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No other pairing in the history of Darkwave ever matched the unfettered creativity, resolve, and DIY attitude from the collaboration between the two creative minds that compromise Lebanon Hanover.

The meeting of the Swiss musician Larissa Georgiou, aka Larissa Iceglass and British artist William Maybelline a decade ago in the latter’s hometown of Sunderland in the UK, was a monumental occasion, reverberating throughout the European music scene and even across the Atlantic.

Lebanon Hanover would emerge from the peak of the world-wide minimal wave revival, with their 2011 split 7-inch record with La Fete Triste issued as the catalog debut of Europe’s most ubiquitous Techno-Industrial EBM labels, Aufnahme + Wiedergabe

With Berlin as their new physical home, William and Larissa would soon, however, join the Fabrika Records family. From here, they would go on to release two full-length albums through the Athens based label, starting in early 2012 with their winter debut LP The World Is Getting Colder, and it’s All Hallows Eve follow up Why Not Just Be Solo.

It was Lebanon Hanover’s 2013 third studio outing Tomb for Two that would go on to cement the duo’s legacy, with the album’s single “Gallow Dance” becoming a post-punk anthem for the times, with artwork became the band’s defacto logo. Not only that, the song “Sadness is Rebellion”, also featured on the album, became the band’s official Mantra.

Two years would pass before the release of 2015’s critically acclaimed fourth record, “Besides the Abyss”. In the intervening years, William and Larissa, initially a couple, would find other partners, and relocate to Athens.

Meanwhile, Lebanon Hanover as a live act would expand rapidly in popularity, exceeding capacity during their performances at Wave Gotik Treffen in Leipzig, and performing sold-out shows across Europe and the UK.

With the playful Babes of the 80s maxi-single released in the interim, three years would pass before the next record from Lebanon Hanover, with 2018’s Let Them Be Alien, the band’s fifth studio album.

At the dawn of the global pandemic, where dystopian nightmares that were only ever seen before within the pages of books and flashes of silver screen celluloid, has become a daily reality, a new kind of darkness envelops the world. It was at this Lebanon Hanover returned, sharing a glimmer of hope with the single “The Last Thing,” the duo’s first song from their forthcoming sixth studio album Sci-Fi Sky.

Spanning an epic journey across ten tracks that wander through industrial landscapes, and ascend beyond the atmospheric aether, Sci Fi Sky is Lebanon Hanover’s most cohesive artistic statement to date. With their icy hearts on their sleeves, this is the culmination of a decade’s worth of musical creativity radiating from the minds of both Iceglass and Maybelline, and altogether an otherworldly beacon of hope in a time of sheer darkness.

Lauer Drops New LP “Answers 2 Trouble”

Lauer makes it all look so easy.

Over his two decades in the game, Philipp Lauer’s work always manages to mix the best of steely German engineering with deep emotion; industrial-strength beats with the warmth of an old sweater.

On his new LP “Answers 2 Trouble” (out April 2 on Permanent Vacation), the Frankfurt-based musician once again delivers the goods: Nine tracks stuffed with elite beat making and delicious, 80s-influenced songcraft, drawn together by clever arrangements and expert pacing.

After a handful of high-profile collabs over the past few years with the Sex Tags crew, Skatebård, Fabrizio Mammarella and fellow Tuff City Kid Gerd Janson, the prolific producer sounds energized to be back behind the wheel for a solo spin—his first LP since 2018’s “Power.”


All the Lauer hallmarks are here: Flashes of modern house and techno, a few drops of acid, layers of gorgeous synths and those wistful melodies that recall an era when New Order played live on “Baywatch.”

While the longtime Robert Johnson Club affiliate hasn't shied away from his John Hughes influences in the past, this time around, Mr. Philipp pushes his sound further into pure pop than ever before.

Especially on cuts like “Make It Stay” and “Valentino III,” Lauer swaps moody dance floor workouts for breezy, seaside drives.

On the former, new collaborator Dena plays Cosey to Lauer’s Chris, and the pair craft the kind of song that would sound perfect on a teenage spin in mom’s convertible VW Cabriolet.

Not that he's gone all pop, though.

The Italo-tinged “Altalenanti” lands squarely in Lauer’s patented toughness + grooviness equation, while album highlight “Ghost” (alongside frequent vocalist Jasnau) is all shouty vocal hooks, clenched fists and stomping bass lines.

Lauer tells us the new record was completed in his brand-new, purpose-built studio. While we imagine wiring together all his vintage gear must’ve been a major chore, thankfully, the results sound effortless.

