distant Travel Companion (​遠​い​旅​の​同​行​者​) introduces Suzuki's musical works to a wide audience for the first time, featuring remastered songs originally released over three privately pressed LPs from the 1980s, as well as a previously unheard CD from 1993. The original works were released in an impossibly limited edition of 100 copies each - printed and assembled on printing equipment at Suzuki’s company office and scarcely distributed, recording these songs at his home studio in his free time. The compilation's design and accompanying OBI and liner notes are a direct homage to the original releases.

Satoshi SUZUKI is a Japanese keyboardist, singer, songwriter, and music arranger. He is also an author of literature and winner of the "Shin-nihon-bungaku" (New Japanese Literature) Award. He was born in 1958 in Tokyo, Japan.

Reissue number seven for Heels & Souls Recordings sees them look back to the sounds of South Africa’s townships in 1991, cherry picking four of Tashif Kente’s finest cuts from his sought after album A Boy And A Dream, giving them space to breathe on a 12" pressing.

Clearly influenced by the flavours bubbling over from the UK and US in the late ‘80s and early ‘90s, from R&B through to boogie, proto house to new jack swing, Tashif’s productions are a melting pot of ideas and influences, laced with a distinctive South African flavour.

Born in Soweto, Mzwandile ‘Tashif’ Kente, cut his teeth with Harari for a brief period, a group that birthed greats like Condry Ziqubu, Sipho Mabuse and Alec Khaoli, before going solo in 1984 and releasing just one album as Tashif Kente, 1991’s ‘A Boy And A Dream’. An album that speaks of love, lust and longing, produced by Kente and Selwyn Shandel with Marc Rantseli also joining the fold, it has that signature South African synth bass, drum machine and killer keyboard combo of the Bubblegum and Kwaito scenes, topped with Kente’s buttery vocals.

Heels & Souls Recordings take four favourites from the LP and press them loud on either side of a 12”. On the A, the audacious new jack, dancefloor bubbler ‘Tell Him I Became Your Lover’ leads into the lovestruck, boogie-tinged grooves of ‘Somebody’s Got My Love’. Flip it over to find a jealousy jam of the highest order with the synthy soul number ‘Who’s That Boy’, before ‘I Like The Way You Love Me’, a lights down low, R&B flavoured lovesong rounds off the EP.

Licensed from Gallo, who transferred the original ¼ inch tapes for their archives, Heels & Souls have enlisted the expertise of Justin Drake to remaster these South African beauties for a new generation of listeners.

The forever exploring electronical entity of a band, Gusgus, has opened yet a new era in their unique sonic multiverse. With their 12th album, the course is set to a strange mysterious place called DanceOrama. A Rave-Mall in a nostalgic future, DanceOrama is the place to be, where you can experience infinite freedom, genre and gender free. Moving from the pulsating new-wave influenced techno pop of the last album “Mobile Home” (2019), Gusgus emits the vibe of DanceOrama on their new album as an arousing, melody-rich hybrid of 80s/90s parties and raves. The 9- track album is slated for a November 10th release. The release is evenly split up in euphoric fusioned pop anthems and genre-free instrumental journeys.

Gusgus‘ last album “Mobile Home” was the later of twin albums that found the band exploring early 80’s new wave influences and reviving them in the iconic Gusgus soundscape. The highlight on the album was a pulsating techno reggae track called “Higher” that introduced a new member into the band, Margrét Rán, the lead singer of “VÖK”.

Whereas on “Mobile Home”, the concept was stationed in a rural environment of a dystopian side reality, Gusgus now moves to the city. In this city of strange discomforting future omens, DanceOrama stands out as the rave-mall of freedom. Leaving the new wave influences, this album is a strange hybrid of the 80’s and 90’s parties twisted into a genre-free blend of arousing experiences.

The album consists of 5 instrumental tracks and 4 vocal pop songs, ranging from 105-158 bpm and exploring various influences from the 80’s and 90’s and even the 70’s in a strange fusion of techno, trance, italo-disco, house and pop that emits the rawness and innocence of previous decades. The pop songs are quite strictly set as stories related to the mysteries and rumors of DanceOrama. One track in particular will be very exciting for our fans, as it has been a regular final track on our live show since the album “Arabian Horse” in 2011. This is the track “Breaking Down” that was recorded during the album “Mexico” in 2013 with “Earth” and “Högni” on vocals but, due to emotional turmoil, has never been released until now.

While this may be the first release on Sheffield's Central Processing Unit from Global Goon, the one known to friends and family as Johnny Hawk brings a whole heap of experience to the Nanoclusters mini-LP.

Hawk started dropping Global Goon records on the legendary Rephlex Records back in the 1990s. The project's subsequent releases have taken in imprints as esteemed as WéMè and Balkan. Factor in a whole host of other aliases which have delivered missives via the likes of Planet Mu, and you know even before you press play on this witty, wily record that you're dealing with a master at work here.

