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A marginal but respected songwriter in his own lifetime, Eddie Noack has become a Honky-Tonk legend in the decades since his death, best known today for an obscure 45 he cut in 1968 called 'Psycho'
Noack was a stellar songwriter and consummate performer who never really got his due. Here, for the first time, are reissued some of Noack's very rarest recordings - some fine LP cuts (recorded in Nashville 1973) that was only ever issued in the U.K (on a minuscule label) and a multitude of rare '60s/'70s 45 only cuts that are rescued from undeserved obscurity. Many of these cuts are the equal of anything in the Noack canon - dark empathic ballads and wry commentaries on the human condition. 'A Few Good Funerals' is a sardonic take on small-town mores, 'Before You Use That Gun' a desperate plea for mercy and 'The Memories Are Restless Tonight' a chilling elegy from a man at the end of his tether. Though schooled in journalism, Noack devoted his life to country music - he went largely unrewarded but left collectors a large body of stunning work. Equally adept at Honky-Tonk weepers, Gospel odes and grim murder ballads, Eddie Noack was always 'pure country.'

Hardy was immortalized in 1964 in a poem by Bob Dylan, she associated with The Stones, and dined with Beatles Paul McCartney and George Harrison. She also soon gained more creative control over her music, and she now distances herself from these early recordings where this was not the case. Even if I had been able to say something about the production,' she says now, maybe I would have been listened to, but I didn't know anything.' In the album's title track, Hardy sang about being a soul in torment, and this is the Hardy that emerged-a complicated, pensive outsider, part pop singer, part chanteuse, and utterly unique.
Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs-pop music's main format in France, known as le super 45. In them, we see the maturing of one of the decade's most singular talents- a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, Future Days present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.

Raised by her mother in Paris, Hardy's upbringing was strict, and she was, she notes today, a very, very shy person." Records and Radio Luxembourg provided escape and inspiration-her two loves were Chanson Française, the Gallic style of Edith Piaf and Charles Aznavour, and rock'n'roll. The Everly Brothers, she says, were a lightning bolt.'

Sent to The Sorbonne to study political sciences, Hardy instead pursued a career as a singer, auditioning for a number of labels before Johnny Hallyday's Disques Vogue snapped her up, intending to market her as a female rocker-the track "Oh Oh Chéri" here gives you a window into their vision. Hardy had other ideas and was determined to record her own songs, written in French, too. The runaway success of one of her own tracks, the iconic "Tous Les Garçons Et Les Filles," proved Hardy right.

A mix of Hardy's own songs, Blackwell's songs, and tracks from writers including Jean-Max Rivière and Gérard Bourgeois (who wrote the title track), the sound focused on stirring, heavy pop, not least in the yearning "L'Amitié." I'm still very proud of 'L'Amitié,'' says Françoise, who's wont to undervalue her own work. The French lyrics are so very moving.'
Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs-pop music's main format in France, known as le super 45. In them, we see the maturing of one of the decade's most singular talents-a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, Future Days present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.

By 1965, Françoise Hardy was truly international. She'd hung out with The Beatles and The Stones, played high-profile shows in London, established a working relationship with British producer Charles Blackwell, and appeared in the film What's New Pussycat She was also a fashion icon seen in the pages of Marie Claire and Vogue and on the cover of Elle, and her first US album was issued that year.

In France, Hardy was to release album number four, the second album to be recorded in London, where her celebrity was rapidly growing-at odds with her natural shyness. In London, it was the first time I'd been made to think I had a certain charm or charisma,' she says now. Thanks to the time in England, I became aware I could be seductive.' L'Amitié, with its evocative, close-up album cover and late-night sound, is the result.

Produced by Jacques Wolfsohn alongside arranger Charles Blackwell, the sessions were notable for some distracting visitors. Mick Jagger was there a few times with various entourages of his at Pye (Studios),' recalls Blackwell. There was a long seat in front of the mixing desk where they used to sit.'

Hardy was, however, not the epitome of the swinging '60s idyll, she was an intellectual, into yoga and Buddhism and astrology, and she still noted French chanson singers George Brassens and Jacques Brel as favorites alongside Elvis, Dionne Warwick, and The Rolling Stones.

Despite her new links to the world of fashion, the tentative steps into film, the growing international awareness, and the attention she brought sheerly through her presence, music remained Françoise's focus, and her fourth album more than demonstrated this.

Yearning songs delivered with an intimate authority, at odds with the perception of Hardy in Britain and beyond, where she was seen as an ultra-fashionable, ultra-hip Parisian sophisticate, but totally in line with everything she'd ever striven for musically.
Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs-pop music's main format in France, known as le super 45. In them, we see the maturing of one of the decade's most singular talents-a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, Future Days present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.

Hardy's fifth album was a collection of English-language recordings. For her next, released in October 1966, the focus was back on her home market in France, where things were changing quickly. Writing much of her own material was no longer a novelty-her future partner, Jacques Dutronc, was doing the same, and artists like Antoine were following Dylan's lead.

