Pop & Rock News

The mysterious Pejzaz (1/2 of Ptaki) returns to The Very Polish Cut-Outs for another sample-based excursion.
While his debut - 'Ostatni Dzien Lata' ('The Last Day of Summer') was a love letter to the 60's to 70's nostalgia, baroque pop, soul (and their extension through the golden age hip hop), the sophomore is built around dancefloor oriented cuts, deep house, r'n'b and quirky excerpts from Polish pop (like a couple of bars nicked from a Duran Duran cover).
It fills in the gap for a proper house/pop/DJ album coming from Eastern Europe.

Zweites Album von Andreas Kleerup, einem der besten Produzenten Schwedens, der mit Roxette und Cardigans arbeitete und zusammen mit Robyn eine UK #1 landen konnte ("With Every Heartbeat"). Während Lykke Li und Neneh Cherry zu den Gästen seines selbstbetitelten Debütalbums (2009) zählten, sind es auf "2" UK-Electro-Pop-Stars AlunaGeorge, das schwedische Powerhouse Rebecca & Fiona sowie Neuseelands Indie-Helden Yumi Zouma. Entstanden ist ein ausgezeichnetes Electro-Pop-Meisterwerk mit skandinavischem Ohrwurm-Potential.

**LP FORMAT IS VERY LIMITED - PLEASE BE AWARE THAT UNFORTUNATELY THERE MAY BE CUTS TO ORDERS**

For Los Angeles' The Black Queen, the depths of isolation and loss have always functioned as a gateway to being born anew. Much has transpired since the band released their cold, cutting debut album Fever Daydream (a record that Revolver described as 'a haunting exploration of the darker side of pop music'). But throughout it all, the trio of Greg Puciato (former frontman of the now-defunct The Dillinger Escape Plan), Joshua Eustis (of Telefon Tel Aviv, Puscifer, and Nine Inch Nails), and Steven Alexander (a tech member for Nine Inch Nails, Ke$ha, and A Perfect Circle) have emerged as triumphant and intense as ever, documenting their journey via the synth-streaked industrial anthems of their sophomore release, Infinite Games.Formed in 2011 after a chance meeting between Puciato and Eustis backstage at a Dillinger show in which they both realized they were huge fansof each other's work, The Black Queen became a labor of love for its members to explore sounds and emotions that they couldn't quite fit into their full-time projects. Injecting a pained, twilit edge into slick new-wave tracks as fit for the dance floor as they are for some imagined dystopian skyline, the trio have managed to channel their scattered, eclectic influences into a surprisingly cohesive vision. 'We've got a pretty weird cross section,' Puciato says of the band's musical chemistry. 'We can go out for food and listen to Power Trip on the way there, then Baltimore club music on the way back, and then talk about how killer Maxwell's Embrya album was, and then get sidetracked and talk about the Celeste video game soundtrack, then all have to be quiet so that we can grab a voice recording of some weird sounding radio interference. It's all over the place and unusually far reaching,and there's a lot of passion for discovery.'After releasing their 2016 debut album Fever Daydream to critical acclaim however, the trio underwent several major upheavals that cast the project in a completely new light. Puciato's main project The Dillinger Escape Plan disbanded. Chris Cornell of Soundgarden killed himself while Puciato was on tour with him. Eustis put out music under his beloved Telefon Tel Aviv monikerfor the first time since his former bandmate Charles Cooper died in 2009. Thetrio's storage space was robbed. Puciato suffered a relapse into crippling anxiety and paranoia. Once again, in the face of tragedy, The Black Queen had to rebuild everything from the ground up.The first step was acquiring a new studio space, which immensely helped the band get back into the rhythm of freely collaborating with one another, and experimenting with sounds for as long (and as loud) as they wanted. The resulting album, Infinite Games, marks a massive leap forward for The Black Queen. Not only are the band's icy R&B instincts more sharply pronounced; they've also rendered their morbid electronics in more lush detail than ever before, filling out the corners of their songs with chilling ambient passages
that create a wide-screen backdrop for Puciato's eerie, tortured vocals. 'I think this album is actually hookier, but more insidious in that it reveals itself over time,' Puciato says about Infinite Games. His choice of words says something about the album's creeping, pitch-black approach to pop music.With this release, the group have also announced a new undertaking in the form of their new label, Federal Prisoner. Resisting the more marketing-centricapproach that feels standard at this point for the record label game, the goal of Federal Prisoner is to provide an outlet for projects that emerge naturally from The Black Queen's own creative endeavors and collaborations with otherartists. In a way, Federal Prisoner solidifies TBQ's commitment to creating music on their own terms, following the same organic sense of inspiration that led them to forming in the first place. As Puciato puts it, 'It's just an expression of passion and individualism in a way that opens more doors for us to create and to own what we create with minimal compromise. It's as much an act of refusal as it is a statement of intent.'Infinite Games, the second album from experimental Los Angeles synth-pop trio The Black Queen, comes out on September 28th

First English language album from K-Pop sensations who have taken the United States by storm of the past couple of years. An 11 song album featuring collaborations with French Montana, Pitbull an includes a Will.I.Am remix. Available on a deluxe coloured vinyl (colour TBC) and deluxe case bound book CD.

