Pop & Rock News

As the hippie movement hurdled towards its emanate demise, bad vibes infiltrated the rock world. Tainted LSD, loud motorcycles, and a series of brutal deaths spawned inspiration for guitar-wielding teenagers across the globe. Implementing deafening fuzz and satanic screams to create their proto-metal monstrosities, short-lived stoner bands pressed their lysergic experiments in microscopic quantities before blacking out entirely. Lifted from the ashes of the acid rock hell fire are 18 distorted tales of dope fiends, pill poppers, and the baddest of trips.

Deluxe 2LP comes housed in a blacklight poster-style jacket, replete with flocking and lysergic neon. 24 pages documenting the creeping existential dread of the hard rock underground are tucked into the gatefold pocket alongside two dead dinosaur-heavy LPs. Compact disc is packaged in standard Numero slipcase, with digipak and 40-page book, limited to 2000 copies.

As the hippie movement hurdled towards its emanate demise, bad vibes infiltrated the rock world. Tainted LSD, loud motorcycles, and a series of brutal deaths spawned inspiration for guitar-wielding teenagers across the globe. Implementing deafening fuzz and satanic screams to create their proto-metal monstrosities, short-lived stoner bands pressed their lysergic experiments in microscopic quantities before blacking out entirely. Lifted from the ashes of the acid rock hell fire are 18 distorted tales of dope fiends, pill poppers, and the baddest of trips.

Deluxe 2LP comes housed in a blacklight poster-style jacket, replete with flocking and lysergic neon. 24 pages documenting the creeping existential dread of the hard rock underground are tucked into the gatefold pocket alongside two dead dinosaur-heavy LPs. Compact disc is packaged in standard Numero slipcase, with digipak and 40-page book, limited to 2000 copies.

Mass VI shall arrive on 20th October through Neurot Recordings.

It's hard to think of a better person to capture this sonic enormity than Billy Anderson. The legendary American producer was already the chosen one for Mass V, and between Neurosis' Through Silver In Blood, Sleep's Dopesmoker, Eyehategod's Dopesick, Cathedral's Endtyme or Brutal Truth's Sounds Of The Animal Kingdom, among many, many others, he's been a decisive element in the building of many a true classic.

Contrasts have always been deep, and at the very heart of Amenra's music, ever since they started uttering their Prayers and holding their Masses, eighteen years ago already. Tormented darkness has always coexisted alongside luminous beauty, thunderous impacts instantly followed by frail, delicate subtleties. Songs that seem to engulf everyone in the world at once suddenly feel like they are being whispered to you inside the isolation of your solitary womb. The time that we have waited for a new Mass, this Mass VI that is now finally materialized and ready consume and be consumed, seems itself to also be a double-edged sword - on one hand, and although Nowena | 9.10, Mass V's closer, seems as final as anything we've ever heard, like something that should be playing when the world itself comes to an end, we are parched all the same for new Amenra songs to enter our life and remain there as the others from the past have done, and continue to do during the band's impassioned live performances.

On the other hand, the wounds inflicted by Mass V still have not turned to scars, they still itch and they have been made wider by the ways the band has found to interpret their material in different ways in the last few years, from acoustic performances and recordings to several collaborations with like-minded artists, there hasn't been any kind of absence or withdrawal.