Since the early 1980s the Eureka, California based duo Psyclones freak out in music. As one of the most long-standing DIY duos, Brian Ladd and Julie Frith created a body of work, that flirts with Ambient, experimental industrial sounds, New Wave, Post-Punk, Synth-Pop, and all that electric jazz. Now, Notte Brigante is dropping “Tape Music 1980 – 1984” – a detailed compiled sampler on Psyclones early output, that was scattered over diverse tape releases. A nine tracks long trip into the work of a highly underrated band, that never lost their drive to explore new avenues in sound.

Imagine Andrew Weatherall producing Pere Ubu. The 7” Taki Chrome / Strummer Maxxx single by Pink Skull released on Höga Nord Rekords give a hint of how such a collaboration would sound. Mid seventies kraut rock á la “Neu 75” meet leftfield and sophisticated punk. The record has an organic warmth to it yet the excessive use of electronics: most instruments on the tracks are synthesizers and drum machines – all Moog, Korg and whatnot.

In the warmth of the Pink Skull-sound you suddenly get a wash of cold, hard rain from all directions. These elements of surprise create edges in the round soundscape and brings chaos to the mix. This is of course all part of Julian Grefes (founder of Pink Skull) plan.

Pink Skull propels you out of the quarantine like a shiny metal free bird released from its rusty cage.

The time of superficiality is over, we need another perspec- tive. The Tableau Vivant, that reenactment of painting by people, offers a new way of looking at things. A look into the depths, into the innermost of the artwork, a liveliness that jumps right out of the picture. Tableau, the project of the Kame House founder Infuso Giallo and Berlin musician Joshua Gottmanns, dedicates its debut »Double Dream Hands« to a new liveliness. While Infuso Giallo delivered a new interpretation of Moog-Exotica with his first release »Ode to Sansevieria«, Joshua Gottmanns is an »old hand« in the business and has proven his songwriting qualities in different projects for more than ten years, most recent- ly in his project Neuzeitliche Bodenbeläge together with Niklas Wandt. But it’s not about the merits of past records, but the here and now, about the moment. This may have passed in the next second and at the same time lasting an eternity. In four live sessions (the term »Jams« may also be applicable), quite independent entities have emerged that embrace life and come into contact with themselves: Within You, Without You. The congenial pairing of these two new masters of (almost) instrumental songwriting features excursions into New Beat and Percussive Exotica as well as Austro-Wave and Electronica and is promising a playful mix of travels at the edge of stasis with a peculiar musical drawl and abrupt, danceable explosions of ecstasy.

West coast new romantic icon Riki returns with her 2nd simulacrum of pitch-perfect synth-pop, aptly titled for the precious substance it is: Gold. Inspired by notions of symbolic power, letting go, and transmutable realms of the heart, the album further refines her rare gift for making swooning melancholia as anthemic as it atmospheric. Working with Telefon Tel Aviv co-founder Josh Eustis at his Pasadena studio, the sessions unfolded fluidly and fruitfully, focusing on “quieter moments” and refining the record’s palette and voice. Occasional interruption from a nearby flock of wild parrots infused a mood of California dreaming, purple sunsets dissolving into deepening neon night.

West coast new romantic icon Riki returns with her 2nd simulacrum of pitch-perfect synth-pop, aptly titled for the precious substance it is: Gold. Inspired by notions of symbolic power, letting go, and transmutable realms of the heart, the album further refines her rare gift for making swooning melancholia as anthemic as it atmospheric. Working with Telefon Tel Aviv co-founder Josh Eustis at his Pasadena studio, the sessions unfolded fluidly and fruitfully, focusing on “quieter moments” and refining the record’s palette and voice. Occasional interruption from a nearby flock of wild parrots infused a mood of California dreaming, purple sunsets dissolving into deepening neon night.

This collection of 12 luk thung* songs from the 1960s-70s, all produced by Surin Phaksiri, is a superb showcase of cross-genre/multi-national fertilization, with Latin, jazz, western pop, Indian and Japanese music seamlessly melding with the musical culture of Isan (northeast Thailand), which is strongly rooted in Laotian culture; indeed, the Isan language, as featured in these songs, is a form of Laotian. Esteemed producer Surin Phaksiri, an Isan icon, always strove to drive Thai music forward, with innovative techniques and open ears, introducing international elements as well as Lao influences, including the use of the khaen. Many of the singers here, all famed and respected, have Lao roots, and it is predominantly through music that the Isan Lao-Thai culture has entered the Thai national consciousness. These lovely and joyous songs are, for the most part, previously unavailable outside of Thailand; more than half are first-time reissues. The wide range of songs here includes covers of Japanese folk and pop songs, a paean to marijuana, proto-Thai funk, a ramwong-style** dance tune, a cover of a Bollywood classic, some straight-ahead luk thung, a unique Indian-style luk thung, and a gorgeous answer song to a movie hit. An array of gems, available on vinyl and CD, with English translations of the lyrics and Soi48’s liner notes. Cover art by Shinsuke Takagi (Soi48)

* Lukthung: A musical genre whose name means ‘country person’s song’ or ‘children of the field’. The name became established in the latter half of the 1960s and now has the status of a national genre of popular song unique to Thailand. The lyrics of luk thung songs deal mainly with the rural idyll, comparisons between the city and the countryside, life in the big city and current affairs. There are certain typical traits to the music, but no official musical form.