1966 was the year Hardy met Dylan, who demanded an audience with her at his Paris gig and later performed for her at a party. It was only later that it occurred to me that he was singing 'I Want You' because he actually wanted me,' she says. Françoise said Dylan was not part of her world. As La Maison Ou J'Ai Grandi proved, Hardy's world was perfect and fleshed out and set-five albums in, she had a sound, mood, and feel all her own.

Recorded in London, the hit "La Maison Ou J'Ai Grandi" solidified what Hardy did best: marrying French chanson songs to epic production influenced by Phil Spector, Dusty Springfield, and George Martin, the toweringly powerful "Je Changerais D'avis," which opens the LP, is a prime example.

Though Hardy had formed a strong working relationship with producer Chris Blackwell, nine of the twelve tracks were arranged by Johnny Harris, known for his work with Petula Clark and Tom Jones. Although the artist and language were French, the album drew from an internationalist, polyglot world-six tracks were penned by Hardy, the remainder cherry-picked from French, British, and Italian songwriters.

And despite its varied sources, the album was a cogent artistic statement. Françoise had returned to acoustic sounds like with her earliest songs, accompanying herself on a Spanish guitar, and was reasserting her own vision of her music.

Rare Self produced tape from 1993 - LP including free bonus cd , limited to 500 handnumbered copies.
It's been exactly 20 years since the first SUICIDE COMMANDO album "Critical Stage" was released on the German Off Beat label.
It was the promising start of a long and ultimatily succesful career and today SUICIDE COMMANDO can be easily described as on of THE leading harsh electro acts in the alternative scene.
What some of you might not know is that Johan Van Roy still released 9 (!) tapes before releasing his debut album in 1994.
"Electro Convulsion Therapy" was the last and without any doubt the most succesfull tape released in 1993. It already contained the original 4 track recordings of later clubhits like "Traumatize", "Necrophilia" or "Time", but also featured other pearls like "Close Your Eyes", "Sheer Horror" or "How It Feels".
"Electro Convulsion Therapy" holds the complete last tape on lp, but also contains a selection of the best songs from the other early tapes released between 1988 and 1992, including several rare songs and even one previously unreleased song as a bonus on the free included cd version , all remastered by Eric Van Wonterghem at Prodam Berlin 2015.

An unknown pleasure torn out of Manchester's lost DIY manual, this overqualified/underexposed post-punk pop pillar cast an almost invisible undetected web across the history of Manchester's inner-city music scene which has trapped body parts of The Mothmen, Martin Hannett, Gerry And The Holograms, John Cooper Clarke, The Blue Orchids, Naffi Sandwich (The Naffis) and The Fates in its glue.
As a central mast to 1970s/80s Manchester's deserted' DIY era, spanning angular jazz funk, punk and sarcastic synth pop, Spider King has also played huge parts in Manchester's honorary adoption of The Velvet Underground's Nico (as her lead guitarist), fronted Martin Hannett's first ever band and inhabits a key roll in the careers of Sad Cafe, Alberto y Lost Trios Paranoias, Paul Young and AC/DC's Mancunian debut. With dozens of self-penned songs, unreleased demos and two of the best collectable Manc punk funk 45s to grace collectors want lists it's almost unbelievable (almost tragic) that Mike King never released a full length album... until now.

Shot To Pieces is one of the most elusive jagged pieces of the North West's punk funk puzzle. Recorded sporadically between 1979 and 1983 with a cast of characters from the Rabid/Absurd label family, such as behind the scenes synth wielder John Scott from Gerry And The Holograms, and producers like Laurie Latham (The Blockheads) it's plain to see why 2016's current music climate is the perfect time for the Spider King's lost music to resurface. Commonly recognised by stalwarts of the era's mutating punk/alt/indie genre as the one that got away', Spider King is the archetypal artist's artist as well as the outsider's outsider and the hardest working man in no-business who is now attracting a whole new audience of champions from bloggers, vinyl nerds and well respected contemporary musicians with his appearances on mix-tapes and various artist compilations. On hearing this essential release you could argue that these lost spider-grams' are more relevant now than they were when those arachnophobic A&R men shooed him away over 3 decades ago. For those who ain't afraid to get bitten say hello to the Spider King.

Largely unknown and unheralded, this collection of Hell-Bound Hayseeds will come as a revelation.
Mostly cut on microscopic or private-press labels and distributed in minuscule amounts, these Tortured Troubadours tell of torments, temptations and tumults - Satan, drugs, murder, suicide, demonic visions, infanticide and redemption - all in one handy LP package.

A labor of love - years in the making - 'Hillbillies In Hell' presents 18 timeless testaments of transgressions, tribulations and moral turpitude. Originally issued on forgotten 45s, some of these sides are indescribably rare and are reissued here for the very first time, all for your listening pleasure.