In any case, ready or not, Mass VI is here, and more than any other album in Amenra's past, it highlights those contrasts in a deeply affecting way. The eerie quietness of the first couple of minutes of Children Of The Eye announces the coming storm, and the nine explosive, cathartic minutes of this opening song hold in themselves all the strikingly disparate emotions that we have come to expect from Amenra. Colossal riffs shake the very foundations of our being while singer Colin H. Van Eeckhout shrieks so agonizingly that we can almost picture him on stage, clawing at himself, back turned to us, underneath that one spotlight, feelings laid bare for all to see but at the same time locked in himself, profoundly alone. "I cast no shadow, light is too profound", he spits out. When it's almost too much to bear, there is a crack of light, the sonic rage subsides briefly, the guitars are not on fire for a few seconds, and Colin sings to us as in a lullaby, as he has done lately with his own solo project, CHVE, "one tear at a time", as he whispers softly. The delivery is entirely different, but the intensity is the same, the song continues its uninterrupted path until everything catches fire once more. Nothing but the sparse, spoken seconds of Edelkroone could have followed this, a few seconds of respite before the band starts to carve yet another gash in our heart with Plus Pres De Toi. Three opening songs, three different moods, three languages - English, Flemish and French -, but the impact is the same, tremendous. And all of this is just the beginning. Mass VI is an emotional rollercoaster until its very last second, until Diaken is abruptly ended at its very climax, as the last breath of an expiring life.

While every band member is seemingly being stretched to their physical limits throughout, Mass VI comes across as a true unified effort from Amenra, arguably more than ever before. The dedication of Colin, Mathieu, Lennart, Levy and Bjorn to their art has seen their traditional lineup roles blurred throughout the entire process. No one was confined to one task or one instrument. According to the band, bassist Levy wrote and played a lot of guitars, guitarist Lennart and vocalist Colin also played bass, among many other examples of boundless creativity at work. With everyone pitching in wherever inspiration and circumstance took them, the music took on extra dimensions and became so much more than the sum of each part. The guitarwork is able to express unimaginable weight, both physical and spiritual, as well as weaving melodies of the utmost delicacy, and the rhythm section can either rumble like a consuming thunderstorm or retreat to the shadows with the same flowing spontaneity as the atmosphere dictates.

Running Time: 41:01:67

Bruno Spoerri's masterpiece VOICE OF TAURUS LP available for the first time on vinyl since 1978 - Beautiful 1 LP - housed in 350g sleeve and contains all new liner notes by Bruno Spoerri himself, printed oin double side poster inlay - Bruno Spoerri who came to recent attention over his sampling dispute with Lay Z and Timbaland (that he won) plays the 1978 cult classic The Sounds Of The UFOs live at the bluedot Festival (in conjuction with Finders Keepers) wich together with our equally cult classic companion Voice Of Taurus are to be reissued here now! - For fans of electronic music, jazz, early techno , movie soundtracks, library music, cosmic oddities, ambient, sci-fi disco, synthesizers, Pierre Schaeffer, Pierre Henry, Wendy Carlos, Nino Nardini, Yello, Encounter of the Third Kind, UFOs, meditation, and unknown galaxies.

We Release Whatever The Fuck We Want Records is overjoyed to announce the reissue of highly sought-after electronic/sci-fi disco/proto-techno/ambient masterpiece VOICE OF TAURUS by Swiss music pioneer and synth super wizard Bruno Spoerri, available on vinyl for the first time since 1978, housed in a 350g jacket and packed with all new liner notes. Surrounded with a formidable family of legendary synthesizers, primitive modulators, and audio gear transformed and customized à la Spoerri, armed with an extraordinary talent for improvisation, and deeply inspired by the likes of Wendy Carlos, Pierre Schaeffer, and the then freshly released Close Encounter of the Third Kind, Bruno Spoerri envisioned VOICE OF TAURUS as 'electronic pop conceived using an experimental and jazz approach". The result is an out-of-this-world sonic adventure where early techno sounds blend with synth-based sci-fi soundtrack vibes,