** Ramwong: A unique form of Thai dance music, fostered as a means of promoting national pride and unity. Similar to Japanese Bon Odori, participants form a circle and dance together. The term can refer to the particular style of music, or the actual dance.

When 'Push Comes To Shove' is the seventh studio album by Artist 'Soft Riot', he's the stylised musical alter-ego of Glasgow-based Canadian artist JJD.

Resonating with references from all corners of the synthpop’s origins (DAF, Fad Gadget and John Foxx to name a few), Soft Riot’s latest release nonetheless manages to retain its own individual voice, melding and reinterpreting its antecedents with a personal twist and an impressive demonstration of synth-craft and programming. Following on from 2018’s The Outsider in the Mirrors, these eight tracks represent a change in themes and an evolution in production and sound.

The forthcoming single and album opener “Taking The Edge Off” sets out the Soft Riot manifesto, a propulsive future-synth tale of forging ever-forwards in an increasingly noisy world.
“It’s No Laughing Matter” is a hedonistic yet propulsive dance-floor slammer — shades of minimal synth and metallic Belgian new beat condense in side one closer “Fate’s Got A Bone To Pick With You” and the dizzying italo-matic muscle workout “Don’t Get Yourself Bent Out Of Shape” is the ultimate self-help smack down.

The outcome has been a sideways step into more new wave pop aesthetics, and a looser sound (underpinned by the warmth of the production). This overall makes the album groove into a more dance-floor orientated full sound, thawing some of the cold-wave angularity The Outsider In The Mirrors.

Soft Riot has previously released six studio albums, including a wide range of remixes for other artists including Lebanon Hanover, Keluar, Celebration and Attrition.
He is also regularly touring the European underground synth/wave/post-punk circuit and sometimes beyond -

(Possession Records with UPC 'PSSN04').

Honey Dijon was asked the remix her “favourite band” Blancmange and choose the magnificent disco oddity, 1983 hit ‘Blind Vision.’ The result is stripped back, bumping houser that sounds as much Green Velvet as it does Talking Heads. Urgent percussion and oscillating synths drive things forward, allowing a full Blancmange vocal to unfold aloft to great effect. Also features the original and sought after extended mix. The first in a new series of ‘London Records Remixed’ releases on 12” and digital. Now at its new home as part of the Because Music Group the London Records catalogue is being revisited by pioneering, contemporary electronic producers.

Produced by Oscillian, Richard X and Sunglasses Kid, 'Sleepwalking' creates the illusion of timelessness over eleven tracks as it rejuvenates an 80’s synthwave musical aesthetic while simultaneously presenting a modern pop vibe. NINA’s lyrical depth paired with instrumentals that are both dynamic and delicate create a quality sonic experience.

Kris Baha returns to his imprint since ‘Mind Your Head’ in 2016 with 4 mutant industrial cuts ready for a dancefloor of 1.‘Behave’ begins with a hypnotic sequence guiding the listener through the piece as sonic sirens screech from the cavernous dystopian wastelands of 2020. The future is...

Our secret agent in Oslo returns with another essential communique in the Norsk Tripping series...

Six more tracks selected from a private vault of dance floor dynamite & super rarities, which takes in Italo, Dutch new wave, Space Rock & Balearic obscurities.
All given the sonic once-over for maximum playability...

As always, a VERY limited run.

Die Form is the seminal post-industrial electronic act started in the late 70’s by French musician and multimedia artist Philippe Fichot. He began recording a number of experimental cassettes under different names but Die Form became the main project and with which he has developed a prolific career during more than four decades. Whilst the project was still in its first stage, the underlying concepts were already evident: a combination of esoteric electronic experiments with an underlying theme of eroticism, death and other taboo subjects, apparent in both the music and artworks.

“Ad Infinitum” was recorded with dark and stifling atmospheres almost simultaneously with the album “Confessions”. It includes cult pieces such as “Bite Of God” and “Chronovision”, which has made the success of Die Form in clubs, alongside more ambient and industrial tracks such as “In The Evening Of Life” or “Unlimited”.