Collecting orders for repress!
Fodd Dod debut recording is a beautiful portrayal of disappointment - one that could be aimed at anything and could be added onto any situation or relation. Whether it is aimed at the impossible symmetry of male/female chemistry, one's own shortcomings, or the shortness of life, Fodd Dod translates to "Born Dead", the subject of the disappointment is not important - it is not why, but rather how. The six tracks that form the record offer no solution, they dont even hint at one. Track by track "Studie i Narhet, Langtan och Besvikelse" drags you further down, using simple machine drum rhythms and droney synth melodies combined with SARS signature mourns - but with enough skill and enough progression to never lose its aim, without ever becoming stagnant. What separates Varg and SARS' work as 'Fodd Dodd', from many of the "minimal synth wave" projects of the last years genre revival, is that you for once believe in the emotion being transmitted. The project, however similar in approach to other bands, current and past, does not feel forced. So even if the emotional quest of the record is to dwell in disappointment, the record as a listening experience does the exact opposite. The inescapable nerve in the six pieces is so strong, that one ends up feeling captivated rather than disappointed." -Loke Rahbek

Mannequin Records is proud to present the 12'' reissue of one of the rarest minimal synth singles ever released in UK, cradle of DIY post-punk and minimal synth bands inspired by Kraftwerk, Tangerine Dream, the early 4AD, Mute and Factory Records singles.
In 1983 the Neo Romantic BlitzKid music of synthesists John Mellor, Steve Millard and Frankie Abbot created new waves in the sedate seaside resort of Penzance Cornwall.
Dave Hastilow, a record producer, sound engineer and analogue synthesist himself who had worked for Pete Townshend of The Who became interested in their music and took them into a local recording studio installed in an old wartime bomb shelter, also playing drums on the track and crafting the sound using the natural acoustics of the concrete bunker. The result was 'Lets Get Together' and 'Memories' and he named the band Shazam.
Limited edition of 250 copies

Bob Theil's self proclaimed opus, "Songs from the Margin" was supposed to be the follow-up album to "So Far" which debuted in 1982. It was never put out untill now, pick..

Bob Theil's self proclaimed opus, 'Songs from the Margin' was supposed to be the follow-up album to 'So Far' which debuted in 1982. It was never put out untill now, picked up by Strawberry Rain for a 500 copy release !
The project spanned seven years with 'Fading Ways, Fadings Faces' being written as far back as 1977, and the remainder of the album being written between 1982 and 1984. Sadly this project was finished but never went as far as being released until now. The material on 'So Far' didn't translate well to the climate of the folk club scene of that time, so the Margin songs that Bob was writing at the time (along with other material) were an effort on his part to create music that reflected his admiration for the Sandy Denny/Richard Thompson area of modernized folk and rock. It was also an attempt to have material that would be more suited to performing at folk clubs. With 'So Far' being considered one of, if not the best folk records from the 80's, this is a sure buy for many collectors. Top shelf material.

Hardy, working with arranger Charles Blackwell, a former protégé of Joe Meek, set about creating a new interpretation of her glacial, existentially yearning music: part pop, part chanson, part soul music. On one hand, she was marrying yearning melodies with lyrics examining feelings of otherness. On the other, she was interpreting the music coming from Britain and America—both that of Phil Spector and country, too. Blackwell was the first arranger with whom Hardy was happy, and Mon Amie La Rose was the first album she thought of as more than an afterthought. She chose her own songs and was very in control,' says Blackwell. She was very much a perfectionist.'
Between 1962 and 1966, Françoise Hardy released one French-language album per year. Each, strictly speaking, was eponymously titled, and each was collected from a series of contemporary four-track, seven-inch, picture-sleeve EPs-pop music's main format in France, known as le super 45. In them, we see the maturing of one of the decade's most singular talents-a pop singer with the heart of a chanteuse, a singer-songwriter in an age before such a thing was known, and a style icon who valued privacy and modesty. Remastered from the original tapes, Future Days present the first five Françoise Hardy albums in their original French format, on deluxe LP and CD.

Following the French success of 1962's Tous Les Garçons Et Les Filles and 1963's Le Premier Bonheur Du Jour, 1964 was the year Hardy went truly international. Having competed in the Eurovision Song Contest and acted in a Roger Vadim film, this was the year Dylan dedicated a poem to her on the sleeve of Another Side and the year she ventured to Britain to record English language songs for the first time.

Hardy's first three French EPs of the year, from which just "Pourtant Tu M'aimes" appears on Mon Amie La Rose, were largely recorded on home soil with Paris-based arranger Mickey Baker. After the third, Françoise changed tack, abandoned French studios and arrangers, and headed to London's Pye Studios. She would not record again in France until 1968, instead employing a series of British producers and musicians that even included then-studio guitarist Jimmy Page.

It was very difficult for me to convince my record company to go to London for the production because my artistic director was having lots of success with very bad arrangements,' she says dryly. Since they were having success with bad arrangements, they could continue like that.'

Picking up the studded gauntlet thrown down by such luminaries as Heldon, Goblin, Zombi and Simon Boswell comes Glaswegian duo Ubre Blanca. Five tracks of Gothic Distopia with an occult leaning matched only by the legends that were Jacula. Giallo Disco is proud to present 'The Sadist' by this incredible group. Recorded by Luigi Pasquini, mixed and art by Joel Stone, Mastered by Alek Stark, layout by Eric Lee.

Baumann/Koek is another hitherto undiscovered treasure of German electronic music, the only album by the electronic music pairing of Wolfgang Baumann and Ata Koek, both from Kempten, Bavaria.
It was mixed in Conny Planks studio and distributed, without a label, by the duo themselves in 1978. The music owes much to the Berlin School: layered sequencer patterns, swirling chord tapestries etc Oriental elements or hints thereof add a particular charm to Baumann/Koek.