The confidence with which Global Goon approaches Nanoclusters shines through in Hawk taking much of the mini-album at midtempo. Cuts like 'Khroxic Mould', 'Metallik' and 'Syntheseers' sound like Bochum Welt heading down a dark alleyway. The former in particular is a seasick lope, the tuned synths lurching around like sailors on deck in a storm as bass ebbs and flows underneath the mix.

The influence of Kraftwerk comes through prominently at times here, particularly in the way 'Calcula' and 'Digit Six' play pensive, slightly sombre synth chords off some simple but effective forward motion in the drum programming. That is not to say that Nanoclusters is not full of invention, though. None of the productions are overly flash, but this approach allows the little details to shine through more clearly, from cleverly panned hi-hats to hissing synth counter-melodies which flit in and out of the mix. Enthralling and packed full of ear candy, they're further evidence that Nanoclusters is the work of an expert craftsman.

While the pulse of Nanoclusters remains relatively steady throughout, it's still a rather lively record. Plenty of these tracks will get the dancefloor moving if deployed correctly - though whether they're heard at home or in the dance, it's the attention to detail which makes them stand out.

'Snapterisk' is as perfect an example of machine-funk as you're likely to find - the drum programming is razor-sharp but rubbery with bongos, the bass a lithe burble, and those wobbly stabs of keys that put a bit of wiggle in the beat? Delightful stuff. Elsewhere the ever-looping arpeggio of 'Metro Esc' has hints of Frankie Knuckles' house classic 'Your Love', though an array of interesting sonic nuggets - snippets of vocal, radar-like bloops, a gently insistent low-end pulse - soften the track's clubbier elements with a pillowy sheen. And Hawk throws us a curveball right at the end of Nanoclusters, tapping back into that old Rephlex sound for the fizzy, braindancing 'Metal Glass'.

Global Goon doesn't need to show off on Nanoclusters - from brilliantly slick machine-funk to Kraftwerkian reveries, the CPU debutant lets the music do the talking here. It makes for a confident and vivacious mini-LP, one which wears its expertise lightly.

RIYL: Cardopusher, Bochum Welt, Cygnus, D'Arcangelo

‘Demos/sketches/interludes from the hinterland between records. Drum machines and single take vocal sketches tied together with downtime synth experiments and recordings of local disappearing areas.’ True as it is, Jabu’s strap-line is a somewhat understated take on what also proved to be a transformative experience for them. The follow-up record to their 2020 sophomore LP ‘Sweet Company’ (and the ensuing ‘Versions’), ‘Boiling Wells’ weaves a smudged, group -mind spell. Originally released earlier this year without fanfare as a digital-only release, it now receives the proper release attention it deserves, issued in a neatly packaged vinyl edition of 300 copies. Dreamlike, woozy, raw and in dub, the album documents a blossoming process, and encapsulates a fragment in time - holed up in the country, soaking up the atmosphere in collective isolation, creatively embracing the limitations of a small recording set-up, and finding a new way to work as a band. “My mum had gone away so we’d decided to take the mixing desk and a couple of drum machines out to her house and set it up in the front room. We did it a couple of times to get the bulk of the tunes on 'Boiling Wells' done, one in summer and one boozy one around Christmas. I think we all immediately enjoyed working that way, sat around all together, more of an immediate thing. Jas started to play a lot more guitar, her and Al would write lyrics on the fly or be programming a drum beat in or something. We were all switching around and getting ideas down really quickly, not worrying too much if they were good or not. The music was limited by the stuff we had there, I didn’t bring a big desk so we only had six channels or so, and everything was basically just recorded in as a stereo take so we were more or less stuck with it after we’d laid it down - which was nice too. I don’t think we would’ve changed them anyway; it was the sound of the room and of us doing it together in the moment that was really important.” There has always been a collaborative heart to Jabu, though its nature has shifted and morphed over time. In their earliest incarnation, in after-school jams, Alex Rendall would rap over Amos Childs’ beats, but by the time they began releasing music in 2012, Al had found his singing voice – a sweet, soulful counterpoint to Amos’ increasingly dub-wise, experimental backing. Both are founder members of Bristol’s Young Echo, a collective of friends and musicians first operating loosely together on radio shows, artistic collaborations and events, and later on, running a record label. As expansive as their original remit was, Young Echo has steadily evolved since featuring in The Wire’s 2013 cover feature on Bristol’s new school of post-dubstep bass music. Of late, Seb (aka Vessel) has been working with violinist Rakhi Singh on string arrangements for Jabu, and the upcoming residency at Bermondsey’s MOT will showcase relative newcomers Birthmark and Intel Mercenary alongside the regular crew. Jabu’s debut album proper, ‘Sleep Heavy’, arrived in 2017 courtesy of Blackest Ever Black. A sublime, focused meditation on grief and loss written largely by Amos and Al, it marked the debut of Jasmine Butt (aka Guest), adding a further layer of vocal texture to their palette. ‘Sweet Company’, their first album written as a trio (released via their own do you have peace? label), drifted into lighter, more ethereal introspection. Featuring guest appearances by Sunun and Daniela Dyson, remixes by Equiknoxx’s Time Cow and Young Echo ‘s Ossia teased out the inherent pop and dub sensibilities respectively. Recent times have also seen remixes by kindred spirits Seekers International and Jay Glass Dubs, and a collaboration with the renowned T.S. Eliot Prize-winning dub Poet and musician Roger Robinson on a pair of plaintive, aching 7” singles. Jabu’s broad raft of inspirations can be experienced first -hand on their monthly NTS Radio show ‘Music 4 Lovers’, co -hosted by long-time friend and soul afficionado Andy Payback. A celebration of the endless tapestry of interrelated musical connections, it runs parallel to Jabu’s own reinterpretation of their influences. For ‘Boiling Wells’, Amos remembers a diet of “A.R. Kane, Cocteau Twins, DJ Screw, Southern/Memphis rap mixtapes, early 90’s jungle, Karen Dalton, Sybille Baier, Vashti Bunyan, Svitlana Nianio, a lot of soul, Armand Hammer & Alchemist, Grouper, Bobby Caldwell. Jazz was a constant, Japanese, Polish, Latin, American…”. And from those diverse strands, something new and singular has formed, to line up alongside them. ‘Boiling Wells (Demos ‘19-’22)’ is released by UK newcomer Six of Swords in a limited vinyl edition of 300 copies, pressed on black vinyl housed in full colour 270 gsm matt varnish sleeve and black paper inner, with full download coupon