“Ad Infnitum” was originally released on CD in 1993 by Hyperium Records and now is available for the first on vinyl record. This new edition includes the complete original track list plus a selection of instrumental versions and unreleased tracks from the same period. Limited edition of 474 numbered copies on double vinyl with a deluxe 16-page casebound hardcover book featuring unpublished images as well as other reworked photographs taken from “The Visionary Garden”. Every copy includes a certificate and one sticker.

“The taboo leads to transgression ... the taboo transgression spellbinds” (Georges Bataille)

The Distillers are excited to announce that the physical version of their 2018 single "Man vs. Magnet" b/w "Blood In Gutters" will be released on February 14, 2019 via Third Man Records. This vinyl 7', pressed at Third Man Pressing in Detroit, is the first chance to own new music from The Distillers in over 15 years.
To call The Distillers simply a punk band doesn't do justice to either the band or the word "punk'. Guitarist, lyricist, and vocalist Brody Dalle, uses her medium as a platform for a higher plane of visceral lyricism and independence. Few modern day punk icons have not only embodied the genre so truthfully but also transformed the depth of what it can mean so thoroughly. Originally formed in 1998 in Los Angeles, the energetic band, with Dalle at the helm, released a string of damaged and powerful albums, EPs and singles with California punk labels Epitaph and Hellcat, then released their third masterpiece of an album, Coral Fang, on Sire before going on an untimely hiatus and ultimately splitting in 2006. After breaking a 12-year silence on social media late last year, these two new tracks from the group are a triumphant return for their rabid and devoted fanbase.
'Man vs. Magnet' kicks off with crashing drums, thumping bass and melodious guitar, before transforming into a rough-and-ready punk anthem. The b-side 'Blood in Gutters' is full of a wistful, wild energy from start to finish, with Dalle's raw vocals gleaming as the chorus hits. Third Man is honored to be a part of The Distillers' continuing legacy by releasing the physical version of this single.

The principles of the inclusive band "21 downbeat": Intoxication and ecstasy, or thump and confetti! Beyond the usual boundaries and ideas, the band members create their very own sound from their own texts and poems by contemporary authors. Perhaps the musicians can be called Satyroi, cheerful demons in the wake of Dionysus, who is difficult to tame and for whom our current limits and ideas do not play a role. At appearances at Mensch Meier, the canteen at Berghain and at the Fusion Festival, the band has already put on spectacular stage shows that caused euphoria right down to the last row.

The now appearing debut ep "Shower" contains 4 pieces. Energetic percussion meets a rough synthesizer sound, the vocals are mostly polyphonic, clear and straightforward. All lyrics of the EP are based on poems by the award-winning author Yoko Tawada.

Black Pearl Records is very proud to present the very timeless
and diverse club-music album "Alles Paletti!", by the
internationally recognised and well respected DJ & Producer
Enzo Elia. "Alles Paletti!" will take you on a musical journey
through the 80s & 90s club music era and it´s genre clash of
Disco, New Wave, Electro, Dub, Balearic, Cosmic, Loft Classics
to the early years of House productions, that again merges
perfectly into the "Zeitgeist" of today. Growing up as a
teenager and a music interested mind at those decades in
Italy, of course Mr. Baldelli & Co. has left a permanent
impression, and the "Cosmic" influence of this unique club
scenery is easy to recognize in Elia´s music. Bringing all these
influences and experiences of Enzo Elia together, melted into
one piece of vinyl, is the perfect time-capsule that captures the
essence of those influential early years onto this album. The
title "Alles Paletti!" resumes out of a typical Berlin phrase,
shows the Berlin-Italian connection, and the city of choice for
Enzo Elia to live for the last 12 years. The whole album was
realised in a very playful time period of about one year,
creating new ideas from scratch or build on Elia´s skteches
together with the producer Roskow Kretschmann in his studio,
preppered with quite a few guest insturmentalists and
vocalists. Since beeing a youngster Enzo Elia is spinning
tracks and delighting audiences in small clubs to big festivals,
releasing music on several reputable labels from mellow-sundown-balearics to hard-hitting-techno, that made him the
international respected DJ and Producer he is today.

HøRD is the solo project of Bordeaux-based synthwave producer Sebastien Carl. Started in 2014, Sebastien has proven himself to be able to gather a cult fan-base around his creation in a short time, collaborating with artists as Hante, Winter Severity Index and Black Bug and performing live in most European countries.

Debuted by Antoni Maiovvi and Vercetti Technicolor’s Giallo Disco, an EP on SNTS’ Sacred Court and a second full-length on Avant! have followed. Bodies is his third album and it shows eight new passages that take HøRD’s distinguishing features one step further once more.