Auf ihrem siebten Langspieler klangen die Hamburger im Januar 2005 so direkt und konturiert, wie selten
zuvor. "Pure Vernunft darf niemals siegen" wurde von Moses Schneider (u. a. Beatsteaks) innerhalb von nur
neun Tagen produziert und von Michael Ilbert (Hives, Cardigans) abgemischt. Das facettenreiche, aber
stilistisch ausgewogene Album weckte mit seiner Mischung aus entfesseltem Toco-Folk, driftender PopMelancholia und schwelenden Balladen ein beträchtliches Interesse der Medien und stand neun Wochen in
den deutschen Charts, wo es bis auf den dritten Platz vorrückte. Tino Lange schrieb im "Spiegel": "Die drei
Hanseaten und ihr neuer, aus den USA stammender Gitarrist Rick McPhail haben sich nun endgültig von den
Neunzigerjahren losgesagt. Die typische Melange aus verhuschten Rhythmen, betont abstrakten Texten und
Low-Fidelity-Produktion - als 'Hamburger Schule' ein fester Begriff im Musikbusiness - wurde über Bord
geworfen. Stattdessen bewegen sich die Tocos in lyrischen Klang- und Textgefilden mit deutlich hörbarem
Hang zum Perfektionismus." Die Nachpressung erscheint auf grünem 180-Gramm-Vinyl.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDES 4 PAGE INSERT WITH SONG LYRICS
- LIMITED EDITION OF 1.000 NUMBERED COPIES ON BLUE VINYL

Downset (originally called Social Justice) is an American rap metal band from Los Angeles, California. The band's music blends hip hop, funk, hardcore punk and heavy metal with 'socially aware lyrics'.

In 1994 Downset began gaining popularity in Europe after
touring there with Biohazard and Dog Eat Dog followed by
a tour with Pantera and The Almighty later that year. They
released their self-titled effort in the same year. A year later
Downset returned to Europe with Sullen for a massive
headlining tour. In 1995 they also appeared at some major
rock festivals throughout the continent including Roskilde
and Dynamo.

The band is still regarded as a noteworthy influence on the
then-nascent nu metal and rap metal subgenres. In addition to headlining the second stage at Ozzfest in 1997, Downset toured with prominent bands such as Linkin Park, Pantera, Slayer, Metallica, Red Hot Chili Peppers, Korn, Snoop Dogg, Testament and Anthrax.

Their debut album Downset is heavily sought-after and now finally available again on vinyl. The first pressing of the Music On Vinyl reissue is limited to 1.000 copies on blue vinyl.

With 'Versions By' Prins Thomas takes Dungen on a journey down a new winding road, 17 minute epics, wide open spaces, Balearic ambience, psychedlia, all things cosmic and Kraut grooves. Or as the sleeve notes remark, "recorded, remixed, rearranged, chopped, screwed, glued and partially reproduced with love by Prins Thomas". 

The record is woven together with the same stitch as his seminal mix-albums 'Cosmic Galactic Prism' and 'Paradise Goulash', creating the perfect flow, way beyond a mix. It obvious Prins Thomas has been enjoying himself with the original analogue tapes of the record.

'Dungen has long been one of my favourite bands. Their music is a daily staple in the house, so much so that even my 3 year old daughter recognises any Dungen record from the first few seconds playing. If there's any "dream comes true's" left, having Joakim (Smalltown Supersound founder) request a remix for them comes close. The tracks in question was the music for the 1929 animation film Adventures of Prince Achmed, the music that later became the Häxan album. With all the possibilities AND the limitations these tapes had it would be easy to get lost on the way... and of course, it DID get totally out of hand and I ended up with over an hour of recorded material. It has to be pointed out, this is NOT a Dungen" album, but more like an exploration of the raw material. In some places only using a single sound or two to construct something new, in other places just rearranging sections of songs. Hope you all enjoy hearing this record heard through a new set of ears.
(Prins Thomas, June, 2017).

ustice are a French electronic music duo consisting of Gaspard Augé and Xavier de Rosnay. The band's debut album † was released in June 2007 to critical acclaim. The album was later nominated for a Grammy Award for Best Electronic/Dance Album and came in at number 15 on Pitchfork's Top 50 Albums of 2007 and number 18 on Blender's "25 Best Albums of 2007" list.The band's remix of the MGMT song "Electric Feel" won the Grammy Award for Best Remixed Recording in 2009.
The band released its second album "Audio, Video, Disco" in 2011.

Mogwai return with their 9th studio album which was recorded with renowned producer Dave Fridmann (Mercury Rev, The Flaming Lip's, Mogwai's Come On Die Young and ROCK ACTION) at his Tarbox Road Studios in New York State.