ONLY AVAILABLE ON PREORDER!!

The first-ever LP box set gathering the entire 10 albums collection of Obscure Records produced by Brian Eno’s.
Curated by Gavin Bryars

Originally issued between 1975 and 1978, nearly 50 years on the output of Obscure remains radically forward-thinking - offering glimpses of a future yet to be fully seen - and amounts to one of the most important, influential, and creatively accomplished album series ever conceived.
Co-curated by Eno and the composers Gavin Bryars and Michael Nyman - issuing the recording debuts of Bryars, Nyman, John Adams, Christopher Hobbs, David Toop, Max Eastley, Jan Steele, Simon Jeffes / The Penguin Café Orchestra, and Harold Budd, in addition to important works by John Cage, Tom Phillips, and John White - Obscure’s collective output is a groundbreaking landmark in the histories of Minimalism, modern composition, and Experimental music, and laid much of the groundwork for the soon to emerge movement of Ambient music.

Illuminating the remarkable, and largely otherwise undocumented, creative ferment within and between the British and American scenes of experimental music during the mid to late 1970s, this collection - made in full collaboration with all of the composers or their estates - contains the entire 10 album output of Obscure, the majority of which have been out of print for years, with a number having never received a CD reissue.

Offering each of Obscure’s albums, completely remastered and housed in faithful replicas of their original covers and liner notes, as well as a 80-page book (LP dimension) for LP-BOX SET, filled with rare photos, archival material and texts by - among others - Gavin Bryars, Bradford Bailey, David Toop, Max Eastley, Richard Bernas, and Tom Recchion, this historic collection marks the first time this seminal series has received a complete LP repress.

2023 Repress

Here after a long time the first EP release on Best Record containing new unreleased music. Afrodesia project born from a close collaboration between Periodica Records and Best Italy featuring Mystic Jungle & Whodamanny.
Afrodesia took inspiration from the italian afro-movement that lasted for few years during mid-eighties expecially from those songs produced at the legendary Les Folies Studios in Milan. Afrodesia sounds balearic boogie afro and cosmic with heavy use of original past synths and drum machines programmed and played by Dario Di Pace, Raffaele Arcella and real acoustic instruments thanks to the musicians : Giulio Neri (Tenor Saxophone and vocals), Andrea Farias (Guitar), Davide Di Sauro (Bass) and the late George Aghedo (Percussion).

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Leroy Se Meurt is a French musical duo known for their eclectic and experimental sound.

Formed in 2018 in Paris, their music can be described as a fusion of various genres, abrasive and hypnotic, an energetic old school EBM fused with fierce electro and bound by punk ethos.
Retaining the minimalist and raw qualities of punk rock, and replacing the complement traditional punk rock instruments like guitars and drums with drum machine and synthesizers, LSM sound is characterized by a blend of influences, including electronic, experimental, and noise elements, which contribute to their unique and distinctive style. If you enjoy post-punk music or are interested in exploring this genre, you may find aspects of it in Leroy Se Meurt's work, but their music also transcends traditional genre boundaries.