Rave reviews from last years UK live dates. Upcoming UK promo trip.
Radio support across Capital, Kiss, ILR network, with playlists, interviews and ad campaign. Video plays across Vevo/MTV. Ads, features, interviews and reviews across all press. Online/social media activity. Poster campaign and database mailout.

Cape Cira is the lush, hypnotic debut album by acclaimed British producer K-LONE.

In contrast to his clubbier productions, Cape Cira sees the producer explore the full melodic and textural potentials of his sound, drawing influence from ambient, fourth world, and modern classical music to create a work more closely related to the outputs of SND, Jon Hassell, Burnt Friedman, or - more recently - Don’t DJ and Visible Cloaks.

The result of a short creative burst during a grim British winter, the record explores music as escapism, comprising a series of lush, warm vignettes that demonstrate music’s unique transportive power. Cape Cira takes place in a sensuous sonic world between the natural and digital realms: FM synthesisers mimic acoustic instruments, tuned percussion and bird song; and found sounds and field recordings are processed with a hyperreal sheen.

The gift for composition only hinted at in K-LONE’s work to date is on full display here. The artful and intuitive simplicity of the record’s melodies belies the complexity of their composition, where looping polyrhythms create shifting, unresolved patterns and ever-changing counterpoints.

Cape Cira marks the first full length release on Wisdom Teeth - the label he runs with friend and collaborator, Facta. The album stands as an exciting next step for both the producer and the label itself, furthering their reputation as key young voices in contemporary electronic music.

Independent labels have always been risky ventures, marred by uncertainty; you never know how long they'll last for.

Yet, for more than 15 years, Cosmo Vitelli has kept I'm a Cliché going. During this time, his label, its releases, and the artists behind them have found their place in the musical landscape, standing proudly and defiantly in the margins, a place where music is always more interesting and fluid than right in the middle of the spotlight.

After countless EPs, several albums and a compilation, a new chapter in I’m a Cliché’s story begins, one with a greatly reduced release schedule. To mark this turning point, the label releases Bongo Beats & Bankruptcy, its second compilation ever.

Aesthetically coherent and simultaneously diverse in its expressions, Bongo Beats & Bankruptcy is a celebration of the label (and the label manager’s) quirks and eccentricities and a tongue-in-cheek snapshot that brilliantly captures the label’s DNA, featuring friends and allies along with newer faces on 13 exclusive tracks scattered over 3 LPs.

Whether they are downtempo, uptempo or ambient like Orestt's contribution, each tune on this compilation distills in its own idiosyncratic way I’m a Cliché’s essence: electronic music influenced by club culture but in no way constrained to the dancefloor. Ivan Smagghe & Marc Collin’s analog synth track by their acclaimed Volga Select project, June’s dreamy tune at the crossroads between wave and kraut influences, Coy’s mutant synth arpeggios, and an old-school wave cut by Oliver Decrow mixed by Dunkeltier are all tracks boldly standing on the dancefloor's margins.

For those looking for club-ready tracks that with I’m a Cliché’s one-of-a-kind atmosphere will surely find what they are after in an downtempo edit of Awkward Corners, a bouncy and melodic IDM not IDM number by Rouge Mécanique, a bleeps & pan-pipes affair by Benoît B, an esoteric dance-rock number with stated Lynch influences by Fantastic Twins, a freaky electro cut by Linja, a melancholic 707 driven banger by Krikor and finally an anxious and forward-thinking half-stepper by label head Cosmo Vitelli.

About The Word Collected Works

The Word is one of the better-kept secrets of 1980s Austrian disco music. Yet once you put the needle on this record, you notice that it sounds oddly familiar. The awe-inspiring signature piece “Lobster” has the same analogue, slow-moving aesthetic as Zenit’s timeless “Waiting” that was featured on Edition Hawara’s first release. The same goes for the three other wonderfully unconventional, proto-electronic songs: “Easy”, “All my life” and the eponymous “the word”. And there are even more commonalities with Zenit’s LP: The vocals are Linda Sharrock’s, who here teamed up with Karl “Charly” Ratzer and Peter Ponger, the twin brother of legendary Falco producer Robert Ponger. The result of this collaboration is, well, also quite legendary. How this kind of sound emerged in Vienna in 1984 is still a bit of a mystery, but clearly all the stars were aligned when Sharrock, Ratzer and Ponger were jamming in the studio. We at Edition Hawara are very proud to share this secret with you. Just as there are very few lobsters in landlocked Vienna, there are very few records like this

out there.