Every Country's Sun named after a friends lack of knowledge in how the universe works, takes two decades of Mogwai's signature, contrasting sounds and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way.

Boxset includes: White vinyl double LP, 12" black vinyl (containing 6 tracks of album demos), CD, plus a set of Tarbox Road photographic prints - Includes download card redeemable from the label.

Mogwai return with their 9th studio album which was recorded with renowned producer Dave Fridmann (Mercury Rev, The Flaming Lip's, Mogwai's Come On Die Young and ROCK ACTION) at his Tarbox Road Studios in New York State.

Every Country's Sun named after a friends lack of knowledge in how the universe works, takes two decades of Mogwai's signature, contrasting sounds and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. It will definitely appeal to fans of the band and will gain many new ones along the way.

***Boxset includes: White vinyl double LP, 12" black vinyl (containing 6 tracks of album demos), CD, plus a set of Tarbox Road photographic prints - Includes download card redeemable from the label.***

Musical mavericks Sparks are back with their 23rd studio album. One of their most accessible albums to date and a master class in pop songwriting

Surfing Magazines, a new garage-rock group consisting of two thirds of The Wave Pictures and one half of Slow Club, have shared 'Lines and Shadows' - the first song to be taken from their self-titled album, due for release on Moshi Moshi on 1st September.

Consisting of David Tattersall and Franic Rozycki of The Wave Pictures, Charles Watson of Slow Club and drummer Dominic Brider, the band have also announced their debut festival appearance at End of the Road Festival this summer, with more dates to be added soon.

Not content with their already ferocious work rate, with three album releases in 2016 alone and over twenty in total between them, members of The Wave Pictures and Slow Club's 11-track debut as Surfing Magazines is an intriguing and exciting mishmash of musical styles - soundtrack surf, weird pop and Americana.

Speaking on 'Lines and Shadows', the first track revealed from the record, the band incorporate a quote from writer Dashiel Hammett whilst speaking on the track:

The problem with putting two and two together is that sometimes you get four, and sometimes you get twenty-two (Hammett). This is definitely the type of song that puts two and two together and gets twenty-two.'

Pulling in influence from all of the great surf music of the 60s and the band's musical inspirations of Bob Dylan and Lou Reed, the band are professedly 'at war' with today's pretentious prog-indie-rock millionaires and bongo pop demigods. They intend to 'rock out and blow your mind, and then mellow out and soothe your mind, then rock out again'

Surfing Magazines, a new garage-rock group consisting of two thirds of The Wave Pictures and one half of Slow Club, have shared 'Lines and Shadows' - the first song to be taken from their self-titled album, due for release on Moshi Moshi on 1st September.

Consisting of David Tattersall and Franic Rozycki of The Wave Pictures, Charles Watson of Slow Club and drummer Dominic Brider, the band have also announced their debut festival appearance at End of the Road Festival this summer, with more dates to be added soon.

Not content with their already ferocious work rate, with three album releases in 2016 alone and over twenty in total between them, members of The Wave Pictures and Slow Club's 11-track debut as Surfing Magazines is an intriguing and exciting mishmash of musical styles - soundtrack surf, weird pop and Americana.

Speaking on 'Lines and Shadows', the first track revealed from the record, the band incorporate a quote from writer Dashiel Hammett whilst speaking on the track:

The problem with putting two and two together is that sometimes you get four, and sometimes you get twenty-two (Hammett). This is definitely the type of song that puts two and two together and gets twenty-two.'