Ethereal synths matching deep analogue beats, veiled vocals speaking of visions, memories, meaning and failing. Synthwave sounds like a soundtrack from the 80’s meet electro and techno mechanical rhythms along a stream of tracks that almost have no name so that the listener can just let them flow and flow with them, taking a journey away from the present time and into an abstract, dream-like modern dimension where the misty and the solid are one.

repress on black vinyl

Aborted At Line 6 was a project that emerged from the inside of a Swiss company which sold electronic equipment and batteries. Carlos Perón (founder of Yello) sat on the same desk as the later publisher Urs Steiger. The other members Martin Sturzenegger, Moritz Faccin and Andrea Fürer sat separately through a glass pane in their own office and sold TEAK products. Chris Lunch was the only not employed in this company. He was working on some stuff at the Slatt Studio owned by Carlos Perón. They all had a ritual to drink a bottle of Mumm champagne early in the mornings. Since it was not allowed to drink in the workplace, the glasses were disguised as a coffee mug and used the winged word “Mümmli”.
It’s in this situation that Aborted At Line 6 developed into a “crazy idea”. They did some recordings in the studio of Andrea Fürer and mixed everything in just one go. The equipment used included one 808 Roland Drumcomputer, a Roland Drumatix, a Roland Bassline, one EMS Synthi A1, a Duke guitar and a Roland SH 3A operated and programmed by Carlos Perón and Chris Lunch. All this took place in 1982 and a 12″ single was released by Off Course Records (home of Grauzone and Stephan Eicher).
This iconic and very hard-to-find single is re-issued included the original tracks. Limited run of 350 copies on pink vinyl with a postcard.

At the end of Rainer Werner Fassbinder’s 15 hour serial film Berlin Alexanderplatz, viewers are treated to a 2 hour epilogue permeated with snippets of Kraftwerk, dream sequences, fog and elements of drag. In the relentless spirit of that kind of head fucking, one proposal for how you might think of Black Meteoric Star’s new album NYC Beat Boxx is as a similar kind of psychedelic epilogue to last year’s epic 3xLP Disco. The comparison isn’t frivolous or light, considering Black Meteoric Star’s sound emerged during the time Rayna was living in Berlin. That city’s energy has continued to reverberate within the music she creates under the alias. While the queer creative legacies of Berlin remain, on Beat Boxx geographic focus shifts to New York, where Rayna lived from 1997 - 2004 and where she’s made her home since returning from Berlin in 2009.

With this explicit geolocation, NYC Beat Boxx draws inspiration from vinyl “beat collections”, which heavily circulated in New York during the 80’s, such as Apexton’s Rhythm Masters series. The beats on those records, conceived more as functional sonic tools rather than fully realized tracks, have an uncanny ability to crystallize the feeling of a moment within their repetitive minimalism. Some titles directly refer to this ability, such as “Acid 3am” and “One Night In The Bronx''. The Black Meteoric Star project consistently utilizes a tape deck Rayna was gifted for her high school graduation to function as a sort of sketchbook for ideas; this record is no exception. NYC Beat Boxx began while Rayna was still recovering from Covid-19 and unable to engage a full studio of equipment. Instead she focussed on drum beats alone, building tracks on an analog drum machine that were nearly complete without the addition of synths or vocals. Covid hit New York City particularly hard in those initial months of the pandemic and in March, April and May of 2020 the experiences New Yorkers were having with it were nearly categorically different from those of most U.S. residents because of the ways in which New York’s rhythm and culture of the street allowed the virus to spread quickly before quarantine measures were put in place. Even in its completed form, with synthesizer and vocal elements added sparingly, NYC Beat Boxx is both a celebration and evocation of New York, through rhythms that channel that same uncanny ability of the “beat collection” to archive specific moments in time and space. Club music has the distinct pleasure and purpose of giving us the opportunity to process emotions through our bodies, through dance; the rhythmic repetitions of beats, enticing meditations of sound. This offering by Black Meteoric Star honors New York’s history of consistently giving space for the healing that dance music provides, during the extremely challenging and isolating time which we continue to live through.

As Voluminous Arts’ lucky 13th release, NYC Beat Boxx also creates an opportunity to reflect on what the New York based label has accomplished in its first 18 months. In addition to releasing

a spectrum of Rayna’s music; from newly recorded intimate cassettes like Transverberation, to archival gems like Crash Convention and RFNAL, to the previously mentioned epic Black Meteoric Star 3xLP Disco, the label also organized the first iteration of a now annual two day conference on nightlife; the Halloquium, and released Philadelphia based multidisciplinary artist Rat Porridge’s debut album Live from the Plant. Voluminous Arts also launched the articles section of its website, proposing new and more substantive ideas about the possibilities of music journalism.

Produced by Oscillian, Richard X and Sunglasses Kid, 'Sleepwalking' creates the illusion of timelessness over eleven tracks as it rejuvenates an 80’s synthwave musical aesthetic while simultaneously presenting a modern pop vibe. NINA’s lyrical depth paired with instrumentals that are both dynamic and delicate create a quality sonic experience.

