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* 6 melodic instrumental tracks presented in the traditional extended “discomix” showcase dub style, that lean heavily towards the sounds of late 70’s / early 80’s.
* The melodica carries echoes of Augustus Pablo, while the acoustic guitar give the recordings a lighter, more atmospheric touch - reminiscent of Fazal Prendergast - before the dub mixes come in and cause havoc in a King Tubby’s/Scientist style.
* Guiding Shield comprises of producers Liam McGurk from Partial Records and Dougie Wardrop from Conscious Sounds who both share instrument credits and production duties.

The dual forces of shadow and light, despair and hope, frustration and catharsis are at play in the music of Cupid & Psyche, the Los Angeles-based indie rock duo of Michael Vidal and Juan Velasquez. First gaining recognition in the late aughts as members of the punk band Abe Vigoda, whose 2010 album Crush was named one of the "Best 50 Albums of the 2010s" by Pitchfork, the two have reunited as collaborators for the first time in a decade. Cathartic jam sessions would birth the emotionally resonant songs that appear on their debut album, Romantic Music. Though they pull from a wide array of `80s and `90s influences, Cupid & Psyche bring together these disparate moods and genres through their own esoteric lens on Romantic Music_making for a singular sound that at once feels familiar and alluringly hypnotic. Listeners will detect the gloom of post-punk and goth, the haziness of dream-pop and shoegaze, the bittersweet guitar melodies of second-wave emo, and the manic electronic rhythms of trip-hop and big beat. The immersive soundscapes on Romantic Music are sometimes agitated and driving, while other times ethereal and transcendent. This duality matches the album's lyrics of looking for a divine escape from the grim realities of existence, as well as the darkest parts of one's psyche. "The thesis of the album is trying to transcend the limits of life and the struggle therein," Vidal says. "There's a lot of lyrics about feeling trapped or frustrated, and then trying to find a way out. There's a lot of times I sing of hope and grasping towards love. But maybe in trying to escape, you take the wrong door, be it substance abuse or other vices." Now as Cupid & Psyche, Vidal and Velasquez return to a friendship that creatively feels like home_except this time, with more experience, self-knowledge, and less pressure to make anything other than the music that emerges naturally. The LP's title Romantic Music is tongue-in-cheek, since there are no love songs proper on the project, and the phrase itself can imply a kind of light listening. But it befits that deep bond that the members have, as friends who understand and empathize with each other's worst, so they're capable of bringing out each other's best.

On his latest album as The Drums, New York-based indie pop artist Jonny Pierce plunges into the work of healing from childhood trauma and the long shadow it casts over adulthood. The sparkling, eponymous Jonny unfurls a love letter to a galaxy of younger selves, all hungry to be nourished, all rejoicing now that they finally get to belong. Playful, heartbreaking, raucous, and serene all in turn, Jonny embraces the mess of life in all its facets. It renders the magic that happens when you fall in love with yourself down to the marrow. Soaring to alt-pop prestige on arrival, The Drums have released studio albums that deftly walk the line of aching melancholy and irresistible pop sensibilities, presented through a kaleidoscope of pastel guitars, reverb, modular synthesizers and drum machines. It"s a sound that"s wholly unique, and unmistakably The Drums. The Drums" music remains timeless, as evidenced by the recent explosion of their RIAA Gold-certified song Money, which first appeared on their breakout sophomore album Portamento, reaching #1 on the Alternative Global Shazam Chart and #2 on the TikTok Global Hashtag Chart.

Caution Alert ! The Brilliant Italian producer made in peruggia Simoncino is back on Skylax records again with a remix featuring the great Larry Heard aka Mr Fingers. You already know his ability to create sounds that are deeply imbued with the Chicago sound, you sometimes might think you 're hearing some lost gems from the great Armando. In short, no need to add more, this item is essential for any normally constitued dj. Pure Gold.

Nicky Prince has never been bound by musical genre. The Milton Keyes born and raised. Vocalist has the versatility to fit any vibe while not compromising her signature sound. Although best known for her Garage hits with Zed Bias in the early 2000s, Nicky was performing and recording with various acts well before the height of Garage’s popularity. She started her career singing in Soul and Funk bands, and over the last two decades has lent her voice to Electro, Hip-Hop, Drum & Bass, House, and Ska tracks.
In 2009 Nicky graced listeners with her debut solo EP “See What You Mean.” Within only five tracks the singer-songwriter displays impressive range, from the up-tempo, energetic funk of “I’m Hearing You” to a bluesy rendition of Nina Simone’s “Don’t Let Me Be Misunderstood,” to the hushed tones of the EP’s sole acoustic number, “Balancing Scales.” She is backed on this effort by her band Soul Selecta, which includes renowned UK session players Dave Baldwin on Hammond organ and Robert ‘Skins’ Anderson on drums/percussion. Sadly, the release was criminally slept-on.

While “See What You Mean” was available on streaming services and CD, the EP
never received the vinyl treatment. So, rather than simply reissuing the project, Nicky has teamed with KU to offer what she calls a “reincarnation” of her debut on wax.