Der in Berlin lebende Komponist und Produzent Ben Lukas Boysen meldet sich mit seinem bislang progressivsten Album zurück: Mirage ist ein wahrer Formwandler. Zuvor unter dem Alias Hecq bekannt, handelt es sich bei Mirage um den mit Spannung erwarteten dritten Longplayer, den Boysen unter seinem eigenen Namen veröffentlicht, und Nachfolger zu den Alben Gravity (2013) und Spells (2016). Letzteres bescherte ihm nicht nur sehr viel Kritikerlob, sondern begeisterte auch die Fans und viele seiner Kollegen: Es gab u.a. Remixe von Max Cooper und Tim Hecker, während Jon Hopkins einen Titel von Spells zum Eröffnungstrack seiner Late Night Tales-Compilation machte. Wie schon auf seinen Alben Gravity und Spells, wird Ben im Verlauf von Mirage von mehreren Gästen unterstützt: Mit dabei sind unter anderem die Cellistin und Komponistin Anne Müller sowie der australische Saxofonist/Komponist Daniel Thorne. Beide sind auf dem ersten Vorboten "Medela" zu hören, der die Zuhörer*innen auf eine Reise durch kaleidoskopische Klangräume führt, in denen verschiedene Genres ganz spielerisch ineinander übergehen. Das geht so weit, dass man hinterher kaum noch sagen kann, was man da eigentlich gerade gehört hat: "Ich wollte experimentieren und versuchen, diese Aufnahmen mit 100% künstlichen Elementen zu verbinden. Dabei ging ich oftmals so weit, dass ein Instrument zu einer Abstraktion seiner selbst wurde, dass sich der Beitrag eines Musikers an einem Song eher wie ein zentraler DNA-Strang des Stücks anfühlt, aber nicht mehr wie eine deutlich erkennbare Spur." Insgesamt fühlt sich Mirage, wie im Titel bereits angedeutet, wie eine klangliche Illusion, eine vertonte Luftspiegelung an: Jedes Stück vereint Klänge und Techniken, die dermaßen bearbeitet und verändert wurden, dass sie wie überbelichtet wirken. Das allzu filzig wirkende Klavier von "Clarion" etwa, Daniel Thornes Saxofon auf "Medela", die einzelne Gesangsnote von Lisa Morgenstern, die sich im Verlauf von "Empyrean" in unterschiedliche Akkorde aufspaltet. Man kann diese Elemente durchaus erfassen, kann sie aber auch ohne weiteres übersehen - wie auch die beiden Klaviere von "Kenotaph", die man für ein einziges Instrument halten könnte. Genau genommen sind es zwei Instrumente, die sich in unterschiedlichen Räumen, ja sogar in unterschiedlichen Ländern befanden. Eins ist digital, das andere akustisch.

The turntable’s tonearm waves and indicates the West direction, as if it wanted to tear and
take off for Brazil? It’s alright; it's just playing Nação África, new single by Camarão
Orkestra, the most Brazilian of Parisian bands.
Sinewy bass and battery pulsating, it’s stitched to the dancefloor that "Nação África" spreads
its groove. And it's with a variety of keyboards and synthesizers that the tight production
maintains a level of constant motion, surrounded by the burning riffs of the brass section and
Amanda Roldand's refreshing vocals.
Anywhere close to a good record, you’d usually find Patchworks hanging around. He
satiates here his compulsive remix addiction, first by loosening the pressure of the bass,
giving us more fresh air, and covering the mix with airy synth patches. Then with a dub
version where he puts vocals and instruments inside echo chambers and effects corridors of
different scales. The bass becomes rubbery, the beat is robotized and, slowly, an electro
vibes seizes the title.
Nação África announces the return of Camarão Orkestra in the crates, just an appetizer
before a new album… Or two…

"Touched Music and Furthur Electronix two forward thinking labels have merged together to put out exclusive compilations. Putting some of the best music in the electronic genre in one place.”

Following the success of Hiroshi Sato's reissue, Wewantsounds is proud to announce an ambitious programme to release Akiko Yano's albums outside of Japan starting with her 1981 synth-pop masterpiece 'Tadaima.', co-produced by Ryuichi Sakamoto and featuring YMO. The reissue includes original artwork by cult illustrator King Terry, a 2 page insert and OBI Strip (LP) plus a new introduction by renowned Electro DJ Joakim. Japan's best kept secret, Akiko Yano is one of the most ground-breaking artists to come out of the 70s Japanese music scene along with HaruomiHosono, Ryuichi Sakamoto. A piano child prodigy, Yano started her solo recording career in 1976 at just 21, recording her debut album "Japanese Girl" with no less than Little Feat as the backing band. This album created a stir on the Japanese scene and Yano was on the map. She went on to record a series of superb albums mixing Funk, Electro and City Pop featuring the cream of Japanese (and sometimes American and English) musicians; The fact she was producing, writing and composing herself made her a true maverick in a very male-dominated industry. These albums, incredibly, have never been released outside of Japan to this day. "Tadaima." ("I'm home" in Japanese) recorded in 1981 is Yano's fith studio album co-produced by her then husband Ryuichi Sakamoto and featuring all the musicians from YMO (HaruomiHosono, Yukihiro Takahashi and Sakamoto), the group she was touring with at the time. "Tadaima." is Yano's first attempt to leave the acoustic piano aside and delve into the synth sounds of the early 80s. The result is a fascinating electro pop masterpiece showcasing her talent as a writer, musician and singer, creating her own unique universe. Mixing Japanese and English lyrics, Yano crafts perfect pop songs such as "Tadaima" "I Sing", "HarusakiKobeni" (which became one of her most famous songs after its use in a Japanese cosmetics ad), while "Taiyo No Onara" is a suite composed of nine short stories written by Children. Contributors on Tadaima also include ShigesatoItoi, one of Japan's most famous copywriters (for Studio Ghibli among others) who wrote two tracks on the album and his friend legendary illustrator TeruhikoYumura - aka King Terry - who revolutionised underground manga in the 70s with his 'heta-uma' (bad-good) style, as showcased on the album's striking artwork. 'Tadaima.' is the perfect entry point to Akiko Yano's unique body or work.