Reissue of this great Germany cosmic / synth/ kraut LP! Originally released in 1977! Incl. the cut "Ho Ronomo".....w/ Brian Eno! Tip!

Limited pressing of 300 pink vinyl

REPRESSED !


In the smoggy orange light of a new millennium, the young Deb Demure would take the bus, once a week, from his home in crumbling Hollywood to his grandmother's apartment, nestled in the pastel pristineness of Beverly Hills. During these visits, Deb couldn't help but notice the disconnect between the glow of his grandmother's temple, and the downtrodden, alienated figures that populated the seats of the mass transit that took him there. Week after week, he would observe these characters: fading B-movie starlets, leisure-suited alcoholics, aging transgender prostitutes, and forgotten civil servants. But one fateful commute home, as the twilight waned to the purple Los Angeles night, he realized these figures were not as lost as they appeared - there was a nobility in their failure, reflective of the dignity of the city's vanishing golden era. They were survivors, in need of a voice: a spokesperson for every color of hope and hopelessness, transcendent of gender and time; Drab Majesty became Deb's musical podium for this undertaking. 

Raised in a music-centric household, Deb would find the time to teach himself to play his father's right-handed guitar upside down and left-handed; an unorthodox fashion from where his earliest understanding of chords and harmony were conceived. Exploring the bins of discarded vinyl in his neighborhood thrift stores, his toolkit expanded with the subterranean sonic gems of the recent past.

Influences range from the virtuosic arpeggiated guitar work of Felt's Maurice Deebank and the grittier pop progressions of Red Lorry Yellow Lorry's Chris Reed as well as Steve Severin from Siouxsie and The Banshees. He also studied the harmonic oscillations and utilization of the occult power of vibratory frequency present in New Age sounds of Greek artist, IASOS. In terms of orchestration, he consciously culls from the seaside maximalism of Martin Dupont and mechanized grooves of early Depeche Mode. Like a dualistic pendulum, his vocals swing from a preistly baritone to a choir boy's falsetto reflecting the sepulchral ambiance of church visits with his grandmother.

Currently the drummer for Los Angeles lo-fi rock ensemble Marriages and having honed an unorthodox home recording style, Deb sources his sounds from a repository of "mid-fi" synthesizers and other lesser-quality instruments. Following the release of his debut cassette EP, "UNARIAN DANCES", he also shared a split 12" with synth pop forefathers, Eleven Pond. During the Spring of 2015, Drab Majesty signed with Dais Records and released his first single, Unknown to the I, as a introduction for his first initial foray into the album format, romantically titled Careless.

Dais Records releases Drab Majesty's debut LP "Careless" on June 23, 2015. Written over the course of 2 years, "Careless" is a compendium of songs that have outlasted a malicious burglary of his studio, his struggles with substance addiction, and most recently, the death of his beloved grandmother.

Debut Album from Tel Aviv artists Niv Arzi and Dori Sadovnik

Red Axes is Niv Arzi and Dori Sadovnik, two young men who have always lived in Tel-Aviv and have been making music together since the noughties. Ballad of the Ice is their debut album. Their artistic travels have taken them from the rock scene to the dancefloors, and to creating an album. More than a summary, this LP is an invitation to discover a singular musical identity: a ballad of the ice, a song as light as love and cold as a tunnel, springy as a dance step and deep as nostalgia.

These recordings pull back a curtain to reveal the mysterious world of Syntoma and early-80s underground Mexico.
Founded by Alex Eisenring in 1980, making use of synths and drum machines and driven by a freedom-seeking DIY ethos but informed by a "rock-jazz-prog-experimental" background. These 70s-born influences throw crazed funhouse mirror reflections onto later Kraftwerk, UK synth-pop, post-punk and pure pop forms. The first five tracks are instrumental, evidencing some intelligent melodic and harmonic conceptions, the same can be said for the remaining female/male vocal tracks, but the sense of otherness is boosted as the vocal stylings combine a definite UK 80s feel with an unplaceable geo-temporal
essence, spanning decades and continents. Primarily a trio during the period of these recordings, 1981-84, Syntoma transcends the era and stands apart from their peers with a surprising melodic sense, harmonic adventurousness, interesting arrangements and, above all, an atmosphere of freshness and enthusiasm. Available on CD and 12"
vinyl with liner notes and lyrics.

Celebrating This Heat's 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog - 1979's This Heat, 1980's Health and Efficiency, and 1981's Deceit - with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences.
Isn't it so often the case that the most innovative works of art - the ones that break the ground where others follow - are the ones that seem to reach only the ears of those who take those ideas and run with them

So it is with This Heat and their eponymous debut album frequently referred to as 'blue and yellow' for its ultra-minimal jacket. Within its 48 minute run time, the seeds of post-punk, avant rock, noise rock and post-rock can be found.