"OXYMOREWORKS", ist eine Sammlung von Kollaborationen mit anderen Künstlern zusammen mit Jean-Michel Jarre. Das neunstückige Werk umfasst Überarbeitungen von Stücken aus seinem 2022 erschienenen Album OXYMORE'. Jeder Track wurde von Jarre in direkter Zusammenarbeit mit den jeweiligen Künstlern komponiert und produziert. Das Ergebnis ist eine unverwechselbare neue Version, die das kollektive Können der beiden Musiker zur Geltung bringt. Das Album umspannt dabei ein breites Spektrum elektronischer Genres. Jean-Michel Jarre sagte über die Kollektion: "OXYMORE hatte einen besonderen Platz in meinem Herzen, da es eine wirklich einzigartige klangliche Reise antrat. Mit der tiefen Freude an der Zusammenarbeit mit anderen Künstlern, ganz ähnlich wie bei meinem vorherigen Projekt Electronica, wollte ich eine neue Perspektive für meine Musik schaffen. Ich habe meine Hand nach Musikern ausgestreckt, von deren unterschiedlichen Talenten ich glaubte, dass sie eine faszinierende Dimension in jeden Track einbringen würden. OXYMOREWORKS ist ein Zeugnis für die Kunst der Zusammenarbeit; eine lebendige Sammlung musikalischer Dialogen." OXYMORE wurde im Oktober 2022 veröffentlicht. Es ist konzeptionell sein bisher ehrgeizigstesund bahnbrechendstes Album und die erste kommerzielle Veröffentlichung dieser Größenordnung, bei der Mehrkanal- und binauraler Sound (räumliches 3D) vollständig zum Einsatz kommen. Jarre produzierte, komponierte, nahm auf und mischte in 360-Grad-Audio in den "Innovation"-Studios von Radio France.

After more than 15 years producing singles and dubplates, DAYS OF DUB is Simon Nyabinghi's first full lenght album.
It offers 12 original dub tracks produced and mixed at All Nations studio, and includes Featurings with innovative artists:Youthie, Kulture D, Iman Onedub.

The album particularly explores the sounds of synthesizers and drum machines typical of the 80s while remaining in the pure tradition of dub, mixed with lots of echo and reverbs.
Built on the same format as the greatest dub albums, it takes us progressively an alternative rhythmic and atmospheric journey such as experienced in a sound system session.
From the initial percussion-based phases through the powerful meditative stages until the biggest "stepper" hits.

Faithful to the codes of the genre and reinforced by true originality of composition, it is destined both to purists and to younger fans.

The first album on ohne kommerziellen Wert comes from label co-founder Stute. After several appearances with hard-hitting club material on the OHNE EP series, Stute’s debute LP “Petra” demonstrates a beyond-genre approach that shows a different and more introverted side of the Hamburg-based producer. Far from being a collection of stand-alone gems that have accumulated over the years, the 12 stages of “Petra” sound like they were formed in a single cast. It is a personal and intimate journey through a unique man-machine mindset that has been manifested in music and sound.

Stute isn’t new to the game, but he has been producing under the radar for far too long. He started DJing and producing more than 20 years ago and found himself progressively drawn to different genres like Hip Hop, Breakbeat, Drum & Bass and Techno. And all of those experiences culminate in “Petra”, where Stute maneuvers his production skills through a wide range of styles and tempi somewhere between leftfield and rave. Urgent techno coldness, promising downtempo dystopia, restless acid dreams, floating breakbeat pleasure or hopeful leftfield romance – every track represents a different phase of a long-time companionship with music and making music, resulting in “Petra” being filled with conflict and drama as well as bliss and belonging.

Like all of Stute’s releases, his first LP is shaped by a very high level of production paired with a rare sensitivity for harmonies and arrangements. Every sound is made from scratch with analogue equipment – heavy dragging beats surrounded by glistening synths and bleeps built on a pure love for music and hardware. “Petra” sounds unlikely complete: nothing is missing, nothing is overdone. Nevertheless… or maybe because of that, the 12 arrangements offer you enough space to conjure up images of distant worlds or let you turn inwards to dive deep into your inner self.

Nick Leon, Swimful, DJ Znobia. One of the first artists from outside of Africa to sign to Hakuna Kulala, WULFFLUW XCIV brings his borderless productions to the label's ongoing Whitelabel series following a slew of dancefloor agitations from T5UMT5UMU, Menzi & Scratchclart, and others. "Toxica EP" builds on the mutant fusion of 2020's acclaimed "Ngoma Injection", stripping back the woozy psychedelia and chromium ambience and replacing it with pure soundsystem pressure. 'Take a Ride' bends acid techno machinery around rubbery East African rhythms, anchoring block party hedonism with a 4/4 bump that wouldn't be out of place in Kreuzberg and vocal shakes straight from São Paulo. But this isn't a mindless mashup of aesthetics, its a conversation with the world's fringe agitators, using stylistic and rhythmic strokes to highlight commonality, not exclusivity. Hakuna Kulala's own Chrisman appears on 'Tetemeka', and the two producers adapt the syrupy tarraxinha inversions the Congolese engineer perfected on last year's "Makila" full-length. Low, resonant gqom atmospheres underpin the entire track, but WULFFLUW XCIV's squeaky toy synths prevent it from slipping into darkness. Elsewhere 'Kluck' distorts the timeline completely, wedging flute-led Latin American tribal sounds into a riddim vs. trap superstructure, and 'Exp' sublimes speed dembow into delirious trance and minimal techno vapors. The boundaries between dance subgenres are slowly dissolving, and WULFFLUW XCIV's digital-era intermixture sounds like the cyberpunk carnival we're all desperately in need of