The second chapter in the Family Matters serie marks the 10th release on the Belgian record label 9300 Records. Via electro, through house and breakbeat, all the way to New Beat, established members offer you their view on the different aspects in the spectrum of electronical music. It's a nostalgic reference to the past, through the eyes of the present. Alessandro Parisi makes his first contribution to the label with an ominous New Beat influenced track, while Betonkust joins him on the dark B-side with his well known non compromising electro. A-side consists of dance-floor approved electro/house tracks of both Intimacy & Innershades and a sober, yet sophisticated anthem by the hand of Robert D.

Jon Savage's eclectic voyage through Post-Punk era electronic music, Disco & proto-techno 1978-1982
Very special limited edition double 12" vinyl package with colour inner-sleeves + digital down-load code (WAV/FLAC/MP3)
Inners and extensive liner-notes by Jon Savage/Original artwork by celebrated UK artist & illustrator Matt Sewell. Features previously unpublished photos, artwork and memorabilia from the era.
Includes Tracks By : Suicide/Sea Of Wires/Sylvia Love/Cabaret Voltaire/Transvolta/A Num-ber Of Names/Slick & More..
Following on from 2012’s acclaimed “Fame” Post-Punk & 2015's "Perfect Motion" Psychedel-ic-Baggy 1988-93 compilations on CTR, Jon Savage decided to focus upon Electronic music from the Post-Punk era 1978-82. He suggests in his liner-notes for the album:
“Disco was a grid you could pour anything into. Its robotic imperatives thread their way through this collection” & Jon describing the album as:
“Spanning Euro Disco to very early Electro and the classic period of High Energy, taking in mainstream Disco, the strange, minimal and avant garde on the way, these fifteen tracks celebrate the fertility and the futurism of synthesiser electronics in the late 1970’s and early 1980’s”
This compilation is selected and curated by renowned cultural commentator, writer and film-maker Jon Savage. Amongst many highly revered projects Jon has produced the definitive work on Punk Rock in “England's Dreaming” and the documentary & book “Teenage” The Creation of Youth, 1875 - 1945. He is also the biographer of Joy Division & author of the top 10 Sunday Times best seller "This Searing Light, The Sun & Everything Else" The Oral History Of Joy Division in 2019.

Karl Kave makes his appearance on Lux Rec for their first release in 7" format. Four terse tracks influenced by his past experiences, high and low as they come, tumultuous thoughts and life events. The result is a sombre nostalgia for all that is not there anymore. Coming from Rheintal, a valley on the eastern part of Switzerland, he uses English, German and his native Swiss dialect to sing. Dive into it, meet sadness.

“Premières Données” (meaning ‘first data’) was the 1987 cassette-only release by Décades, the by then solo project of Laurent Bergot from Rouen, France. Both the band and the album turned out to become the most important cornerstones of the original French ‘cold wave’ genre, the term that began being used in the mid- late 80s to tag this music genre, characteristic for mostly beautiful melodies, romantic, heartfelt lyrics and heavy presence of bass guitar, synthesizers and drum machines. Not a single song by Décades has been ever released on vinyl before so, for starters, we have created “Premières Données +” as an improved, roundup version of this fantastic album, including the previously 100% unheard 1987 studio version of the song ‘Le Jour Se Lève’ that Laurent left out of the cassette release in favour of his own, rougher demo version. We also included the intro that Laurent wanted to use back in the day, but was also left out for technical reasons.

We are extremely happy to bring you this cold wave masterpiece in the form of a limited, hand numbered LP edition of 120 copies, housed in a matt finish sleeve with double sided lyric insert and including a download code.

Teatre hails from Lithuania, a place especially dear to the Lux Rec team both for personal and musical reasons. For his first vinyl release Teatre produced six tracks which span from powerful, vital straightness to brooding resonant laments.

This record would not have been possible without Ernestas Sadau, Roman Sputnik, Kestutis Lingys and Eivydas Kantautas of Digital Tsunami. Nor without Kotryna Lingiene, who helped finding and contacting Paulius Lileikis (the photographer), and Paulius, that granted the permission to use the picture on the front cover.

After last years excellent discoveries from Volume 1, another batch of 'lost' and unreleased Dutch (cassette) material is coming back to the future. For this sequel we dug deep into the Dutch lowlands and again found some independent music that's still relevant today. In the process we met even more amazing musicians and heard great stories from a distant-not-so-distant past. Expect a wide palette of DIY and experimental sounds by artists from Groningen, Zwolle, Arnhem, The Hague, Rotterdam, Tilburg and Deurne. Volume 2 will also feature a beautifully designed inlay with liner notes in Dutch and English.
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Mastered by Wouter Brandenburg, designed by Steele Bonus and compiled by Mark van de Maat.