Formed in Brixton, a multicultural, and - at the time - down-at-heel part of south London, This Heat were born into a music scene in rapid flux, first thanks to the punk explosion and then via new wave and its myriad offshoots into pop, rock and art-rock. But while many sought to apply punk attitude to chart-friendly sounds, This Heat were concocting some of the most experimental ideas ever committed to tape, taking influence from musique concrète, krautrock, the burgeoning industrial scene and even the dub reggae blasting out in their home borough.

Their debut album had - for the time and for the DIY scene - an unusually long gestation, recorded in sessions between February 1976 and September 1978 in a variety of studios including their own Cold Storage, a converted cold storage room in the Acme Studios complex. Innovating throughout, they combined loops and tape manipulation with live performance and haunting vocals to a complex, dissonant whole. The band recorded everything they ever did - including gigs - and tracks such as Water' were entirely improvised in the studio.

Given the difficult, abrasive, and involved nature of their sound, This Heat never found anything approaching mainstream success, but patronage by the influential Radio 1 DJ John Peel meant they reached a national audience - whether that audience was ready for them or not.

Celebrating This Heat's 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog - 1979's This Heat, 1980's Health and Efficiency, and 1981's Deceit - with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences.
With their debut album and follow-up maxi single Health and Efficiency, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock, placing the trio - Charles Bullen, Charles Hayward and Gareth Williams - at the forefront of experimental music.

However, 1981's Deceit is the one that truly deserves its reputation as a classic of the post-punk era, tying up the myriad threads of their work so far and adding accessibility and melody to the still furiously forward-thinking sound.

Recorded in a variety of studios including the band's own Cold Storage, the 11 tracks put a sense of social anxiety and global paranoia to the fore. Some lyrics were "harvested" from TV commercials ( Sleep'), others described the curtain-twitching of surveillance society ( Triumph'), and some were screamed with raw, ragged abandon, like on Makeshift Swahili'. Makeshift was a big learning situation for me," says Hayward. "I learned to let go with my voice, to release the energy that each song required, no matter where that might lead. The song, about the collapse of language, was central to the Deceit idea."

Musical innovations abound too - drum tracks were recycled from other recordings, albeit in manipulated and mutated form, and Independence' reverses the melody of earlier track Fall Of Saigon'. It's an album whose themes and sounds unfurl before the listener, the mood of edgy, pre-apocalyptic tension growing throughout. Says Hayward: "I still think of this record as a dream within a dream."

This Heat split a year after the release, with Bullen and Hayward completing the final tour without Williams. Hayward went on to form Camberwell Now and Bullen recorded as Lifetones. A tentative 2001 reunion came, tragically, too late - Williams died of cancer within a month of them meeting to rehearse.

Celebrating This Heat's 40th anniversary in 2016, Modern Classics Recordings will re-issue the band's catalog - 1979's This Heat, 1980's Health and Efficiency, and 1981's Deceit - with full co-operation of surviving members Charles Bullen and Charles Hayward. Four decades on, the tireless efforts of This Heat's process can once again be a revelation for new audiences.
Bridging the gap between the debut and their masterpiece, Deceit, the 1980 release found the band settling into a groove at their studio, Cold Storage.

With their self-titled debut, This Heat sowed the seeds of post-punk, avant rock, noise rock and post-rock. The album took the trio - Charles Bullen, Charles Hayward and Gareth Williams - two years to create, and placed them at the forefront of experimental music. The follow-up, the 20-minute Health and Efficiency, proved to be a less labored - and more conventional - record to make.

The eight-minute title track, remembers Charles Hayward, "was improvised pretty much fully-formed," and included the sound of the neighboring school's playground and the band rolling bottles around in the gallery space next to their studio. That's where they found the maxi-single's sleeve too - Pete Cobb's blue and white image was on display in the same gallery. As Charles Hayward notes: "Everything seemed to fall into place."

On the B-side, the drone for Graphic/Varispeed' came from the song "24 Track Loop" on the first album, albeit manipulated, slowed down and sped up. "In the process, we realized that we liked the morphing of the sound from one state to another as the vari-speed combed the sound across the equalization, like a microscope. So we recorded the process itself, which is what you hear here," says Hayward. The intention was for the single to be able to be played at 33, 45 or 78 RPM - which you're welcome to do with this reissue, too.

Cult Club is the musical project of Berlin artists Sally Jørgensen and László Antal. It was formed shortly after Sally and László realized that they could no longer spend their days draped over the couch drinking Pálinka and listening to "Axel F" on repeat. They then decided to put to use their god's gift of talent they so uniquely acquired, and formed Cult Club.
Their interest in melodic oldies songs and electro pop singles became the driving influence for their musical collaboration. They wanted to create a sound that made the people as mad and wild on the dance floor just as it did for the neighbours who couldn't stand listening to Sally and László s music blaring in the apartment complex.
Having a mirrored background in the arts, design, film and performance world, Sally and László decided to create a collaborative project that combined their musical and artistic backgrounds into one. DIY art films and electro pop is the by-product.
Edition of 350 units. Includes an insert with lyrics and additional information. Hand-printed with letterpress.

Limited 1000 copies repress in gravity grey vinyl with printed innersleeve and download code.