Speziell für Vinyl gemasterte Deluxe-Edition des Soundtracks von Guillaume David für das Computerspiel 'Warhammer 40.000: Mechanicus' (2018). 'Warhammer 40.000' ist die beliebte Science-Fiction-Version des ebenfalls sehr populären Mittelalter-Fantasy-Spiels 'Warhammer'. Die 2LP erscheint auf rotem und grünem 180g Doppelvinyl mit Wolkeneffekt, verpackt im Deluxe-Gatefold-Sleeve mit Hochglanzprägung des Logos auf der Vorderseite.

Electric, their third album, came out in 1987 and really caused the band to explode to new levels of fame. It contains the massive hits "Love Removal Machine", Wild Flower" and "Lil" Devil" and was produced by Rick Rubin. Electric is a seminal work, featuring some of the band"s most iconic songs. It is a departure from the band"s previous work, with a raw, agressive and stripped-down sound. The album"s opening track, "Wild Flower," sets the tone with its pounding drums, blistering guitar riffs, and Ian Astbury"s wailing vocals. Electric was a commercial and critical success, propelling The Cult to the forefront of the hard rock scene and cementing their status as one of the most influential bands of the era. The album remains a touchstone for hard rock and heavy metal fans, a classic work that captures the spirit of rebellion and the power of rock and roll. The Cult has remained an important and enduring force in the rock music world. The band has sold millions of records worldwide and has earned critical acclaim for its powerful live performances. The Cult continues to tour and record new music, and their influence on rock music shows no sign of diminishing.

Most of Gen X-ers who grew up in the mid-1980s Indonesia must have seen Soedjarwoto Soemarsono, known with his nom de guerre “Gombloh” performing on a state-run television station, playing some of his biggest hits from that era, pop gems like “Kugadaikan Cintaku (I Pawn Off My Love)”, “Setengah Gila (Half-Crazy).”

But of course, it is not fair to judge Gombloh only from these hits. Dig deeper and you will find buried treasure in his early stuff from Indra Records, and there are many of them.

His album with the band Lemon Tree’s Anno ‘69 (yes, that’s the name of the band) is all remarkable, but what he did for Chandra Records was no less spectacular. How can you go wrong with songs like “Kebyar-Kebyar”, the unofficial national anthem for Indonesia, dan “Berita Cuaca” one of the better epic songs in a catalogue full of epochal songs? These were all long out of print and in our journey to source the original master for these albums we met Bob Djumara of Nirwana Records, the Surabaya, East Java-based label which broke Gombloh into the mainstream in the mid-1980s. Almost all albums Gombloh recorded for his early labels, Indra Records and Chandra Records were critically acclaimed, but commercially they bombed, big time. Nirwana Records came up with an ingenious plan. What if they recorded Gombloh performing live and release it as is. After all, the first song in Gombloh debut record Nadia & Atmospheer is him strumming on his guitar backed by the cheering of a crowd, who could be heard going wild when he hurled that epithet “bastard” at the end of the song

The end result is a brilliant recording which despite being recorded live the sound quality so pristine leading many to doubt the claim of being live. Regardless, Nirwana shipped a decent number of units and Gombloh could buy his first car, a Katana Jeep, with money from the royalty.

One of the best things about Live Gila is its perfect sequencing, beginning with Gombloh’s social commentary on the rich’s debauched lifestyle of preying on young boys and girls, one of the most popular subjects allowed by the censoring machine of the New Order authoritarian government. The second song “Untuk Persada” is a soaring ode to the nation. For this song, Gombloh could be heard drawing his inspiration from The Police, which was undoubtedly popular in the early 1980s, even in a faraway port city like Surabaya.

Listening to this record as a whole (we omitted the last song from the original master tape “Bagimu Negeri” which sounds too jingoistic), we could not help but point to some of similarities it has with Bob Dylan’s Blood on the Tracks. Not a single composition in this record sound indigenous (the Malay-influenced rock of Panbers or Koes Plus come to mind); they all sound modern and effortlessly catchy, and had it not been for the language, this album could be mistaken for a musical output from someone growing up in Laurel Canyon or Southern France.

There are only limited copies of vinyl records in the second-hand market today available for Gombloh music, if at all. For his ardent fans, they have to scavenge for old cassettes to continue to be able to enjoy his music and have to pay top dollar for that. In Indonesia, where he was a superstar in the early 1980s, Gombloh was largely forgotten. With this project, we can only hope that the time is ripe for Gombloh to reemerge and now, more than ever, his music could speak to a bigger audience.