Now retitled “Listen Up,” this underrated affair has had new life breathed into it. To bring out the best in the original recordings, each song has been meticulously remastered by Christian Obermayer at Strype Audio. Then to fill out the 12”, Nicky has added a handful of unreleased songs, including a heavy groove cover of Michael Jackson’s “I Can’t Help It,” which sees her reconnect with Zed Bias; a punchy, funked up tune titled “Listen Up;” and the original version of “Balancing Scales” that reveals what the track sounded like before it was stripped down to just guitar and vocals. This offering perfectly captures Nicky’s distinct tastes and inspirations. Further, it fills a hole in your record collection that you didn’t know was there until now.

Bell Curve's new EP Obelisk for Berlin's SSPB provides a daring evolution of her soundworld, channeling the bristling intensity of her previous work into a more expansive headspace. Alongside six mesmerising new tracks from Bell Curve, the EP features a remix from Hessle Audio rising star Toumba. Obelisk compiles Bell Curve's most compelling and enthralling work to date. Reveling in dazzling repetition and delicate sonic nuance, it is a cathartic and defiant statement in an industry that increasingly demands hollow immediacy and caters to short attention spans - an homage to struggles and affirmation of strength and self-belief, while equally offering euphoric escape for those willing to spend time inside its mystic whorl. Club sonics are here plucked from their original contexts and expanded outwards - icy rave stabs on "Staircase" ascending into the heavens or the astral breaks and springy bass of "Hope It Gets Better".

Subtle shifts in tone and texture guide the listener through the trip, reverb tails slowly extending into lysergic drift or rippling grain and feedback rising from pulsing bass tones. Jordanian producer Toumba amps up the tempo on his remix of "Staircase" while maintaining the original's emotional core, bolstering the track's dextrous rhythms with distinctive Levantine timbres. Obelisk captures a constant push and pull between emotional states - from anxiety and melancholy to joy and euphoria, working through turmoil to find transcendence.

Tracks like "Dance Skeleton Dance" particularly invoke this duality, drawing catharsis from darker sonics, reconfiguring bass pressure and anxious percussion into a humid dancehall stepper. "Without U" contains emotional struggle as part of the very circumstances of its making - written while working through heartbreak, its delicate repetitions and searching tone reflecting the process of reconnecting with oneself. Title track "Obelisk" forms the emotional core of the EP, coalescing from weightless vapors into dramatic synthesizer motifs, evoking euphoric memories of complete immersion on the dancefloor and our ability to find ecstatic experience even in the contemporary hellscape.

Percussionist extraordinaire Valentina Magaletti recorded live at Colourful Storm's showcase at Cafe Oto in 2021. Intricate, textural longform percussion pieces comprised of traditional drums, found objects, voice and electroacoustics conjured to hypnotic effect. A rare solo recording, following collaborations with Laila Sakini, Yves Chaudouët, Marlene Ribeiro and outings for Blume and Takuroku.

Extremely curious listening for fans of African Head Charge, The Necks, and followers of Magaletti's collaborative groups, including Moin, Vanishing Twin and Holy Tongue. First-time vinyl pressing following a short run of cassettes. Full-colour reverse-card sleeve with postcard and new artwork by Dennis Tyfus.

HYbr:ID Vol. 2 is the second installment of Alva Noto’sHYbr:IDseries initiated in 2021. The new album captures the music commissioned to score RichardSiegal's Ectopia performed in 2021 by Tanztheater Pina Bausch with Shooting into the Corner (2008-09) by Anish Kapoor. Building upon the captivating blend of immersive dub and electronica from the first installment, HYbr:ID Vol. 2 takes the listener on a journey into the realm of intricately manipulated digital production. These ten compositions delve into infinity, drawing inspiration from resonance and elasticity, concepts rooted in Minkowski's four-dimensional spacetime model.

Throughout the album, Carsten Nicolai summons precise rhythmic patterns that gracefully hover, reminiscent of celestial bodies orbiting in perfect cosmic unison. The sonic landscape gradually unfolds with somber and brooding tones, incorporating spacious sound design, ethereal atmospheres, and cascading metallic percussions. These elements are delicately crafted with artistic finesse, set against a backdrop of expansive dub textures. At times, the music takes unforeseen turns, as melancholic chords skitter and meander through a digital haze, evoking an atmosphere of introspection and emotion. The ten compositions are accompanied by graphic notations informed by the album’s sonic and acoustic codes.