Second pressing No color wax or foil stamp jacket Some albums hold the blueprint for something bigger than can be contained on twelve inches of vinyl, the self-titled debut album by The Stone Roses is one of them. Check!
Despite clocking in at less than fifty minutes long, it's a record that shaped the next two-and-a-half decades of British music.

Released in 1989, The Stone Roses was a fusion of rock music and the nascent rave scene in the group's native Manchester. For a period of a few years, the industrial English city that gave us Joy Division, The Fall, and The Smiths was home to a drug-fuelled, club-based scene that earned the town a new nickname-Madchester. Falling squarely in that point of transition, The Stone Roses created guitar music that made people dance, fostering the baggy scene that paved the way to Britpop and Manchester's next mega band, Oasis.

The Stone Roses were the full package: they had the tough demeanor and insular mentality of any group of friends from a rugged city, they had a unique look comprised of bucket hats, Adidas sportswear, baggy jeans, and oversized T-shirts, and they talked a mean fight in interviews. But musically they were groaning with talent-Gary 'Mani' Mounfied (bass) and Alan 'Reni' Wren (drums) made complex rhythms seem effortless, guitarist John Squire could give his beloved Jimmy Page a run for his money, and frontman Ian Brown balanced punk sensibility and hippy mentality.

In the UK, the album is the stuff of legend, its cover still seen on T-shirts in any given gig venue. Around the world, its influence was less tangible, most likely due to the fact that the group was hamstrung by a legal wrangle with the Silvertone label following the album's release.

Musically, it's a mix of the grandiose and the intimate, containing songs so forceful and emotive they've become terrace anthems ( This Is The One' is Manchester United's walk-on music) alongside introspective tracks like the anti-monarchy madrigal "Elizabeth My Dear.' In Waterfall,' there are cascading guitar lines that describe its title like musical onomatopoeia, and in Made Of Stone' and She Bangs The Drum,' there are perfect pop songs too. Most significantly, there are songs in which the band etch their own myth in earth-rumbling basslines and grandiose statements: I Wanna Be Adored,' which opens the album, and I Am The Resurrection,' which closes.

Reissued on Light In The Attic on deluxe double-vinyl, this is your chance to discover the album for the first time or to own it in its most beautiful presentation yet.

* Remastered from the original tapes
* Essay by 'Punk Professor' Vivien Goldman, interviewing key players
* LP Includes download card for full album + 6 bonus tracks

After 1979's Press Color - reissued by Light In The Attic - Lizzy Mercier Descloux went tropical. Mambo Nassau, released in 1981 on Philips Records, saw the vagabond Parisian poet, artist and musician decamp from New York to the Bahamas with her manager and sometime lover, Michel Esteban.

The effect on her music was not as expected. Press Color had been an album of dissonant, distorted disco influenced by the New York no wave scene, but Chris Blackwell's Compass Point Studios provided a hermetically sealed environment into which the island's relaxed atmosphere did not seep. Instead, music from within those four walls - made by Tom Tom Club and Grace Jones - had the effect of a feedback loop. The album, meanwhile, reflected the growing confidence of Descloux as a musician, an increasing interest in African music and the input of two new collaborators: synthesizer innovator Wally Badarou and Jamaican engineer Steve Stanley, the album's de facto producer.

'Since 1975, we had spent seven years in New York and it felt like the end of a cycle,' says Esteban, who co-founded ZE Records, on which label Descloux's first album was released. 'We wanted to get out of Manhattan and move towards Africa. We needed new adventures and change. Mambo Nassau was our next stage.'

Mambo Nassau's skip through styles is like a tour of Lizzy's musical DNA, embracing not just mutant funk, disco and punk but a pastiche of Bavarian oompa music ('Milk Sheik') and even cocktail jazz chanson ('Les Baisers D'Amants"), a duet with DJ Philippe Krootchey.

Mambo Nassau did speak to the mavericks enamored of Lizzy's free spirit but it did not sell well. "We never were commercial," notes Esteban. The album is presented now with bonus tracks including "Mister Soweto", "Corpo Molli Pau Duro" and a cover of Bob Marley's 'Sun Is Shining', all of which were intended to help score a record deal that would allow her to record in Soweto, South Africa. It worked. With the follow-up, Zulu Rock, on the horizon, Descloux's African adventure was only just beginning...

A collection of Cowley's instrumental songs recorded between 1973 and 1980 found in the Fox Studio vaults. This compilation also includes bonus compositions found in the basement of Megatone Records owner John Hedges and the attic of former bandmate Maurice Tani.
Muscle Up is a collection of Cowley's instrumental songs recorded between 1973 and 1980 found in the Fox Studio vaults. This compilation also includes bonus compositions found in the basement of Megatone Records owner John Hedges and the attic of former bandmate Maurice Tani. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted an electronic sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices evocative of Patrick's time spent in the bathhouses of San Francisco. The songs on Muscle Up are divided into four sides, each showcasing a different facet of Cowley's work. Side one opens with an ambient journey through the Amazon. Tension builds on side two, with the instrumental demo version of the slow-chugging masterpiece "I Need Somebody To Love Tonight". On sides three and four things go interstellar with ecstatic space-funk and galactic workouts.