Pulling in influence from all of the great surf music of the 60s and the band's musical inspirations of Bob Dylan and Lou Reed, the band are professedly 'at war' with today's pretentious prog-indie-rock millionaires and bongo pop demigods. They intend to 'rock out and blow your mind, and then mellow out and soothe your mind, then rock out again'

Named after California State Route 39 (aka Beach Blvd.), which runs north-south through Orange County, this 1979 compilation originally released on Posh Boy is a seminal piece of Orange County punk rock. Featuring tracks from The Simpletones, The Crowd, and Rik L Rik (basically a later incarnation of Negative Trend with Rik on vocals), Beach Blvd. set the stage for the Southern California hardcore explosion of the 1980s and showed tons of kids from outside the big city, growing up bored and lonely in the suburbs, that they had a voice and an outlet in this nascent rock form. One of the all-time essential pieces of punk rock from the greater LA area, and although the names on the track list might not be as instantly recognizable as Black Flag, or X, or The Germs, make no mistake, Beach Blvd. influenced a generation of punk kids in a massive way. Finally back in print on LP thanks to Radiation Reissues.

While the previous Amen Dunes records have all been largely improvisational first-take affairs, recorded in a matter of weeks at most, the forthcoming full- length Love is the product of close to a year and a half of continuous work by Damon McMahon. Unlike McMahon's earlier Amen Dunes recordings, which were almost always a solo affair, the music on Love was performed by a variety of musicians, including his longtime collaborators Jordi Wheeler on guitar and piano, and Parker Kindred on drums.

McMahon chose to hold the main recording sessions for Love in Montreal with Dave Bryant and Efrim Menuck of Godspeed You! Black Emperor. In addition to recording the sessions that McMahon produced, members of Godspeed also played on several of the songs. So did saxophonist Colin Stetson and Elias Bender-Ronnenfelt of Iceage, who duets with McMahon on two tracks.

This project has always seen McMahon guided by traditional song and sound, but Love is the first work in which this clearly shines through. The result is de- finitively the most substantial Amen Dunes record to date. These are elemental songs about time, love and memory, as much about the listener as they are about the writer: pure, open, and beautiful.

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

Franco Battiato is often heralded as Italy's answer to Brian Eno. A quizzical composer/lyricist, Battiato turned pop music upside down in the early '70s with three classic LPs - Fetus, Pollution and Sulle Corde Di Aries - that formed a confluence of avant-folk sensibilities and analog electronics.

1973's Sulle Corde Di Aries is the third chapter in Battiato's foray into esoteric pop. While the artist would venture further out into avant-garde terrain on subsequent releases, his early records enjoy a lyrical and playful spirit - eschewing traditional, song-based composition in favor of kosmische voyages.

On Sulle Corde Di Aries, Battiato guides the labyrinthine structural changes and majestic tones to evolve gradually over four electroacoustic suites. "Sequenze e Frequenze," the album's side-long centerpiece, blooms in a polyphony of organic pulses reminiscent of the vibrant keyboard minimalism of Terry Riley's A Rainbow In Curved Air and the rhythmic interconnectedness of Can's Ege Bamyasi.

While Fetus and Pollution are often considered his masterpieces, Sulle Corde Di Aries remains a hidden gem in Battiato's catalogue. With more of a cohesive album-feel than the previous records, Sulle Corde Di Aries slows the pace to take in the sweeping scope of otherworldly sounds and soulful harmonies.

Superior Viaduct is honored to present the first-time domestic release of Sulle Corde Di Aries on vinyl. Reproducing the original gatefold jacket, this reissue is part of an archival series that chronicles Franco Battiato's masterful body of work from 1971 to 1978.

This superbly crafted recording features the versatile Japanese jazz/fusion keyboardist Jun Fukamachi as a veritable one-man band in a lively album that captures the essence of the original Beatles' tunes throughout. The innovative arramngements of the artist, tailored to get the maximum benefit from a surrounding instrument array, produce one of the best technical efforts. Synthesizer effects provide special flavor,' particularly at the close of Lucy In The Sky With Diamonds' on side one, and in the evocative opening of She's Leaving Home' on side two. Fukamachi blends a concert grand electric piano, Arp synthesizer, glockenspiel, bass drum, tambourine and other electronic instruments with results that indicate a group, not a solo, with ample display of each. Recorded ten years after the original, in 1977, this recording still sounds exciting, and an eye-catching cover with a mirror image of the famous photo shoot remains one of the most creative reworks of this 50 years old masterpiece' (Billboard)

Following the recent release of his album A Kind Revolution', Paul Weller continues to push himself creatively and has recorded a brand new, thought-provoking track entitled Mother Ethiopia', which consists of three parts.