Originally released in Canada in 2006, and worldwide by 2007, Patrick Watson's breakthrough album has sold over 100,000 copies. Wooden Arms is Patrick Watson's highly anticipated follow-up to the critically acclaimed Close to Paradise, which vaulted the man and his band to international stardom in 2007. The Montreal band toured non-stop for two years following initial Canadian release of Close to Paradise in 2006, and in many ways Wooden Arms is the story and sound of a band waking up in strange places all around the world.

Whether it's the bicycle-city sound of Beijing,' or the warmth of a hole in the wall' in sweet New Orleans' on Big Bird in a Small Cage,' or the haunting European waltz of the title track, you can't help but feel in listening to Wooden Arms like you're on the road with the band. Sometimes it's dirty, sometimes it's wild, but it's never, ever boring.

Close to Paradise won Canada's prestigious Polaris Prize in 2007, turning more than a few heads in beating out offerings from Arcade Fire and Feist, among others. By the time it saw release in the United States, Europe and Japan, the band was flying all over the world, garnering rave reviews for the album and their blistering live show alike.

Experience the captivating soundscape from one of 2023’s biggest blockbusters on the Spider-Man: Across the Spider-Verse (Original Score) vinyl. The sequel to 2019’s Oscar-award winning Spider-Man: Into the Spider-Verse broke the global box-office on release, and the critically acclaimed, viral hit-making score is now available on vinyl and CD for the first time.



Academy Award, Golden Globe and BAFTA-nominated composer Daniel Pemberton returns to expand upon the Spider-Verse’s iconic, multi-versal soundscape with a genre-defying score that seamlessly combines a 100-piece orchestra with DJ scratching, operatic vocals, techno beats, punk rock, acid-house-inspired Indian percussion, soaring synth solos, and even…a prominently sampled goose. From the Gwen Stacy’s fan favorite motif to Spider-Man 2099’s internet-breaking theme music, the film and its intricately-woven score is sure to transport you into some wildly unexpected parallel dimensions.



This double vinyl release comes pressed on two white and dark purple marbled LPs, featuring highlights from the score hand-selected by Daniel Pemberton. The package includes a stunning soft-touch gatefold jacket with spot gloss, a double-sided collectable poster and two printed sleeves with custom art – plus, an 8-page art booklet featuring liner notes from Daniel Pemberton and art from the film.

JD McPherson presents A Christmas Album, SOCKS. Featuring 11 original tracks written by JD McPherson and his friends. SOCKS is an album of Holidays songs sure to be standards while you are decorating the tree. Come get warm by the fire with songs such as , "All The Gifts I Need" and "Every Single Christmas." Or, burn the cookies to "SOCKS" and "Ugly Christmas Sweater." There is something for everyone on this record to enjoy whether you are in the Christmas spirit or if you just wanna say, "Bah Humbug".

Back To Titanic is an album by Ost, released in 2023. Back To Titanic includes a.o. the following tracks: “Titanic Suite”, “Alexander's Ragtime Band - I. Salonisti”, “Lament”, “A Shore Never Reached” and more. The album is a Coloured Vinyl, High Quality, Gatefold Sleeve original soundtrack 2-LP.

The sophomore album from NYC musician and singer-songwriter Kyle Avallone, is a collection of nostalgic meditations that take you out of the smoky bar and into the gray daylight of a seaside town. It is a cinematic dreamscape steeped in warm vocals, lush synthesizers, and sweeping steel guitars. Throughout the ten songs, tender narratives play like home movies on a living room wall, revealing little worlds and distilled memories.
Recorded at Studio G in Brooklyn with Jeff Berner (Psychic TV), Avallone reaches beyond the lo-fi sleaze of his 2020 debut, Last Minute Man, for a higher fidelity and grander sound palette. “After making a record by myself on an old four-track tape machine, it felt like a natural progression to go into a proper studio and play music with my friends". The core band consists of Mark Perro (The Men) on keys and Russell Hymowitz on bass, who both sing backing vocals, along with David Christian on drums. On several tunes, pedal steel played by Jon “Catfish” DeLorme (The Nude Party) dances around Avallone’s baritone voice, delivering a twang that is distinctively more New York than Nashville.
Inspired by the conversational storytelling of artists like Terry Allen and Lou Reed, Avallone was moved to capture the drama and mystery of his own life experiences. The characters we meet here are flawed. Mistakes are made and lies are told. Love is either lost or on the line. Dreams manifold as both echoes of the past and hopes for the future – the faded glow of childhood impressions in “Down the Hill”; the single mothers’ kitchen table reverie in “Going to the Beach”; the lament for summer’s end in “Vacant Sea”.