The reissue comes with the original obi strip artwork, extensive liner notes and a new introduction from Joakim

Modula is back on Bordello! Cosmic boogie, futuristic funk and deep space disco: the Neapolitan synth wizard wraps it all up with Robotic Body Shake.

After half a decade of wait, Berlin-based producer Douglas Greed makes his long-awaited return with 'Angst' - the 10-track followup to his 2014-on BPitch Control released album, 'Driven'. Fruit of a transitional period that's seen him go through all kinds of creative ups and downs, 'Angst' refers to the inherent ambivalence attached to the sentiment of fear. In Douglas' case, fear - though crippling at times - is also what makes him tick; the catalystic force that pushes him to outdo and reinvent himself so constantly. Born out of the hope to find that crucial innocence of his younger music-loving self again, 'Angst' finds Douglas brushing a ten-part tableau of warmly atmospheric, quietly nostalgic pieces, in the tradition of his previous releases for BPitch, Freude Am Tanzen, 3000 Grad et al - whether solo or under his parallel project YEAH BUT NO alongside Fabian Kuss and EATING SNOW with Mooryc. Infused with the refined pop sensibility that's become trademark to his sound, the album reels out a soul-fulfilling narrative that very much feels like a second wind; deftly swinging the pendulum betwixt sun-streaked melodies, transporting emotional crescendos and intricately woven textural membranes to lose yourself into. Starting off with the sense-awakening and supremely resilient electro-pop of 'Roll with the Punches', featuring Joy Wellboy on vocals, whose upcoming LP was co-produced by Douglas, the album alternates dynamic highlights - from the jazz & trip-hop-indebted 'The Taste of Dust' to the Border Community-esque trancey charm of 'Everybody Wants to Live in a Mansion' - and wistfully enticing cuts like 'The Few', 'Numbers‘ (both Songs with vocals by Odd Beholder) or the polyphonic chimes & brass-laden roller 'Random Groove'. As its title suggests, 'Angst' also cuts a wide window open into Douglas' bruises and introspective leaning, shining with maximal depth on the thoroughly intimate coming-out of 'Wie Man Unsterbliche Tiere Züchtet' and 'Fight For You', where day-to-day anxieties give birth to larger-than-life narrative arcs and corollas. The ironically airwaves-ready closer 'Not Afraid‘ with Joy Wellboy makes for the vanishing point of Douglas' full-length journey, but no ending to it by any means. It's a gift that keeps on giving.

Nach einer halben Dekade meldet sich der in Berlin lebende Produzent Douglas Greed mit einem neuen Album zurück. Er schließt mit seinem lang erwartetem Album „ANGST“ da an, wo er uns auf BPitch Control mit „Driven“ zurück ließ: schimmernde Melodien zwischen Sonnenuntergang und Sonnenaufgang. Die zehn Songs sind das Ergebnis einer Periode persönlicher und kreativer Höhen und Tiefen. Der Titel des Albums bezieht sich dabei auf sein ganz eigenes ambivalentes Verhältnis zu „ANGST“. Denn obwohl ANGST manchmal lähmend sein kann, ist sie für Douglas Greed auch eine treibende Kraft, die ihn pusht und dazu bringt sich selbst neu zu erfinden und zu hinterfragen.

Das Album schließt an seine Veröffentlichungen für Freude Am Tanzen, Bpitch Control und 3000 Grad an und ist doch anders. Es ist der Versuch der Rückbesinnung auf das unschuldige Gefühl des Musik-Entdeckens – wie damals als junger Teenager. Und so haftet „ANGST“ eine gewisse Nostalgie und atmosphärische Wärme an, die man auch von seinen Projekten YEAH BUT NO (mit Fabian Kuss) und EATING SNOW (mit Mooryc) kennt.

Die poppige Handschrift Douglas Greeds, versteht es dabei ausgezeichnet Geschichten zu schreiben, die voller Herzblut sind. Erzählungen untermalt von herbstlich scheinenden Melodien, feinen Texturen und cleveren Höhepunkten.