Mother Ethiopia' sees Paul keen to try out new avenues and this release takes a very different sonic direction from the sound of his latest album.

Part 1 enlists the help of modern soul band, Stone Foundation - Paul has been a fan for some time and produced, and appears on their latest album Street Rituals' which was also released earlier this year.

Alongside the collaboration with Stone Foundation, are two alternate versions of Mother Ethiopia', one with Bongo Bob and the other, a vocal version featuring London-based Ethiopian 3-piece Krar Collective with the lead vocals (in Amharic) by Krar's Genet Assefa.

Talk Talk's musical journey took them from early 80s synth-pop to early 90s post-rock resulting in a diverse and stimulating legacy. This 1982 release showcases the synth-pop/new wave side to the band. After supporting Duran Duran on their 1981 tour, they released the single Mirror Man, as well as their two UK Top 40 hits Today and Talk Talk - all of which are included amongst other great songs on the album.

Their debut album, The Party's Over was released in 1982 and produced by Colin Thurston, who was a former engineer for David Bowie but was better known for producing Duran Duran's first two albums.
A product of its time, the album is classic synth-pop teamed with lyrical depth that went on to be synonymous with lead singer, Mark Hollis.

Seven yers ago, it was winter break at university in Madison, Wisconsin. There was a snowstorm that covered the city with a still white haze. Not a single person in the streets. I was sitting on my bed with a cheap keyboard and a computer, screaming into the void. I barely remember writing the songs. It was a chaotic point in my life. I had no time to think about process or intent. It was a purge. I do remember taking a break from recording, bundling up, and walking through the barren streets while listening to the demos I'd made. The world, at once, felt clear. After writing and producing what would become the Stridulum EP, I contacted a new friend, Alex DeGroot, to come over and record my vocals. He was studying audio engineering and had more knowledge and gear than I could dream of. He helped mix Stridulum, too, because all I had was a pair of headphones. (Since then, Alex has stuck by me, as a live bandmate, technical director, co-producer, mixer, and engineer.) These songs were a huge leap of faith back then. It was my first time singing without layers of distortion, echo, and reverb. It was the first time I peeled back the layers to find out what was at the core. I'm still on that path today, seeing how far I can push myself into unknown places, whether through clarification or destruction. It's like Stridulum's still here with me, underneath it all. Still, it's surreal to think that this record, made by a 19-year-old girl sitting on a bed in a freezing old house in Madison, would make its way into strangers' ears seven years later.'

4x140g vinyl LP set with 3' mini CD - Limited edition vinyl colours.

Includes 6 never before heard bonus tracks from the archives and several additional audio clips.

Contains huge double sided poster and liner notes by Jerry Casale of DEVO.

- Molecular Mutation = Yellow vinyl with white, blue and red marble

For decades DEVO have been working non-stop at Recombo DNA Laboratories on a new kind of research to keep up with the mutating world around us! That extensive research is now ready for public consumption.

For the first time ever on vinyl FUTURISMO present unhindered access into DEVO's labs, documenting the scientific analysis and demonstrations as conducted by the band between the years 1977-2008! This tireless research has manifested itself in Recombo DNA...an unmissable collection of studio demos and unreleased rare tracks that span DEVO's entire recording career, from their original basement days to their famed 'Freedom Of Choice' era, right the way through to unused demos from their last studio album, included as part of the six bonus tracks taken from the archives that have never been released, or even heard before.

This incredible limited edition 4xLP set is a sonic fusion of demos, alternate versions and outtakes, demonstrating the true breadth and talent of one of America's most important bands. Yet, this set doesn't stop at four beautiful slabs of mutated vinyl, oh no! also included is 'The Somewhere Suite' served up on the format it was originally intended to be back in the May of '89, although it was never actually released at the time, it's contained here in all it's glory on 3' Mini CD!