10 year anniversary edition of the 6th Baby Woodrose album limited to 500 copies on clear vinyl. All Baby Woodrose albums have a different vibe and with Third Eye Surgery they have made their space rock album. For the first time Lorenzo Woodrose integrates the heavy psych of his side projects Dragontears and Spids Nogenhat with the fine song writing of Baby Woodrose. No matter how much the fuzz guitar is wailing or the echo machine is tripping, there's always a good song hiding beneath the rumble. Several of them clocks in at 6 minutes so there are only 9 songs on Third Eye Surgery. Songs like Nothing is Real and Love Like a Flower have an Eastern flavour thanks to the sitar of Vicki Singh while Just a Ride sounds like a trip to India in more than one way. Even though the central songs on Third Eye Surgery like Waiting for the War, Bullshit Detector and the title song are very spaced out there are also a few tunes that sticks out. Dandelion is a sweet and melancholic psychedelic pop song and is also a duet with Emma Acs while Honalie is a dreamy ballad that makes time stand still. Almost. Third Eye Surgery has been recorded in the Black Tornado studio in Copenhagen and is engineered by Anders "Evil Jebus" Onsberg and produced by Lorenzo Woodrose. The artwork is made by German artist Kiryk Drewinski who has worked with the band several times before and also did the artwork for the demo collection Mindblowing Seeds and Disconnected Flowers released in 2011.

Dance Floor Rituals kick things off strong with the first release on the label by a producer that will be no stranger to people in the know.

DJ and producer, Jorge Gamarra, has been crafting his skills for the best part of a decade. You can quickly notice his dedication to interesting sounds and strong baselines whilst listening to DFR’s first release. 4 tracks tailored for dark dance floors and long after hours. Emotional tracks with spiritual feeling and built intuition. The perfect music and artist to kick things off for this new label.

This is not one to be missed. Be quick!

In 2021 the album "Footsteps" introduced listeners to the individual style of Human Figures.

Daniel Lewis aka The Recluse, Death Posture or Holt merged raw strings with primal percussion to forge a sound of his very own. Lewis now returns to Frigio with "Tabula Rasa¨. The entrancing title piece is a heady brew of intricate guitars, smoky basslines and a pulsing drum patterns. The uplifting melody indie wave of “Breaking Free” follows, with Lewis’ vocals haunting from an echoing distance. The low slung “Conclusions are Nil” gives way to the eastern infused harmonies and underhand dealings of the soundtrack streaked “Military School.”

Distortion drenched, the short and intense “Obedience” shrouds sorrowful vocals in drum machines, strings and haze. Those pain ridden lyrics are central in the closer. A stoical snare pierces the dirge of “Disparages,” a cold industrial march into the driving rain. Embittered brilliance from Human Figures. "

Underground house and disco maestro Mark E makes a welcome return to Delusions following hot on the heels of last years Leaning Into The Light EP. The revered producer has been steadily doing his thing for almost two
decades now, racking up releases on Running Back, Golf Channel and Spectral Sound to name just a few. His sound is a unique, sublime vision of US deep house which transcends the dance floor and he proves his salt once again on the four new tracks that make up this stunning EP.

Title track Enchantment Under The Sea sets the mood with a minimal, low slung drum machine groove laying the foundation for layers of Rhodes and synth chords conjuring up images of a sub-aquatic vision of depth and beauty. Up next we have Zone Tonight, the epitome of a late night city scape driving track utilising heavily saturated drums, subtle acid line, distant piano melody and moody Detroit pads to draw you into its deep confines.

Flipping over we have Vertigo which treads a similar sonic path as Mark effortlessly fuses rich harmonies and entrancing melodies, inviting listeners to lose themselves in its depths. Closing out this blissful journey we have Bodymap which drops the BPM a little more with simple understated drums, melancholic string line and pulsating bassline.

The Zone Tonight EP is a testament to Mark E's unparalleled prowess in crafting immersive, uncompromising and emotive soundscapes for your aural pleasure. He also created the original artwork for this release.

After touring the world's Techno and Goths clubs intensively, Die Selektion are back with their unique blend of Synth- Pop and Electronic Body Music. Heavyhearted but hopeful trumpet melodies, German lyrics that make you question your past and future once again, synthesizer sounds in the great tradition of '80s Wave and Pop, combined with hard-hitting drum machines - this forms the base of their self- proclaimed Prosecco Wave world. Their new album "Zeuge aus Licht" features 9 hits to live, love and laugh to, and makes you forget your everyday worries.

Die Selektion sat down together in a new line-up consisting of all three founding members Gillian, Rief and Rieger, as well as Savenberg, who joined in 2013.

The outcome of this mesmerising gathering is a supersonic experience for body, heart and soul. The new songs expand the sound of the band with an almost casual, elegant diversity. Every single component shines and an understanding of what makes pop really pop comes through, adding ironic glitter to the black nihilism of Dark Wave. With "Zeuge aus Licht", Die Selektion opens a new door in their fluid band set- up. And we should all be excited to find out what's hiding behind it.