Das Album startet mit dem sensibel unaufgeregtem Electro-Pop Schieber „Roll With The Punches“, welches die Vocals seiner Freunde von JOY WELLBOY featured, für die er auch deren kommendes Album co-produziert hat. Es folgen Höhepunkte verschiedenster Polaritäten: Vom jazzigen, triphopartigen Deephouse-Track „The Taste Of Dust“ über dem mit leicht süsslichen Geschmack von Trance versetztem „Everybody Wants To Live In A Mansion“ zu dem Indietronic-Songs „The Few“ und „Numbers“ mit ODD BEHOLDER oder der polyrhythmischen und von dröhnenden Bläsern durchzogenen Deephouse-Hymne „Random Groove“.

Douglas Greed verliert dabei das Thema „ANGST“ nie aus den Augen. Sie schwebt Melodien werfend über den Songs und schleicht sich in die zehn Geschichten. Ob als erzähltes Narrativ in „Wie man unsterbliche Tiere züchtet“ oder als zerbrechliches Bindeglied zwischen den Elementen wie bei „I Fight For You“ – die tägliche Portion Angst wird mit einem Löffel Zucker gereicht. Schließlich wird am Ende des Albums dann aber auch ganz präzise von Joy Wellboy klar gestellt „I’m Not Afraid“. Ein Album vor dem man keine Angst haben muss, es auf REPEAT laufen zu lassen!

The neon lights that decorate a dive bar's window cast a vivid reflection in rainwater on the pavement outside, as steam rises from deep beneath the ground. A slow pan across the scene, past alleys cast in shadow, twilit corners & glass doorways streaked with the mist of humid bodies fuming inside: the camera catches the denizens of an unnamed city, studying faces heavy with secrets too sad to bear. Cut to the motorway. Sleek cars barrel through the night. Sirens moan. Engines rev. You're behind the wheel, over the edge as the credits roll.

This film does not exist — but the soundtrack does. Symmetry is Johnny Jewel & Nat Walker, & Themes For an Imaginary Film is their two-hour cinematic opus pokus, a sprawling score for a movie that screens only in your mind. A 'conceptual tangent between Glass Candy, Chromatics, Mirage, & Desire's more abstract sides,' as Jewel himself describes the project, Symmetry is a vigorous, electric, restless exploration of ideas on the bleeding edge of instrumental sound. Analog synthesizers roll and crest, drums collide, keys cascade clear & crystalline. These themes evoke the phantasmic images that inspired them: urgent and ethereal, sinister & romantic. It's a neo-noir epic of pink fog & femme fatales hidden behind rain drenched windshields after dark.

Produced By Johnny Jewel & Nat Walker

EuroNoize was a live music event modelled on the Eurovision song
contest, but featuring a bizarre cast of DiY, alternative and underground subpop bands. Taking place on May 23rd, 2019 at the Scala in London, it featured musicians from across Europe performing one new song in front of a live audience.

Like pop music, the idea of Europe belongs to everyone and no one. Via colonialism this idea has been universalized and exported as a unified fantasy that collapses together Alexander the Great, Marco Polo, Picasso, Napoleon and Heidi. If EuroNoize is a celebration of any kind of Europe, it is not the fortress that we live in today, but the infinitely expanded´freedom of movement, collaboration and cultural exchange that it allows us to imagine.

Now on gatefold vinyl, the songs from EuroNoize are a celebration of the obscure, the niche and the uncategorizable, music that runs deeper than national borders. It represents the secret international fellowship of punx and weirdos stretching from Russia to Ireland.

Richard Sadface was born during a Midsummer's Nightmare on a rooftop in Cologne. He did not become the fiddler on the roof because since his birth he suffered from severe fear of heights. Richard Sadface lead a lonely life. Never did he become the dream of someone else. Instead, the thought of him made others turn uncomfortably in their sleep. Never could he claim to be the eyes or the mask of another. The others all looked away. Richard Sadface was a sad man. Richard Sadface by God. Music by Superpitcher.

Originally released in 1971!

Seemingly unstoppable, Palermo Traxx Vol 2 is the third release from The Home Current for Castles in Space during 2019. Following the polished industrialisms and eighties inspired grooves of LP “Civilian Leather” and an immediately sold-out 7”, Martin Jensen returns with his final record of the year recorded in praise of a long deceased nightclub called Candy Junction. Recalling the euphoria and positivity of a club night, this towering work shift gears from “Civilian Leather” to full on, futuristic, air cooled dance floor assault. The original plan for this record was to release a white label promo with a facsimile DJ feedback sheet. Straight from 1991 with love. However, as the music developed, it was agreed that this needed a full official release with all the tinsel and trimmings.

Correlations are Neil Hale and Stuart Cullen (aka Pilote).
Hailing from Brighton and Frome they have made a wonderful record which is a genre defining mix of electronics, acid, psyche and acoustic folk. With vocoders.