Introducing a super charged split LP featuring the talents of Cameron Stallones aka Sun Araw and Spencer Clark’s duo with Jan Andersen, Tarzana.
What originally started as an Aquapelago inspired residency in the summer of 2021 quickly developed into its own thing. Truth be told, both artists always surfed their own personal waves of musical freedom, so Aquapelagos Vol.2 album became AQUA X, a split offshoot work featuring rehashed Tarzana compositions on one side and a live presentation form Cameron’s residency in the island of Tenerife around Keroxen festival’s 13th Edition. With two artists very dear to us this split LP picks up perfectly on the aquapelagic concept and twists inside out into worlds high and below creating a further testament to both’s artists oeuvres. Here’s an extract of Professor Haywards original liner notes regarding the music:
‘’The tracks on this album reflect the geo-cultural position of Californian-based musicians, Cameron Stallones, (who records here under the Sun Araw moniker), and Spencer Clark and Jan Andersen’s (performing as Tarzana) with oceanic atmospheres and structures of feeling.
Sun Araw’s dedication to producing subtle, flowing, psychotropic compositions can be read as an attunement to the oceanic sublime. Recorded within the disused Keroxen tank in Santa Cruz harbour in Tenerife, The Canary Suite is an extended piece that features a mix of electronic pulses, short synthesizer fragments and distorted guitar bursts. The textures are relatively sparse throughout, with a linear emotional contour sustained by an ongoing melodic play within a defined band of possibilities before settling into a calmer, soothing and floating mood, like an aural floatation tank.
Tarzana’s tracks artfully blend simple synthesizer tones, vocal exhortations, and an assortment of treated instrument sounds to create a pulsing, wandering and restless music. Short rhythmic ostinato fragments push and pull against bold blown pipes and horns while subtle darker colours and shades intermittently move through the soundscape to intensify the mood. This is busy and dense music but with an orderly flow and internal sense of motion that sweeps up the listener in its wake, like a sailing ship propelled through tropical seas.’’

It's rare to see Nassau, Covid and Grace Jones in the same sentence, but they were indeed part of the creative basis for DJ Vadim's brand new album, FEEL UP.

As a busy international DJ, this was nothing short of armageddon for Vadim. The skies were darkened, but rather than sink into inactivity and hibernation, DJ Vadim created within himself his own tropical music festival, an alternative universe that would share some kind of kinship with the recordings made at Compass Point Studios, orchestrated by Chris Blackwell for Grace Jones (1980-1982), James Brown, AC/DC, and many others...

It was a melting pot of world-class musicians, blending reggae, pop, soul and African rhythms and sounds... together creating one of the most influential albums of the period, and it was in this spirit that the inspiration and title of DJ Vadim's new album, FEEL UP (literally 'Feel good' / 'Have the strength, the courage'), was born.

Forty years after those sessions at Compass Point Studios, the same quest for discovery took place in Vadim's Barcelona studio. The desire for growth, self-discovery and the creation of new sounds took hold. The dubcatcher with its 80s digital sounds went out and came back with a wide variety of musical tapas.

Inhale, exhale, FEEL UP is the soundtrack you've been missing without even knowing it!

A 10-year anniversary product suite of Chvrche’s 2013 debut album including 2LP edition with bespoke die-cut sleeve & 2CD inc. booklet. The album originally charted at number 9 in the UK & is now gold status with over 170K UK sales – All formats feature 10th anniversary artwork & the album has been newly remastered by Gavin Lurrsen in LA. The band have just come off tour with Coldplay & are playing the Other Stage at this year’s Glastonbury festival.

HAVEN is proud to present another new catalogue number with the first full EP on the label from London-based Greek producer of hard-edged speedy techno MarcelDune, following on from their contribution to the Sardonic Tonality Vol. 4 VA compilation.

The A1 kicks off with 'I Am Looking For Date Ideas' - a hectic 4-4 dance-floor assault with chugging synths, hardcore kicks, overdriven percussion and cheeky vocals loops. This is followed by 'Final Loose' with its addictive vocal hooks, charging drum patterns and playful melodies. The A-side is closed with 'The Scene' with rolling bass-lines, bubbling synth sounds and distorted vocal breaks.

On the B-side 'Independence Creating Distance' hits us with hypnotic vocal loops and ear-worm synth patterns amongst its speedy drum patterns sure to get feet moving. HAVEN main-stays New Frames close out the record with their remix of the B1, with their usual heavy drum programming interplaying with dubbed out synth work creating another club killer to end another dance-floor focused record from the imprint.

SEVENDUST is an American rock band from Atlanta, Georgia, formed in 1994 consisting of members Lajon Witherspoon (lead vocals), Clint Lowrey (lead guitarist), Vince Hornsby (bassist), Morgan Rose (drummer), and John Connolly (rhythm guitar). Since formation, SEVENDUST have attained success with three consecutive RIAA gold-certified albums, a Grammy nomination, and have sold millions of records worldwide. The group has released a total of thirteen studio albums, and this compilation features 7 incredible records from their catalog

On this 1970 album recorded in Los Angeles, Donato departs from his Brazilian bossa nova roots, incorporating an eclectic, and electric, mix of funk, fusion and psychedelic pop. The result is a groovy Fender Rhodes driven set, highlighted by “The Frog” and “Lunar Tune”.

This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Billed as "Canada's All Indian Band," the Tsimshian Nation garage band The Chieftones stormed the U.S. in the mid-'60s with their own brand of native rock n' roll. More Buddy Holly than Link Wray, The New Smooth and Different Sound compiles their debut single for Wisconsin's lauded Cuca label and adds a dozen previously unissued demos from their brief time in the Driftless region.

Billed as "Canada's All Indian Band," the Tsimshian Nation garage band The Chieftones stormed the U.S. in the mid-'60s with their own brand of native rock n' roll. More Buddy Holly than Link Wray, The New Smooth and Different Sound compiles their debut single for Wisconsin's lauded Cuca label and adds a dozen previously unissued demos from their brief time in the Driftless region.