This summer FUTURISMO give every DEVO fan the release they've been waiting for, a one time pressing of DEVO's Recombo DNA! Each set includes 4x140g limited edition coloured vinyl in the choice of 'Petri Dish', 'Emergency Codes' or 'Molecular Mutation' and a 3' Mini CD. Contained within the wide spined sleeve alongside this fanatastic devolved collection of recordings and bonus tracks, is a huge A1 poster, colour inner sleeves, download code and brand new liner notes by Gerald V Casale of Devo.

DEVO's Recombo DNA is an essential addition to the collection of any science fearing spud, so grab you're lab coat and witness audio mutation in action! Only while stocks last.





















































ZZA H7 | It's Not Nuclear Bombs You Must Fear With Booji Boym

Raunachte huntsmen Die Wilde Jagd return to Jennifer Cardini's Correspondant. Previously spotted on the label's far-reaching 'Compilation 4' album earlier this year, the duo ride back into town with two more chilling tales.
Building on the immersive, otherworldly scenes they've painted on Bureau B - including last year's self-titled album - the duo, comprising Ralf Beck and Sebastian Lee Philipp, continue to paint lavish landscape scenery with thick oil paint synthesis
'Geisterfahrer' (translating to wrong-way driver or ghost driver) is all about the anticipation. The second those introductory cymbals splash and the sinewy synth bass texture start to loop there's an overwhelming sense of drama and suspense that pays off with every detailed ingredient.
We hurtle through the night to the sound of 'Drachenfels'. As its name suggests, it's a mountainous sonic hike which surges higher and higher into the clouds. Bar by bar, ripple by ripple the scenery and physicality grows with a sense of triumph as more elements are added. Reaching the summit the moment the beats finally kick in.
It's down to DFA's Factory Floor to close this vast atmospheric scene with a remix. And they do so with a beautifully blunt electro twist where chunky 909 drums punch a slo-mo break while immense dubby washes of drums scatter down across the analogue groove with a kilter-teasing defiance. A fittingly brazen contrast to the cinematica conjured by Beck and Philipp.

Ugly Papas were one of the leading acts in the Belgian rock
scene in the early part of the 90s. 23 years after their final release, they are back with their third full-length album.Feisty indie rock, jazzy loops, Zappa-esque episodes and Fela Kuti rhythms. With Luc Dufourmont (Two Russian Cowboys, ID!OTS, Bevergem) on vocals.

LTD Ghastly Green LP

Recorded in 1980 but pressed for the 1st time on a privately issued LP in 1987 Arturo Stàlteri's ...E Il Pavone Parlo' Alla Luna ( ..and the peacock spoke to the Moon') falls among the last artifacts of Italy's great wave of musical Minimalism. Like the movement to which it belongs, rigorously resistant to categorizations and definition, this overlooked marvel sculpts a startling singularity. A radical and democratic vision in sound, blending elements of New Age, the avant-garde, and prog, with Western and Indian Classical musics.


Highly talented pianist Arturo Stàlteri debuted in 1974 with Pierrot Lunaire, one of the most original and innovative groups of the Italian progressive scene. After the dissolution of the band begins an inspirational solo career with the prog opus Andrè Sulla Luna (1979), the following year a two-month trip to India left an important sign on him and inspired ...E Il Pavone Parlo' Alla Luna which rises as Stalteri's true masterwork. A complex and ambitious hybrid, built around organ and piano. Each passage struggling for creative autonomy - dislodging themselves from the whole. - as challenging as they are accessible, to all those willing to heed the call. Despite its repetitive rhythms and cycling tones, bound to American Minimalism, ...E Il Pavone Parlo' Alla Luna's complex relationships and breadth of territory, locate it as a distinctly European work - a wondrous late breath, and seminal entry, in Italy's remarkable canon of avant-garde and Minimalist music. A rippling oddity, not quite like anything else.