Neil and Stuart have been releasing music under various guises for several years. Stuart’s last Pilote LP “The Slowdown” garnered much acclaim and radio play particularly across BBC Radio 6 Music shows including Lauren Laverne.

“Before The Heat” draws on electronic influences from a broad range of artists such as Cluster/Harmonia/Ashra and other favourites such as Felt, Nick Drake and classic psych-folk loner, Gary Higgins. The record was mixed with the assistance of old friend Simon James from The Simon Sound and Black Channels who have previously released a massively successful 10” EP on Death Waltz records.

In the spring of 2019 ShitKid - Åsa Söderqvist and Lina Molarin Ericsson - headed over to the US for a couple of shows at the SXSW festival in Austin, TX but ahead of the festival they managed to squeeze in a couple of days in the studio – first in LA with the legendary the Melvins and then in Austin with Paul Leary of Butthole Surfers. The new album Duo Limbo/”Mellan himmel å helvete” collects the recordings from these two sessions, half of which are ShitKid’s first recordings in their native Swedish – with a set of four songs to start with the band set out to record them in both English and Swedish, clocking in at just over 26 minutes. It’s ShitKid’s finest work yet with the duo backed by an all star line-up of Buzz Osborne (Melvins) and Dale Crover (Melvins, Redd Kross) on half of the album and Paul Leary and Josh Freese (NIN, Devo, The Replacements etc) on the other half.

Für sein Debütalbum "Baltus" wurde Gundelach für den norwegischen Grammy nominiert. Auf dem Nachfolger "My Frail Body" zeigt sich der Electro-Pop-Künstler sanfter und besinnlicher. Das Werk kombiniert elektronische Nordic-Noir-Atmosphären mit Pop-Strukturen. Als Featuregäste treten diesmal sein Langzeit-Kollaborateur Bendik HK sowie die norwegische Pop-Sensation AURORA auf.

Setting off Signal Life's blacklabel series 011-015 as well as debuting on the label is Inner, Finland's worst kept secret at least judging from the vast radio support courtesy of crucial stations like London's Rinse FM. Based in Tampere, Finland, Inner has been making waves in his home country for a few years now and finally gets a well-deserved first international release. Drawing equally from Atlanta rap, movie soundtracks, grime and dancehall, Inner's music escapes a singular genre definition. Equally, his tracks emote as much as they bang in a club. Pain sets the atmosphere of the EP with a nod in a familiar direction, but swiftly switches up into a ice cold blend of futurist RnB and grime with a golden era Timbaland sensibility. Crystal Ember furthers this development with equal doses of south London grime melodics and feminine pressure. On the flip, Closa presents a thoroughly warped flex where staccato subs make your eyeballs vibrate as icey staccato synths double up showcasing Inner's ability to rethink the future of club music in 2017. Finally, certified emotional banger Roll Out continues the staccato rhythmics as squarewave melodics and hums are accompanied by long detuned grime bass streaks.

Finally released on vinyl following a slew of acclaimed, instant sell out releases for both Polytechnic Youth and Ghost Box, comes the magnificent debut full length Example One' from Brooklyn based LISTENING CENTER.

Initially released on cassette only via the This is care of' imprint in 2012, the call for a vinyl release grew pretty intense for both artist and label so -here you go. Enjoy, it's a beauty!

The set provided an introduction to the -then new- artist, and explored aspects of library music, kosmische musik, and lost soundtracks. Dusty analogue synths and drum machines, along with fragments of speech and field recordings provide a soundtrack as we clear a path through the undergrowth of memory.

The material was recorded in Brooklyn and mixed at This Is Care Of studio in 2011, and originally included Titoli', (released by Ghost Box as part of their 7' study series, paired with an epic remix Town of Tomorrow Today' by Pye Corner Audio.)

This nigh on essential reissue -a first time on vinyl- via Polytechnic Youth, now affords us a another look through Listening Center's retro-futuristic window, and is dressed as beautifully as it sounds, reverse board sleeves printed inside and out and released as a one time pressing of 500 only.

Berlin based duo Evvol will release their second album 'The Power' on their own imprint Mad Dog & Love via the !K7 Collective. A meditation on love, the intimate and personal offering is a product of turning their thoughts inward after time spent considering the state of the world and politics over the last year. "It's about all relationships, including but not limited to our own", they explain, "and It details the intimate powers that bind us together."

First opus of the new series is La Batterie, by the UK's Richard Podolor and Sandy Nelson in 1983 in the hypnotic shimmering disco of 'Let There Be Drums.' The music of Polodor and Nelson is being given new life by Kalahari Oyster Cult. Alongside the entrancing original are two remixes. First up is Australia via Amsterdam's very own Max Abysmal with his 'Spooky Remix.' Adopting and adapting the raw energy of the '83 version, Abysmal layers ghostly notes and spectral snares into his mechanical remake. The flip takes on a different slant with 'Shotgun' taken from the EP of twenty fives years ago. A super slick work of understated funk shot through with bold keys and powerful chants to show another side of the UK pair. The fiercely talented Benedikt Frey closes, turning his daringly able hand to 'Let There Be Drums.' He keeps the vocal line, the rest of his rework is dipped in a thick heart of darkness threat. Pulsing thumps, menacing notes and danger lurk in this jungle of Frey's own making.