**AVAILABLE ON BLACK VINYL AND INDIE EXCLUSIVE OPAQUE PINK** Elvin Jones, one of the true great drummers in jazz, recorded this album in 1971 after having led his own band for several years following his immortal work with the John Coltrane Quartet. This unique recording has a spacious feel with plenty of room for the players to work out the melodic compositions created by the members of the group. At times the recording creates an almost cinematic space, yet always propelling forward into unexpected territory. No pandering to contemporary tastes at this date or following the trends of the time, this is simply a great example of mature musicians given the freedom to create their own vision and place in time. Saxophonists Frank Foster and Dave Liebman instruments intertwine in a spellbinding way with opportunities to showcase Jones’ incredible virtuosity as a drummer. An album that reveals itself to the listener slowly with new delights every time it’s removed from the jacket.

Cogan Has Been Part for Many Years of Parisian Collective House of Underground With Whom He Played Records All Over the French Capital as Well as the Country's Main Cities Clubs and Festivals From North to south.

He Recently Joined the Collective and Label Friendsome as a Resident to Take His Career to Another Level, Releasing His First Solo Wax : Power Source EP.
This Ep Is an Extract of His Live Performance, Which He Has Been Working on for Almost a Year, and Will Be Shown for the First Time at Badaboum on September 9th 2023 as Part of Friendsome's 5th Anniversary Party. We Will All Discover a New Side of Cogan's Work, Being More Known for His High Energy House Music, This Ep Takes Us on a Ride of Acid Techno With 90's Rave Inspirations. a Music That Will Not Let the Dancefloors and Audiences Restful !

Opening Up "Softly" on the Track for the Hackers Will Get You Into the Vibe of the Whole Ep, Before Taking Off on the Banger for the Racers. Track 2 and 3, Being for Gamblers and Farmers, Conclude This Beautiful Ep to Keep It Engraved in Your Mind Until the Next Party! Enjoy the Ride......

Available in two formats, both the LP and CD will come with an exclusive limited edition book including exclusive photos from the Racine carrée era, song lyrics and explanatory texts on the creation of the project (text will be in French, but we’re working on a multi-language translation via a QR code).

Die zweite LP des Duos und Internetphänomens THE FRENCH MADEMOISELLES aka Mademoiselle KT (Katia) und Mademoiselle L (Lexie) wurde mit Chansons von Annie Philippe, Jacqueline Taïeb, Katty Line und Liz Brady vervollständigt. Eine musikalische Momentaufnahme des Swingin' Paris für Liebhaber von süßem Pop und wilden Idioten. Lilafarbiges Vinyl.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

We are thrilled to kick off our label endeavors with one of the rarest and simultaneously best-recorded independently released German new wave singles in history: "Jede Nacht derselbe Traum" ("The Same Dream Every Night") by Total.

Back in late 1983, Total found themselves in a pivotal rendezvous with CBS Records in a Frankfurt hotel lobby. The entire band was present, along with the esteemed NDW manager Jim Rakete, who had played a role in launching Nena to national and international stardom. Also in attendance were the A&R representatives from CBS. It was on this day that Total was presented with the opportunity to ink an album deal with CBS. However, since they had only recorded the titular song thus far, negotiations hit a snag. CBS insisted on a full album rather than a standalone single.
Ultimately, the band decided to independently issue a limited 7" run of "Jede Nacht derselbe Traum" under Günther Mannschreck's Schreckschuss label in January 1984. These vinyl copies became the band's currency for pursuing record deals and promotional prospects. However, despite the potential to achieve commercial success and garner radio airplay, the song and the "Total" project gradually waned from the music landscape. Regrettably, only a few vinyl copies have managed to endure over time. This NDW "holy grail" may have prompted a fair share of dreams for serious vinyl collectors, as to this day, not a single physical copy has been put up for sale on platforms like eBay or Discogs. Interestingly, Maisenbacher has even fielded an offer of over 400 Euros for an original copy, although he regretfully couldn't fulfill the request due to possessing just a single copy himself.

The song itself is a fusion of diverse musical styles. Crafted using the Oberheim OB8 system, complete with the DMX drum machine and a bassline woven from a Jupiter 8 keyboard, it carried a groove reminiscent of New York's electro hip-hop sound in "The Message," setting it apart from typical German new wave productions. Additionally, a Korg Polysix was integrated, and guitar effects were layered to finalize the infectious synth-pop instrumental. Newcomer to the band, Andrea Ströbel, laid down a flawless vocal layer that steered the song towards a straightforward NDW direction, giving it a resonance that surely resonated with mainstream and radio audiences. To complete a B-side for the original vinyl single, the legendary state-of-the-art L480 Lexicon reverb was used. In the more experimental "Maxi Mix," now known as the "Dub Mix," Mannschreck expertly manipulated the machine. The outcome stands as a historical example of incredible studio craftsmanship and the cutting-edge techniques of the 80s.
For the new 12" release, Mannschreck unearthed an alternative mix of the song on the original tapes, featuring a distinct introduction, break, and exciting edits. In addition, DJ Friction, who contributed to the transfer and mastering for the release, treated us to a superb edit that cleverly melds all versions of the song while incorporating a few extra bassline groove elements.