Featuring 75 minutes of music, this compilation contains soundtrack music from two Fox Studio films, "Muscle Up" and "School Daze", plus additional songs from the same era, never before released on vinyl. The tapes were restored and transferred using the same speed and pitch settings, then remastered for vinyl by George Horn at Fantasy Studios in Berkeley, CA.

limited to 300 copies with 350 gram sleeve (metallic ink impression)
Agent Side Grinder is considered one of the present leading bands of synth wave and post punk in Europe. This EP includes 4 tracks of their Hardware album pressed on long cut' format for the very first time. Synth punk and band' electro wave compositions for one of the best male darkwave voices of the moment compared many times to David Gahan (Depeche Mode). Including Rip me, Sleeping Fury, Mag 7 and Look Within.

limited red vinyl pressing!
Another vinyl debut, in this case of the californian solo act of Michael Buchanan aka Identity Theft. An EP of 4 tracks analogically remastered specially for vinyl from his digital albums Night Workers and Black Opsis. Just analog machines on all tracks, pure and brute minimal with evoking, emotional and nostalgic sounds. Including Silent Calliope's Curse, Mirror Stage, Ad Hominem and Locus Of Control.

Medical Records is celebrating it's 5 year anniversary as well as 50th release! Medical Records was founded sometime in 2007/2008 but released it's first double header of reissues in May 2010 with the (at the time) little known Deutsche Wertarbeit (MR-001) and the first album by famed Italo/synthpop guru Alexander Robotnick (MR-002). Since the beginning, Medical has pledged to bring back long out of print and lost new wave, synth, and disco LPs from the 70s and 80s. With an emphasis on high quality heavy vinyl (with a dizzying array of colored wax), these essential records have been made available again at a reasonable price for collectors and new fans to cherish once again. Over time, we expanded our palette to include new artists with a similar aesthetic to our vision as well as crucial 90s reissues in the shoegaze and other unclassifiable genres. With collaborations with Crispy Nuggets, Light In The Attic, and Portland's 2010 Records, the back catalog of releases have spanned much ground. For this 50th release (MR-050), we have chosen to release our first retrospective with a twist. This double LP features a hand-picked selection of tracks intended to highlight our past reissues on the first 3 sides. Featuring such standouts as Lou Champagne System, Tony Carey, Gay Cat Park, and many more, it is a very nice representative collection. The 4th side of the double LP is a unique collection of our new (contemporary) artists performing specially selected cover versions of tracks featured on our past reissues. Examples include the sultry "We R" performed by Roladex (originally by Chrisma on "Hibernation") and "Click" performed by Kline Coma Xero (originally by Disco Volante). This collection will surely be a treat for the fans who have been following our evolution over time and will especially prove to be a staple in anyone's collection who would like some of our reissued hits on one concise compilation. All reissue tracks and new tracks have received additional remastering and mastering (the new tracks) by Martin Bowes at the Cage Studios, UK. This collection will appeal to aforementioned lovers/collectors of rare new wave, private press synth, cosmic/italo disco, vinyl djs, and many more! This double LP is housed in a specially designed gatefold heavy sleeve featuring the Medical logo in a "color blindness test" on the front with the gatefold filled with thumbnails of all 50 past releases. Presented on high-quality 160gram colored vinyl.

When Walking in the Night' by Giusy Dej was first discovered as an incomplete track on the rare 'A Touch of Class' compilation, many italo fans were really surprised when it was later found as a single. And that the b-side Follow Me' was also great!
Both tracks represent the perfect mix of dark italo-disco and minimal-synth elements with raw lo-fi production. Without a doubt one of the most cult and sought-after discoveries in recent years. Not to forget: once again we are lucky enough to have Flemming Dalum on remix duties, here turning in one of his greatest reworks to date!

Completing a brand new trio of EPs, fledgling Creme Organization off shoot Jericho now looks to HoBl for four fresh tracks. HoBl is a Houndstooth related producer who also records as King Cannibal and has already played at fabric, so is sure to go on to even bigger things once the world hears this fine new EP. First up is 'Cold (This City)' which is a chilly bit of techno futurism with weird vocals panning around icy synth lines and reflective metal surfaces. It is dramatic and large in scale as it unfolds with you right at the centre of the unsettling world. 'Deep Devotion' is then a compelling ambient cut with the distant crackle of white noise, afro-vocals and spare drum hits all making for an absorbing bit of ambience that sweeps, sweeps and swoons at a super slo-mo pace. 'Midnight Caller' is a more electro focussed jam with thick synths, crisp pinging drums and more background ambience that is dark and foreboding, whilst final cut 'A Girl Called Pity' is another free roaming electro jam with pain in its synths, paranoia in its atmospheres and funk in its drums. This is truly otherworldly music transmitted from a failed galaxy far off into deepest darkest space.

Coldwave / darkwave debut album by San Francisco based producer Gabriel Ramos.
While the band has gone through some lineup changes Ssleeping Desiress has essentially remained the sole recorded output of Gabriel Ramos, who has been the only constant member. The album runs the boundaries between minimal synth, coldwave, and electro with lyrical themes spanning gentrification to coping with loss.