Originally released in 2008, MACHINE 15, celebrates it"s 15th anniversary with a long awaited vinyl repress, remastered for vinyl by Dan Swanö. With an impressive string of releases behind them, nearly two million records sold worldwide and having shared stages with the likes of Blink 182, the Foo Fighters and Queens of the Stone Age, the Orebro based quartet of vocalist/bassist Nikola Sarcevic, guitarists Erik Ohlsson and Mathias Farm and drummer Fredrik Larzon show that they are on top of their game. While upholding the classic Millencolin sound, they chose to diversify, evolve and progress on the new album The explosive result is pop infused punk at its all-time best with driving beats, anthemic choruses and irresistible melodies that prove the band is back to kick ass and take names. For Machine 15, Millencolin re-teamed with producer Lou Giordano (Sugar, Taking Back Sunday, Plain White T"s), who previously worked with the band on 2003"s Home From Home. "We wanted the kind of crisp sound that Lou is notorious for. Plus we have a great chemistry with him," guitarist Erik Ohlsson adds.

"There could barely be a better figurehead for Belgrade's simmering multi-limbed music scene than Jan Nemeèek" The Quietus `Dissolved', a new album by Serbian synthesist and sound designer Jan Nemeèek, began its life cycle in a studio live room. It unpacks the paradigm of the individualistic act of computer music creation, transporting it into the communal setting of a band, its performers contributing elements ranging from prepared piano to Turkish lyre. The album opens with an unexpected falter, a false start that imbues the album with a sense of vulnerability. It's as if the album itself is finding its footing, mirroring the dissonance of an orchestra tuning. This digital ensemble, an assembly of electronic voices, seems to search for its harmony, its discord, its pitch, its timbre - much like a traditional counterpart would. As it unfolds, `Dissolved' further taps into the raw tonalities of partially defunct digital synthesizers, ranging from early 2000s' attempts at neural networks to precursors of oscillator-laden software synthesizers, in order to build its cloud of suspended tension and alternate histories. Through this clash of wistful piano and biting frost of digital pads with the iridescent hum of tube amps, the album reflects New Age tropes through the prism of metal (machine) music. Hailing from Belgrade, Serbia, Jan Nemeèek has been releasing electronic music since 2005, with a particular focus on ambient and bass-heavy electronic compositions. Nemeèek's music is characterized by his use of a wide range of sound generating tools, including neural networks, analog synthesizers, and granular synthesis. His approach to music production allows his work to unfold with patience, influenced by borderline dub sub-bass movements and heavily based on deconstructed recordings. Jan has released several albums, most notably 2014's Fragmented and later Recurrences. Prior to that, he co-founded the Creative Commons-based net label Norbu. `Dissolved' is set to be released on vinyl and digital on 10th November 2023 via Refractions, a new imprint founded by Nemeèek.

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The band is John Dwyer (synths, vocals), Heather Lockie (viola), Thomas Dolas (synths), Andres Renteria (hand percussion), Brad Caulkins (tenor saxophone), Kyp Malone (synths) and Archie Carey (bassoon). The singers are YoshimiO (Boredoms, OOIOO), Albert Wolski (EXEK), Gracie Jackson (GracieHorse), Ciriza (Artist Extraordinaire), Kyp Malone (Bent Arcana, TV On The Radio, Rain Machine etc.), Brigid Dawson (Thee Oh Sees, The Mothers Network), AZITA (Scissor Girls, Bride of NONO, AZITA). For fans of Steve Roach, Eno, Syrinx, Howard Shore, Current 93, Terry Riley, Tangerine Dream and a proper sage scrub. “An experiment in symphonic improvisation paired with synthesizerscapes. Strings, reeds, synths and hand percussion all blend sweetly into an odd landscape indeed. The final touch was to bring aboard some singers I have loved over the years. I’m so pleased they were all willing to participate and I’m very tickled by the plane we navigate. Once YoshimiO agreed to be on board I knew we were going to be OK. Recorded and mixed at my home studio (Stu-Stu-Studio in Los Angeles) and remotely, this one was a slow burn to see the light of day. And here it is in its final crystal form. Celebrating the spaces between ritual, habit and ceremony. And all the parallels between. The line is blurred. This is occult adjacent strain of sound. At home in daily ritual, contemplation and meditation.” - John Dwyer

Formed in 1987 in Umeå, Sweden, Meshuggah has been called "one of the ten most important hard and heavy bands" by Rolling Stone and enjoys the respect and admiration of fans and musicians alike. It is impossible to talk about experimental or avant-garde metal without mentioning this truly groundbreaking band: MESHUGGAH mix ultra-complicated rhythmic patterns with massive riffs and aggressive growls, combining death metal, mathcore, thrash and progressive metal to create their unique style. The year 2023 now marks the 25th anniversary of one of the band's first milestones, "Chaosphere".

Originally released on November 9, 1998, Meshuggah's third studio album shows the band toning down some of the thrashier sounds of earlier releases in favor of the more technical, polyrhythmic and groove-oriented sound they would explore on subsequent albums.

The album includes the songs "New Millennium Cyanide Christ", "Corridor of Chameleons" and "Neurotica", among others, which are some of the band's most streamed tracks.