The captivating reissue cover spotlights vocalist Andrea Ströbel, who gazes with determination. A hand reaches out to grab her shirt, attempting to pull her down. Symbolizing the song's theme, it embodies the unsettling dream conveyed by the lyrics-yet she steadfastly resists.

In summary, we are elated to present a significant gem for vinyl enthusiasts: a splendid mid-tempo tune that dances on the boundary of synth-pop, new wave and electro. The new 12" single underwent meticulous mastering, and the outcome is nothing short of astounding, surpassing the sonic quality of the original pressing.

Beograd (Belgrade in Serbian) is a four-piece Serbian electronic band, formed in the capital of the former Yugoslavia in 1980. Influenced by bands such as Kraftwerk, Depeche Mode, Ultravox and Human League, it played a role pioneer on the Yugoslav synth-pop scene. Their first studio album, Remek Depo, was released in late 1982 on cassette and early 1983 on vinyl by public label PGP RTB. It was a huge media success, released at the time of the effervescence of Belgrade's alternative scene, a vibrant underground movement of avant-garde artists and musicians that included leading bands such as Sarlo Akrobata, Ekatarina Velika, Idoli, Electricni Orgazam, etc. Unfortunately, the band disbanded shortly after the album's release. The album contains politically provocative lyrics for the time. Produced by Saša Habić, it stands out for the quality of its guest musicians - timpanist Borislav "Bora Longa" Pavićević, avant-garde saxophonist Paul Pignon and veteran jazz trumpeter Stjepko Gut - who contributed to its soulful side. , creating a unique combination of hot and cold.

Cybotron has re-emerged in our contemporary cybercultural age when artifactual futures begin a transition into a new era of "Meta".

By combining their knowledge of philosophy, science fiction, and mechanical engineering, at a time when electronic instrument companies were only just beginning to distribute their products to the masses, two prosumer audio technicians named Juan Atkins and Rik Davis were able to re-engineer Cybotron – a combination of the words “Cyborg” and “Cyclotron” (an atomic particle accelerator) – to be used as a home studio performance music that would change the course of independently produced and distributed electronic music.

Dissolving the boundary between singer, songwriter, and producer, Juan Atkins named Cybotron’s future forward funkadelic sound “techno” in reference to Alvin Toffler’s concept of unlikely “techno rebels” against technocracy. Techno is music that sounds like technology, and its purpose was to help society survive our collision with a universally felt “future shock” by inserting an audio virus into the cultural matrix.

Techno’s blueprint spread across the Detroit-Berlin Axis between Metroplex and Tresor. As human society began its transition from a post-industrial to an information-based market economy, Cybotron enabled a thorough system override of the human senses towards a tangible man-machine hybridity and showed the world how to channel their emotions and imaginations into new sound technologies and create new ‘sonic’ spatialities where listeners can transport themselves out of the physical world into the future. The cover of their debut album Enter (1983) transmitted a fragmented view of a body in motion being digitized mid-stride, dissolving physical and virtual reality into sonic fiction.

Today, the man-machine hybridity of Cybotron is still the truest form of techno, coevolving in conversation with the technological music they created and inspired. The latest data disk marks a new chapter that reflects a techgnostic musical expression of the knowledge acquired during their decades-long hiatus. Unlike the dance music industrial replications of the Model 500 formula, acknowledging the content marketing expectations that segments music into specific, sellable genres, this techno music is self-aware. Cybotron processes dance music tropes spawned from its very own blueprint with a meta-tactical precision out of sync with our current rave new world.

Cybotron’s return demonstrates a studied engagement with what techno was and should be with a peerless update of Juan Atkins’ initial inventive idea of do-it-yourself electrically reengineered music xeroxed onto both sides of the 12” – uploaded directly into the alleys of your mind.
- The Rhythmanalyst

Recital publishes the first vinyl edition of Let the Darkness Fall, a forgotten corner from the vast discography of Suzanne Langille & Loren Connors. Joined here by David Daniell and Andrew Burnes (of the Atlanta-based group San Agustin), Darkness was recorded in the summer of 1998 on a Tascam Porta-5 in Loren and Suzanne’s Brooklyn living room, and issued the following year as a limited CD by Secretly Canadian.

The tender gloom of Let the Darkness Fall sounds like a broadcast of some private séance. The trio of guitarists here show a beautiful restraint, hovering just underneath vocalist Suzanne Langille’s ephemeral poetry. Once they hit RECORD, the sensitivity of the players melded this quartet into a sole-entity; finishing each other’s phrases in slow motion. Suzanne’s gentle voice glows through the wispy guitar shadows with a quiet determination. One could almost imagine her building a nest out of the guitar lines she’s gathered.

This collection of musicians is a precursor to the band Haunted House, a wild sort of jam-band playing the blues without playing structure. Recital continues the series of Loren Connors-related editions, stretching from his art books Wildweeds & Night of Rain, to his masterpiece solo LPs Airs & Lullaby. And Recital is equally thrilled to highlight Suzanne Langille’s mystifying command of voice and word and the intricate guitar work of Andrew Burnes and David Daniell. Come revisit the mist that filled that living room 25 years ago.