Aus seiner Mumble-Generation sticht US-Rapper Trippie Redd als hochmusikalischer Melancholiker heraus. Sein jetzt endlich physisch erscheinendes Album A Love Letter To You 3 behandelt die schmerzhaften Konstanten in der jungen Karriere des Turn-up-Romantikers.

Im Gegensatz zum unantastbaren Macho-Gehabe seiner Genre-Kollegen, stülpt Trippie Redd, auf 16 Songs, sein Innerstes nach außen und rappt über seine intimsten Verfehlungen und Schwächen - so authentisch und melodiös wie ihm, gelingt dies derzeit keinem Newcomer. Er verkörpert wie derzeit kein anderer den wiederentdeckten Crossover-Charme, der auch die viel zu früh verstorbenen Lil Peep und XXXTentacion zurück in den Mainstream brachte. Auf seiner aktuellen Videosingle Topanga nutzt der 19-jährige den Topanga Canyon in den Santa Monica Mountains als Metapher für einen Ort der Heiligsprechung.

2017 veröffentlichte Trippie Redd die ersten 2 Teile seiner Love Letter-Reihe, auf der ihm mit Love Scars sein bisher größter Solo-Wurf gelang, der zugleich identitätsstiftend wirkte. Fast wäre er dann als Feature auf der größten Single des Jahres gelandet. Drakes God's Plan wurde dann aber doch ohne die Hook und den bereits geleakten Part von Trippie veröffentlicht.

Fresh and easy kommen die Beats daher und ebnen sich den Weg durch ein Konvolut an Funky Sounds und Free Form Poetry. Die Mami Digital EP ist Release 001 auf Funk-o-tronic Records. Gerappt und getextet hat Spoken Word Mistress Mami Watu. Die Zusammenarbeit mit der Band Katze Cookie kommt im Jahr 2012 zustande, als sich die Musiker im beschaulichen Erfurt über den Weg laufen. Geschmeidig schlängeln sich die Tracks durchs Gehör. Wenn Shar'Ifa Mami Watu ihre treibenden Verse ins Mikrofon schickt, Erlebtes und Inspiration eins werden, reiben sich Gitarren an pumpenden Drums und transportieren die Klänge ins Mark und (Tanz-)Bein des Zuhörers. Intensität ist das was die Akteure und deren Musik ausmacht, Funk-o-tronic Soundz die gemeinsame musikalische Sprache. Mit Elbee Bad, dem Prince of Dance und Gunne haben sich zwei versierte Gastproduzenten an den Titeltrack gemacht und diesen auf ihre jeweils ganz individuelle Art und Weise interpretiert.

Microdosing is a series of compilation 12”s selected by Julienne Dessagne aka Fantastic Twins, and designed in collaboration with French visual artist Geff Pellet. Microdosing is a collective experiment aimed at helping you fighting back your modern obsession with happiness. You may deserve a nice day but the day does not need a nice you, nothing should be forced, everything is permitted. Microdosing will provide you with sonic healing weapons on regular basis and at irregular dosage. Those doses will favour psychedelic social techniques against self help tyranny, creation over soma, provoking over numbing, our outer-selves over our inner-selves. Microdosing refuses the fatality of the pleasure principle. Life is a struggle, time to embrace it. —— "My battery is low and it’s getting dark” We at Microdosing will make Opportunity’s famous last words fully ours. Some would see these as an epitaph on a black screen, we embrace them as a reclaimed fragility. Are we grains of sand wandering in space, hoping for a goal? No. We are the cosmos, the cosmos is us, unafraid of the end, unafraid of the void. Before the rise of the infinite silence, Microdosing brings you new guiding lights, white sun or black hole being a simple permutation of the kinetic rainbow. Oceanic’s “Parallel Lines Of Stripes” is a meandering mantra, an synthesised Moebius ring, a mission to your heart, that furthest star in the sky. Gilb’R’s “Cosmogonie” simply reminds us of the profound relation between spatial systems and the holy act of birth (cosmo, world and gon, conceive). The universe is a body, your body is your universe. Lucas Croon’s “Threshold Stimulus” is the soundtrack of a never ending voyage, the man is on a trip to the core sanctum. Imagine Space as a reverberation room cladded with bakelite. Losing yourself in delay repeats sometimes is the shortest way. Neuzeitliche Bodenbeläge & Sam Irl’s “Faeden” is another hymn to the umbilical chords joining us to the outer world, a black monolith of kraut acid, a pagan dance as portal to a destination only you can choose. Microdosing will be back soon with more enablers, helping to turn your petty struggles into a search for a meaning of life. The Quest lives on.