Russian no wave / synth duo The Bleak Engineers seem a neat fit with the first 12" release from Rotation Mecanique. "Unconscious" is the song that resonated in many souls and it's finally appearing in a vinyl format.

It's the new statement of the band, whose members are worth of attention: the grey eminence of the Russian electronic scene Alexander Moralez (Brokntoys/Gigolo/MSQ) and the horror and surf rock goddess Svetlana Zombierella (Messer Chups).

The main track is accompanied by 5 more new musical revelations: the fresh compositions, which will be the new hits and the mysterious instrumentals in their trademark gloomy electronic no wave sound.

The isolation is not the reason to be silent. Hearing the bleak, sometimes hopeless and sometimes hopeful vertigo of synths, vintage drum machines, floating bass lines, frank and mild vocals without any rush and without any attachment to time and place. And that is the incomplete list of adjectives related to this release.

Les Disques du Crepuscule presents Subway, a collection of singles by cult NYC duo Thick Pigeon, originally released on Crepuscule, Factory and Factory Benelux between 1981 and 1991.
Comprised of vocalist Stanton Miranda and instrumentalist Carter Burwell, Thick Pigeon emerged from the downtown New York artrock scene which also spawned Glenn Branca, Bush Tetras, DNA, Arthur Russell and Sonic Youth. Like their chosen name, the duo were typically atypical: Miranda was previously a dancer with the Marthe Graham ballet company, and Carter a film animator and Harvard fine arts/architecture graduate. Very much a studio project, the ‘group’ hardly ever performed live.
Poised and subtle debut single Subway appeared on Crepuscule in January 1981, a connection forged by Miranda’s partner Michael Shamberg. Dog followed a year later, along with wry Christmas single Jingle Bell Rock, before the duo switched to Factory Records, recording debut album Too Crazy Cowboys in Manchester with Stephen Morris and Gillian Gilbert of New Order producing. Released simultaneously on Factory and Factory US in 1984, the album was billed as “a walk through the civilisation of you soul”.
Having now embarked on a career scoring movies (becoming the Coen brothers’ composer of choice), Carter was absent from the next TP project, 1986 dance single Wheels Over Indian Trails, although Morris and Gilbert remained on board as guest musicians. However Miranda and Carter would reunite for a second (and final) leftfield pop album, Miranda Dali, issued by Crepuscule in 1991.
As well as singles Subway, Dog, Jingle Bell Rock, Jess + Bart and Wheels Over Indian Trails, TWI 351 also includes b-sides (Sudan, Tracy + Pansy), album highlights (Crime, Riding) and a second festive track, Blue Christmas, previously issued only on cassette as part of a Factory Christmas card in 1986.
Alongside Stephen Morris and Gillian Gilbert, the stellar cast of guests include Fred Szymanski (of Ike Yard), Ikue Mori (DNA), remixer John Robie, and even artist and event designer Jean-Paul Goude on backing vocals.
Limited to just 500 copies, Subway (Singles) is newly remastered and pressed on transparent violet vinyl, reflecting the original 1981 sleeve artwork by legendary Crepuscule designer Benoit Hennebert. The album includes a free digital copy (MP3).

Heavy minimal wave 7" limited edition of 100 Copies.

Group Rhoda, the solo project of Mara Barenbaum, returns to Dark Entries with ‘Passing Shades’. An integral member of the Oakland electronic music scene, Barenbaum has been writing, performing, and plunging into oneiric depths as Group Rhoda since 2009. This is the project’s fourth LP, and the third time Barenbaum has collaborated with Dark Entries; previously on the Max & Mara LP ‘Less Ness’ in 2013 and the Group Rhoda LP ‘Wilderless’ in 2017.
Passing Shades is an investigation of the metaphysics of loss and the transitory nature of the material world. But it is not a grim collection; over 8 songs, Group Rhoda diverges through synthesizer-laden symphonics, four-to-the-floor inflections, and cosmic musings. Barenbaum’s striking voice and singular songcraft guide us through this labyrinth. Arpeggiated waltz “Flow” channels wisdom sought through martial arts; “Earthly Ark” sets a Margaret Atwood poem from the God Gardener’s Hymn Book to somber electronics. The vocoded canticle “Nevermore” is dedicated to the memory of a beloved cat. ‘Passing Shades’ is both mystifying and revelatory. Folk forms are echoed only to detour into the alien. Each song functions as both a fragment of a larger puzzle and a koan unto itself.
‘Passing Shades’ was mastered by George Horn at Fantasy Studios. The sleeve was designed by Eloise Leigh, and features a hazy, clouded sky. The back cover uses a photograph by Harry Crofton. A postcard featuring a poem by Barenbaum is included, as well as a digital download.