Marco Bailey teases his upcoming full-length studio album via a limited-edition vinyl sampler out on Materia this fall.

Icon. Living legend. Both definitions apply to Marco Bailey, a self-taught DJ and producer whose career started to develop in the late 80s after attending a local club in his native Belgium and being completely seduced by the rhythmic power of dance music. That was when all changed. A first approach that triggered the decision to be behind decks instead of the dancefloor. And since then, he has committed his life to music.

Music has always been at the forefront for the Belgian-based producer as he unveils his latest studio album entitled "NOCTURNO" in form of an exclusive vinyl-only album sampler. The sampler features 4 signature techno grooves from Bailey that will appease vinyl enthusiasts and techno fans alike.

The sampler's A side features "Royal Wolf", a track that channels peak hour banger and a more dark, moody groove "Infinite Bunker". "Smooth Drive" and "Point Of Life" take over the album's B-side with relentless energy and balances out the sampler to give listeners a diverse taste of what the full album has in store.

High Roller Records, 180g double black vinyl, ltd 750, insert, 2 x A5 photo card, double-sided poster, 425gsm heavy cardboard cover with 6mm spine, black vinyl bonus LP incl. complete 10 track "Supernatural Death" demo in cardboard inner sleeve,Transfer, audio restoration and mastering by Patrick W. Engel in February 2023. Cutting by SST Germany on Neumann machines for optimal quality on all levels ... The ultimate audiophile reissue!

2023 repress as double heavy weight black vinyl , with original artwork & gatefold sleeve. Originally released in 2006,even though 5:55 isn't technically Charlotte Gainsbourg's first solo album (that would be Charlotte for Ever, which was released in 1986 when she was 15), it is her first solo album as an adult and, with the help of a dream team of collaborators, it's a fittingly sophisticated set that touches on her father Serge's brilliantly louche, literate pop without being overshadowed by it. Air's Jean-Benoit Dunckel and Nicolas Godin (who paid tribute to Serge Gainsbourg particularly well on 10,000 Hz Legend's 'Wonder Milky Bitch') wrote 5:55's delicate music, while Jarvis Cocker and the Divine Comedy's Neil Hannon penned its lyrics. This mingling of French and English influences is mirrored in Charlotte Gainsbourg's subtly expressive voice and accent, which provides the perfect complement to the album's lush sounds and vivid imagery.

STUNNA is the 4th studio album from Bay Area Heavyweight and Certified Legend, P-Lo. Known for being one of the main pioneers of the modern West Coast Hip Hop sound, P-Lo assembles an all-star cast to deliver not just an album, but a frequency – an energy. With standout tracks like "Good (feat. Larry June)," "Again (feat. E-40 & LaRussell)," & "Stunna Anthem," STUNNA continues P-Lo's mission in spreading positivity and shining a light on what makes the Bay Area a special place. The album features appearances by Larry June, Michael Sneed, Too $hort, Lucky, Kamaiyah, ALLBLACK, 22nd Jim, E-40, & LaRussell.

Re-release of the excellent 2017 EP from Hot Mulligan. If you're into the likes of The Hotelier, Spanish Love Songs, Tiny Moving Parts or Free Throw should definitely check this out.

Obscure British prog-rock band Mighty Baby evolved from a Mod group called The Action, but moved heavily into experimental psychedelia in 1969, when they cut an incredible debut for the Head label. Glastonbury Fayre Festival 1971 captures the legendary group in live action, ‘A Blanket In My Muesli’ being a free-form jam that remains their best-loved effort; ‘India’ is a similarly hefty instrumental mega-jam with lilting flute amidst the bluesy guitar work, and there are awesome renditions of ‘Virgin Spring,’ ‘Devil’s Whisper’ and ‘Lazy Days.’ If you like your prog thoughtful, complex, and multi-layered, this one’s for you!

Inspired by Muddy Waters and other blues greats, the South London blues-rock band Killing Floor was formed in 1968 with lead singer and harmonica player Bill Thorndycraft, guitarist Mike Clarke, bassist Stuart McDonald, pianist Lou Martin and percussionist Bas Smith. This self-titled debut set, issued by the independent Spark label (and licensed to Sire for US pressings), was produced with care by former DJ John Edward, based on Chicago blues material, as heard on the cover of Willie Dixon’s ‘You Need Love.’ This is the band at their rawest beginnings, a grittier traditional blues set that contrasts with later work for Larry Page.