With their much anticipated stadium tour underway, the Spice Girls announce the re-release of Spice Girls - The Greatest Hits, available for the first time as a limited edition picture disc vinyl. The special version contains no less than nine No.1 smash hit singles including ‘Wannabe’, ‘2 Become 1’, ‘Spice Up Your Life’, ‘Viva Forever’, ‘Goodbye’ and many more.

Originally released as an album in 2007, the double sided picture disc, released via UMC/Virgin EMI will be available from June 28th and comes packaged in a die-cut sleeve, with 12”X12” insert and a digital download code. With their much anticipated stadium tour underway, the Spice Girls announce the re-release of Spice Girls - The Greatest Hits, available for the first time as a limited edition picture disc vinyl. The special version contains no less than nine No.1 smash hit singles including ‘Wannabe’, ‘2 Become 1’, ‘Spice Up Your Life’, ‘Viva Forever’, ‘Goodbye’ and many more.

Originally released as an album in 2007, the double sided picture disc, released via UMC/Virgin EMI will be available from June 28th and comes packaged in a die-cut sleeve, with 12”X12” insert and a digital download code.

Derek Carr and Spin Fidelity shares the pleasure on this special EP with one track on each side. Derek's track "Land Of Oz" takes us back to the Summer Of Love days with a perfectly executed dancefloor groover , a future classic full of love and warmness. On the flipside you find Spin Fidelity's track "Orion" which is a high quality futuristic electro bomb!

Launched in 2018 with two first EPs, Broken District continues to explore alternative music styles with the third instalment of its VA series.

The label's territory here expands to Jazz & Soul-influenced electronic music landscapes, with productions from Turbojazz, Setwun, Leon Revol, Duktus and the label's co-founders Jus Jam and Momla.

LP 180 G Vinyl Remastered by Göttsching, Long deleted Vinyl Reissue. Remastered by Manuel Göttsching and released on his own label MG ART. Inventions for Electric Guitar is Manuel Göttsching´s first solo album, recorded: July-August 1974. The album was written and performed entirely by Göttsching on electric guitar, hence the title. Manuel played his guitar and used a 4 track TEAC A3340, Revox A77 for echoes, WahWah pedal, volume pedal, Schaller Rotosound and Hawaiian steel bar.

Melvo Baptiste steps up to mix his second Glitterbox compilation, 'Pump The Boogie!', featuring the upfront disco heat that has been setting off the dancefloor all summer at Glitterbox parties in New York, Amsterdam, London and Ibiza. A contender for the hottest party on earth, this Glitterbox season saw record numbers through the doors at Hï Ibiza, with Melvo himself playing his first headline sets in the club's main room, the Theatre. 'Pump The Boogie!' reflects the sounds of the Theatre, moving from the joyful 80s and 90s sounds of The Emotions 'Turn It Out' and Kathy Brown 'I Appreciate' through modernised classics like Sister Sledge 'Got To Love Somebody' remixed for 2018 by disco maestro Dimitri From Paris. More so than ever this edition has a heavy focus on the latest upbeat dancefloor killers from the last 12 months, like Selace 'So Hooked On Your Lovin'' (Mousse T.'s Extended Disco Shizzle) and Gershon Jackson presents Reset Preset 'Hands Together' (House of Omni Hands Together Extended Club Mix), the exceptional new release from the Glitterbox imprint.

Demonstrating what Glitterbox does best, 'Pump The Boogie!' explores authentic dance music enhanced by live instrumentation. Mighty Mouse 'The Spirit', another Glitterbox release, uses percussion and brass blasts to build energy, DJ Mes 'Da Change' (Miguel Migs Salty Rub) carries a captivating guitar hook and Paradise Express 'Dance' (Special 12' Disco Mix) features the unmistakeable backing of a full disco band. The album's namesake 'Pump The Boogie' (Basstoy Boogie Mix) by Mark Picchiotti goes full throttle with chest-pounding groove, strings and earworm vocal. Melvo's 'Pump The Boogie!' beckons you to the dancefloor once again with a truly stomping, timeless compilation.

The Blue Beat Label celebrates 60 years during 2020. A very special release on 7" Vinyl for Record Store Day 2020, featuring a double A side with an exclusive Record Store Day 2020 track "Blue Beat Is Back in Town" by Marcus .,Upbeat/.and the very first A side ever released on the Blue Beat Label "Boogie Rock" by Laurel Aitken.

This is an exclusive release for Record Store Day 2020 on a very special anniversary year for The Blue Beat Label. Marcus Upbeat said "I really look forward to The Blue Beat Label releasing this exclusive celebration track for Record Store Day this year alongside the first ever single released on The Blue Beat Label Boogie Rock by Laurel Aitken. A very unique and special double A side 7" vinyl release for Record Store Day 2020."

A national radio, national press and TV PR campaign with an extensive online promotional campaign will be implemented alongside Record Store Day 2020 promotion.

Instore promotional materials and activities can also be made available.