This career spanning retrospective box set features 10 black Vinyl LPs, complete with newly remastered versions of all five of their Mute/Geffen albums, That Total Age, Belief, Showtime, Ebbhead, and Big Hit, plus 5 LPs of 29 bonus tracks, featuring B-sides, and rare 12” mixes. The original artwork for each album has been expanded into gatefold sleeves, with embossing and spot UV finish. It also contains a large size 28-page booklet with linear notes by Douglas McCarthy and Bon Harris and unseen photos, flyers and artwork. The box also has accommodated their first self released album Basic Pain Procedure, from 1983 and their last release Industrial Complex from 2010, by leaving adequate space inside, to complete the collection by the fans, as these titles have been in print in recent years.

Coloray's Real Life Cinema infuses powerful, unpolished sound aesthetics with relentless energy. After cutting his teeth on both the Dutch and international DJ circuit, and nurturing his production skills as member of the Tunnelvisions duo, Raynor de Groot his solo project Coloray translates an inwards desire to create and explore off the beaten path, and does so with a compelling ‘80s attitude.

This strong backbone in musical undertaking, together with his background in songwriting and vocal work, transmits a unique sound that drifts somewhere between the hazy lines of contemporary electronics and early EBM.

Vancouver post-punk quartet third LP shows some tremendous growth in terms of songwriting and delivery. Hooking the listener from the very beginning, it’s danceable, it’s dark and it’s rock. FALLACY OF FAIRNESS Ltd. Edition 12” + 7” Album comes presented in a ONE-OFF truly limited edition of 200 copies lacquered pressed on 180 gr. high quality SOLID BLACK vinyl. All tracks have been specially remastered for LONG CUT vinyl by Daniel Hallhuber at Young and Cold Studios.

Is It Electro ? Hip Hop ? Techno? House ? Funk? Disco? Balearic ? Obscure ? It’s all up to you . Ottagono Design Of Music is back introducing from its italian headquarter the Japanese crossover Hoodoo Fushimi ‘s Oto (sound) Imprint . Fushimi Sensei from his private studio in Yokosuka (the city where he is born ) during 1979 -1993 used to work on many projects , producing different music albums , working as painter and illustrator , working also for a few Japanese magazines as music writer and English translator . Nowadays for many people he is considered one of the Electro Disco Tech Funk japanese pioneers/ innovators . Tamaran released during 1989 was available only on CD format on Syntax ( ’89 was the boom of CD Japanese Market ) for the Japanese Local Market becoming a true hard to find during the years , finally thanks to Ottagono after 30 years it takes the first official vinyl release . The Japanese Fushimi sound trademark looks still beautiful, fresh and powerful ( from the Japanese word utsukushii) with influences that remind early Afrika Bambata, Cybotron , Egyptian Lover , De Lasoul . Tamaran is featured by the club Hit “ Kaette Ne ” where Fushimi joining with singer Harka made a love song where still today it seems a true manifesto to Chicago Warehouse, New York Paradise Garage , it is something like a true mix of early Joe Claussell Instant House/Jungle Sounds, Chicago Trax Records with some reminiscence of Nami Shimada and Soichi Terada . We are sure that Larry Levan and Frankie Knuckles would have liked to play at that time if only had a chance to have this pearl in their hands at that time . Claudio Mate from his musical vision after introducing Zen Oikawa Studio Ghibli director with the first Ottagono release remarks the Otaku Sound concept , where Artists ,Producers, Musicians from the land of Rising Sun are responsible of Soundtracks for Anime , Video Games , Drama Live Action , Movies as at same time fathers also of a few pieces such as of Underground Music, indeed more recently Hoodoo Fushimi Ongaku (Music) got featuring over a few episodes of Giri/ Haji the cult Netflix Uk/ Japanese Drama series . Claudio and Fushimi Sensei together introduce one more time another Italian /Japanese connection impossible to lose !!

Claudio Says : Thank you Shani… I know who you are

Cold Beats Records is delighted to announce the launch of series Another Cold World. This time with a 12″ EP the composed with 4 tracks including DILK, WLDV, Dernier Sex and Hanging Gardens, keeping the label’s philosophy, we have once again united groups and artists that stand out within the minimal/synth/coldwave scene.

After a one year and a half break, Femur makes his comeback with a 12” by French artist Cold Colors. For this occasion, we are recovering a selection of early demos to be released for the first time on vinyl. The four compiled tracks represent the particular cosmos in which Frédérick Barbe moves like fish in water. A perfect mixture between wave sounds, evocative melancholies, and enveloping darkness make up a real trip across foggy atmospheres. Release limited to 300 copies.