Die Musik von Arabrot ist zeitlos. Gerade wenn man glaubt, einen Einfluss oder Bezugspunkt ausgemacht zu haben, entzieht sie sich dem Zugriff, dreht und wendet sich in unerwartete Richtungen und formt einen Sound, der wirklich einzigartig ist. In den letzten zwei Jahrzehnten hat sich Arabrot durch mehrere Iterationen gewandelt; sie haben verschiedene Formen und Größen ausprobiert, verschiedene Stimmungen aufgenommen und die Außengrenzen verschiedener Genres erkundet und klangen dabei nie weniger als ganz sie selbst. 2023 erscheint ihr zehntes Album, Of Darkness and Light - ein Grund zum Feiern. Kjetil Nernes war der Kern und die Konstante von Arabrot, und seit einiger Zeit schlägt neben ihm ein weiteres Herz im perfekten Gleichklang. Karin Park, eine Partnerin im Leben, in der Liebe und in der Musik, trägt seit zehn Jahren in unterschiedlichem Maße zu Arabrot bei, und auf Of Darkness and Light ist ihre Präsenz sowohl gefestigt als auch verstärkt. Die beiden leben zusammen in einer Kirche in dem schwedischen Dorf, in dem Karin aufgewachsen ist, und haben sich ihr eigenes Reich geschaffen, in dem sie ihre Kinder, ihr Handwerk und ihre kreativen Visionen pflegen. Of Darkness and Light brauchte einige Zeit, um Gestalt anzunehmen. Der Lebenslauf von Produzent Alain Johannes liest sich wie ein Who's Who der Rockmusik. Er ist selbst ein versierter Musiker (er spielte mit PJ Harvey, Queens of the Stone Age und Them Crooked Vultures und hatte auch seine eigene Band Eleven) und verfügt über langjährige Erfahrung als Produzent. Es war seine Arbeit an Mark Lanegans Album Straight Songs of Sorrow aus dem Jahr 2020, die Kjetil auf ihn aufmerksam machte, bevor Kismet eingriff und die beiden zusammenbrachte. Alain erklärte, dass "mein Bauchgefühl immer richtig ist" und zog im August 2022 ins Djura Missionshus, auch bekannt als die Kirche von A°rabrot, um mit der Arbeit zu beginnen. Das Trio verbrachte mehrere Wochen damit, die Arbeit mit dem Familienleben zu verbinden und die Puzzleteile zusammenzusetzen, aus denen sich Of Darkness and Light zusammensetzt - ihr erstes Album, das komplett in der Kirche aufgenommen wurde. Das Ergebnis ist ein echtes Rockalbum - unter der elektrisierenden Fassade aus flirrenden Synthesizern und raffiniertem Glitzern schlägt ein schweres Rockherz. Die Worte werden dem unbändigen, konkupiszenten Verlangen kaum gerecht, das sich hinter ihrem Schlachtruf We Want Blood verbirgt - einem hymnischen, mit den Füßen stampfenden Vorstoß, der in der Mitte des Albums liegt. An anderer Stelle stehen düstere Mörderballaden neben feierlichen "Fuck Yeah"-Momenten der Freude; ihre reduzierte Herangehensweise an die Instrumentierung schmälert nicht den Reichtum ihres Sounds. Für Freunde von SWANS, KILLING JOKE, WOVENHAND, CHELSEA WOLFE, THE MELVINS, CAPTAIN BEEFHEART, NINE INCH NAILS Ltd Pink Single Colour LP (We Want Blood Edition), Gatefold Cover

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

A resurgent Dog Meat Records is thrilled and proud to release a new album by a resurgent rock'n'roller and an old friend, PAT TODD and his band THE RANKOUTSIDERS. The seventh album by LA's finest rock'n'roll band comes some 36 years after the label's first dalliances with Pat, back when he fronted the legendary Lazy Cowgirls. The new album shows that Pat has lost none of his spark, that his voice and songwriting have only gotten stronger, and that he's got another killer band behind him, one that mixes classic '70s punk rock roots with country, blues and rock'n'roll in a manner that sits somewhere between Exile on Main Street and LAMF. The new album is highlighted as usual by Pat Todd's fantastic songs. A prolific writer with an eye on life in the margins - whether they be in small towns or the big sprawling city he has called home for 40 years - Todd routinely hits the mark where youth and the advancement of age find common ground in alienation and wilfulness. Pat knows that rock’n’roll is not necessarily a young person's game, and nor is it a glamourous one; the name he gave this band accurately points to where he and they are coming from. New originals like 'All We Have To Show', the horn-riffing rocker 'Living In A World of Hurt' and the raucous country-folk punker 'Goodbye to the World' are up there with anything he has ever written, and the Rankoutsiders play them even better than ever. Indeed, a couple of choice covers - a version of 'Hi Ho Silver Lining', sung by guitarist Nick Alexander and cut before Jeff Beck's unfortunate passing, and a version of David Johansen's old heartbreaker 'Donna' cut before word of Martin Scorsese’s Johansen documentary got out - shows by comparison to the original versions just how well these guys can crank it out. *** For over 20 years - from the early 80s to the early 00’s- Pat Todd fronted the undisputed Los Angeles roots-punk kings: THE LAZY COWGIRLS. Having landed in LA from the mid-west-meets-the south outpost of Vincennes, Indiana early in the decade, the Cowgirls sparked a new LA punk scene; their live album Radio Cowgirl was the first release on scene prime mover SFTRI -and ultimately inspired a resurgence of classic 1976 Ramones/Saints/ Heartbreakers-style punk that stretched across the US into Europe, Japan and elsewhere, inspiring bands like the New Bomb Turks, Oblivions, Teengenerate, Onyas and countless others. THE LAZY COWGIRLS were but a memory in 2006 when PAT TODD and the RANKOUTSIDERS’ 28 song double-disc debut, The Outskirts of Your Heart was released. Where most bands would have exhausted their creative gas to fumes with such an ambitious first release, this was only the beginning for the RANKOUTSIDERS. Prior to the new album Sons of the City Ditch, the RANKOUTSIDERS have released six full-length albums (yes, some are double discs) and over a dozen singles and EPs and have more releases queued up. Each and every one of them is a testament to Pat’s personal vision of raw, high energy rock’n’roll infused with elements of country and rhythm & blues, and documentary proof that the RANKOUTSIDERS are one of the hottest rock'n'roll bands on the planet. Indeed, it must be said the RANKOUTSIDERS truly are a band: energetically flanking Pat stage left is long-time guitarist and vocalist Kevin Keller; to the right is guitarist and founding member, Nick Alexander- the cool, calm and collected eye of the storm; bassist Steven Vigh holds the lower frequencies in check with steadfast authority, pushing the chorus to the next harmonic level, while drummer Walt Phelan drives the engine hard while keeping the band on the rails.