Ssleeping Desiress has certainly become a gem in the electronic underground with the only official release so far being the great "A Voice / Sister" 7inch on FlexiWave in 2012 and a handful of other songs appearing on numerous new wave compilations. The self-titled album presented here takes the project to the next level, kicking off with an echoing caterwauling drone over repetitive drums and outbursts of synths & guitars, and slowly moving towards a more darkwave sound on the second half.

Gabriel Ramos started making solo recordings while living in Portland, Oregon around 2005. He was inspired by the DIY drive of the city, hosting live shows at his house, (which frequently would consist of friends' bands from San Francisco) and his growing fascination and voracious consumption of music: "I can trace it back to the first time Spector Protector played at my house and getting a tour cassette afterwards from one of the two members, Eric Davis. That and being freshly exposed to groups like Suicide and Arthur Russell were very inspirational to begin recording music on my own, which was something I had been doing, though fairly aimlessly up to that point. In terms of sonic influences, I try and change my process as much as I can (usually through collaboration) and vary the instrumentation. My visions of songs usually end up as a clunky homage to late 70s punk rock, a marriage of dub and krautrock repetition and cavernous space.'

Young Italian producer Leonardo Martelli has been working on tracks since 2008. Unable to find his voice in software, he turned to old analogue and cheap digital hardware to create a bunch of raw tracks that are both experimental and pounding. dark, brooding, lo-fi doom techno, inspired by dirty brown The Hague..

Two Belgian wave/electro bands from the 80's , two very hard to find classics combined in one !!
Remastered by Eric van Wonterghem and comes with an insert in a limited LP edition of 500 vinyl copies , no re-press.
This album includes a FREE cd version, not to be sold seperatly !!

The Happy Hunting Ground - The Happier Hunting Ground originally released as 12 inch EP on Anything But Records / Belgium 1985.

Phantom Limb - Dance Of The Guilty originally released as 12 inch EP on Sublabel, a division of Torso / Netherlands 1982.

Recorded as part of Station to Station, which crossed North America by train from Atlantic to Pacific over 24 days in 2013.
A project by Doug Aitken
Produced and Mastered by Justin Stanley
Designed and Printed by Fraser Muggeridge studio & friends

Croatian ice queen and style icon Popsimonova hits hard and relentlessly with Brokedown Palace, her first solo album and her first release on Electronic Emergencies. Its sound is deep and dark, EBM with a touch of synth wave. The 11 tracks on Brokedown Palace will lead you through Popsimonova's state of mind: fighting, dancing, loving, destroying and rebuilding a strong self. This album is not for the faint at heart!

Flash Cero started in Madrid in 1986 and with just a Roland Juno 60, one Casio 5000, a Simmons drum machine, some effects and basic equipment they recorded a demo with 6 tracks. After a few months the band finally got a contract with a Spanish label to record and release their debut album 1988'.

27 years later this influential and cult techno-pop album is back to life. All original tracks, 6 demo tracks and some live recordings have been remastered from the original tapes and a new artwork has been created with graphic material from band private archives.
1. Reflejo Azul
2. Doble Personalidad
3. Vertigo
4. Plan X
5. Re latividad
6. Ciudad Estelar
7. Sensaciones
8. Superexistencia
9. Nuevo Ser
10. Vertigo (Demo)
11. Ciudad Estelar (Demo)
12. Superexistencia (Demo)
13. Plan X (Demo)
14. Relatividad (Demo)
15. Doble Personalidad (Demo)
16. Nuevo Ser (Live)
17. Vertigo (Live)

Re-issue of A Thunder Orchestra's 'Shall I Do It', a haunting yet beautiful slice of hypnotic proto techno from the vaults of the rich eighties Belgian new beat / synth wave / EBM noir scene, originally recorded in 1985 and released on a handful of cassette tapes on Ladd-Frith records

Die Form is a French post-industrial and electronic band formed in 1977. The name 'Die Form' means '(the) form/shape' in German, like the Bauhaus diary and is a play on the English homonym 'deformed' and on the French homonym 'difforme' (deformed). Die Form is the primary project of electronic musician and multimedia artist Philippe Fichot. He began by recording a number of experimental cassette releases in the late 1970s and formed the Bain Total label to release these early cassettes and various side projects including Krylon Hertz, Mental Code, Camera Obscura, Eva-Johanna Reichstag, Hurt and Fine Automatic.

In 1982 Die Form released their debut vinyl album, 'Die Puppe' in a limited edition of 1,000 copies. These are the first esoteric electronic experiments, often improvised, from what would become the sound of the project. Underlying themes of eroticism, death and other 'taboo' subjects are apparent in both the music and the album artwork, which Philippe also produces. The album was recorded with entirely analog equipment (Roland MC4 Micro-Composer, TR-808 Rhythm Composer, ARP 2600, Kawai 60F, Revox B77). Songs range from hypnotic, minimalistic proto-IDM to pure, daring experimental sound manipulation. Unable to fit into any genre, 'Die Puppe' is in a class of music all its own.


All songs have been remastered from the original master tapes for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is an exact replica of the original 1982 edition designed by Philippe Fichot, with a photograph of a porcelain doll holding a syringe. Each album includes two post cards with never before seen