First 7'' release from Dressel Amorosi, the duo of Federico Amorosi (bass) and Valerio Lombardozzi (keys, synth & programming). Halfway between cosmic-funk and Italo-disco, the two tracks on this release are infused with the fusion- and electronic-oriented spirit of late '70s and early '80s Italian soundtracks and library music.

"Synthporn", on side A, is a midtempo instrumental with a voluptuous electronic feel, a mixture of glamour and retrofuturism driven by Amorosi's pulsating bass and Lombardozzi's elegant oscillators.

"Cargo", on the flip side, brings infectious '80s dance vibes to the table with a warm slice of synth-pop that can fit any scenario and filmic mood, from action to comedy.

I feel a deep sense of loss listening to this music, but at the same time the possibility of going beyond it through sound. It doesn't want to illustrate anything, but I would like it to be transformative, even of a feeling that sounds like death. It is an elegy." — Furtherset

The Infinite Hour is a shattered elegy synthesized in electronics. Furtherset's music does not explain, settle or justify, it rather simply manifests the grip of anguish. As a whole, the album's six compositions resemble the labored breathing of one who mourns a disappearance and fears oblivion. A feeling like having one's chest weighed down by a stone, while still being attentive to one's breath, and aware of what remains. From this dimension The Infinite Hour arises and transfigures loss into a space that is always extending: the hour is infinite, the melody is circular, and even stasis has its own measure that is exceeded into eternity.

The album was created between 2020 and 2022, in a slow process of writing and continuous refinement parallel to the previous EP, Auras. The compositions found their final form during the mixing process carried out together with composer & sound artist Bienoise (Mille Plateaux). They were later named based on references to authors who influenced and are dear to Furtherset: Amelia Rosselli, Vladimir Chlebnikov, Hubert Damisch, Dante Alighieri. Each track, composed with its live rendition in mind, manifests itself to the listener as a possible variant of a path that is never definitive. Their live performance, an increasingly distinctive moment within Furtherset's work, is a gesture of concentration and extension, where every composition is developed through meticulous variations of each singularity.

The Infinite Hour is one possible manifestation of an ever-changing musical landscape, a universe with unmistakable sounds but always on the verge of disintegrating, collapsing, and opening up spaces, times, infinities.

Furtherset is the musical project of artist and musician Tommaso Pandolfi (1995). His compositions' distinctive traits are stratifications and recursive shifting modulations, synthetic clusters and sampling, alongside rhythmic and embracing harmonies. The project is envisaged as formal research that follows a path towards saturation and layering, but is always capable of generating voids in which the listener can take their place and fill them according to their own focus.

Originally released in September 1997 on Eternal Records and includes writing and production work from Ian Masterson and David Green, Xenomania (Matt Gray, Brian Higgins, Stuart McLennan, Tim Powell), Metro (Paul Barry, Graham Stack, Mark Taylor, Steve Torch) and DNA (Nick Batt, Neal Slateford).

This Special Edition 2LP pressed on clear vinyl, boasting the original cover design (originally by Gerard Saint), with photography by Steve Shaw. The original ten track album is presented over side A/B, while the three contemporaneous non-album cuts 'Someone New', 'Keep Up With The Good Times' and 'Coconut' are featured on the bonus 12" single sides C/D.

Packaged in a lavish gatefold sleeve with deluxe finish printing, each record is housed in a beautiful inner bag, featuring rare photographs and full album lyrics.

My Brutal Life delves into the profound aspects of our artistic endeavours encompassing brutalism, the environment, and humanity. Throughout our ongoing creative journey, we consistently gravitate towards these themes, documenting and exploring the human experience within these environments. Our unwavering fixation on Symmetry, Synchronisation, and Repetition are the driving force in our artistic expression. Moreover, we strive to peel away superficial layers to expose the underlying emotional strata of the human aspect, unearthing the often overlooked beauty within the ordinary. Although frequently disregarded, the human aspect resonates with echoes from the past, enlightening and guiding our artistic process. Even the failures encountered serve as poignant reminders of the delicate structures we construct. My Brutal Life constitutes a pivotal component within an enduring exhibition, meticulously crafted to delve into the aesthetic and human facets of brutalism.