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"Flux" is the 1981 debut solo outing of Robert Turman, an American multi-instrumentalist and avant-garde composer. Until recently, Turman was perhaps best known for his contributions to the ballistic NON project with Boyd Rice, as well as other obscured U.S. industrial acts such as Z.O. Voider.

In the summer of 1981 Turman decided he would take a drastic turn from the noisy/electronic/industrial work of his compatriots, and began work on what is now the classic "Flux" cassette. "Flux" was originally self-released in extremely limited numbers. Weary of the noisescapes of old, he set out to create long-form minimalism utilizing kalimba, piano, "Mini-Pops Jr." drum machine, and tape loops to create a complex bed of interweaving micro-stasis'. The results of these new experiments were as beautiful as they were perplexing.

A curious dusty fidelity carries these classic tracks across four sides of vinyl, including all of the original "Flux" content. These compositions glow with a sprawling, slow motion haze that's light years ahead of its time. "Flux" reveals wide spectrums of sound from melancholic kalimba and percussion patterns to slowed down, syrupy Exotica. Turman had complex ideas in his mind yet only the simple technologies of the day were at hand. Hear the click of the stopping and starting Tascam 3340 open-reel tape machine as one hand presses the "record" and "play" buttons and the other plays piano phrases. While there are similarities in style to Classical Minimalism, Turman's sound and vision is his own and is exclusive to his limited discography.

Released in a limited edition 2xLP set. Lovingly remastered and cut by Rashad Becker at Dubplates & Mastering from the original C-60 cassette master. Original cassette artwork and scans provided by Aaron Dilloway.

Spectrum Spools released in association with Editions Mego

White Vinyl

Remastered reissue of Het Zweet's 1987 self-titled LP + a bonus LP, consisting of previously unreleased material.

Marien Van Oers work under the name Het Zweet (“The Sweat” in English) originally came out in the 1980s (specifically 1983-1988), but listening to the new reissue of this self-titled album from 1987 can feel like one is listening to something that’s both much more current and also much, much older than that. Van Oers, who passed away in 2013, made music that tended to get classed as “industrial”, and tracks here like the steady, clanging churn of “From the Lowland” or “On Earth” show why, but he was as or more inspired by tribal music intended to produce trance-like effects via rhythm and (percussive and vocal) repetition. Using instruments made by himself out of anything from shopping carts to cardboard tubes, the music of Het Zweet locks into grooves that somehow feel more elemental and physical than many of his contemporaries. It never quite feels like Van Oers is emulating or echoing the music of any particular region or tradition so much as trying to synthesize all the ones he’s heard into some sort of ur-pulse, an overtone so powerful as to compel the “Massive Trance” the title of the last song on the record evokes.

While the 1987 Het Zweet has four track titles per side, and on listening you can discern some segues and places where it feels like new movements do shift into place, it’s fitting to have this record on vinyl where the listener is encouraged to experience each side as one uninterrupted piece. The bonus material included on this reissue expands Het Zweet from one LP to two, the second LP consisting entirely of previously unreleased material. This bonus LP is sequenced similarly, with three untitled tracks and two live excerpts presented as side-long experiences that belie their disparate origins with a unity of sound and purpose. Van Oers’ percussive nous and distantly yelled chants certainly sound capable of working up a sweat in both the performer and any movement- minded listeners, but maybe the most striking thing about Het Zweet is how vital it still sounds, despite its age and relative obscurity.

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."

Robin Pecknold brings light to the bleakest of winters with Fleet Foxes' 'A Very Lonely Solstice,' a 13-track career spanning collection recorded in December 2020, at Brooklyn, NY's St. Ann & the Holy Trinity Church. Now being released for the first time on vinyl, CD and digital formats, 'A Very Lonely Solstice' captures a poignant moment in time. The recording was originally broadcasted as a live-stream event on the winter solstice of 2020, just days after New York declared a state of emergency tightening restrictions again in response to increasing COVID-19 cases. Pecknold describes the set as "me by myself on the longest night of the year... honoring the loneliness of 2020 with a nylon string and some songs new and old." Fans worldwide tuned in while quarantined at home, finding solace and a sense of community in a period of extreme isolation. Much of 'A Very Lonely Solstice' showcases a solo focus on Pecknold who offers up acoustic arrangements of fan-favorite songs spanning Fleet Foxes' catalog. Selections cover all four of the band's studio albums, including their 2008 self-titled debut album ("Tiger Mountain Peasant Song") to 2011's Helplessness Blues ("Blue Spotted Tail") and 2017's Crack-Up ("If You Need To, Keep Time On Me"), all the way to their latest release, Shore. Resistance Revival Chorus joins Pecknold on Shore tracks "Wading In Waist-High Water" and "Can I Believe You." Also featured: a cover of Nina Simone's "In The Morning" and a rearrangement of the traditional "Silver Dagger."

In den letzten Jahren hat sich Griechenland als echte Fundgrube speziell für Metalbands entpuppt. Auch Cellar Stone kommen aus Griechenland ( Athen). Mit den beiden Bandgründern Aris Pirris (Vocals, Guitar/ Persona Non Grata) und George Maroulees (Guitar/ Diviner) haben sich 2018 zwei alte Hasen der Musikszene zusammengetan. Mit Akis Rooster (Bass/4Bitten, Band 13) und George Karlis (Drums) war das Line Up komplett. Tolle Hooks, famose Leads, Power und Gefühl, Cellar Stone liefern mächtig ab auf ihrem 2. Abum "Rise & Fall". Beeinflusst von den Rock & Metal Giganten wie Black Sabbath, Led Zeppelin, Thin Lizzy, UFO, Iron Maiden, Metallica, Alice In Chains, sowie den Bands von heute wie Black Stone Cherry, Shinedown, Mastodon und Alter Bridge, setzen Cellar Stone ihr eigenes Statement. Passend dass der Frontmann von Black Stone Cherry, Chris Robertson, zu Gast auf dem Album ist, mit einem feurigen Gitarrensolo auf Track "War We Can Win".Die Covid-Pandemie und die Auswirkungen, die sie auf das Leben der Menschen, insbesondere auf die Musikindustrie, hatte, spiegeln sich auf dem gesamten Album wider. Wie unsicher unser Leben plötzlich wurde, auf globaler Ebene, ist das Hauptthema in der Musik und den Texten. Refrains, die haften bleiben, starke Melodien, ein Pandämonium aus Gitarrenharmonien und massives Gitarrenriffing, 11 brandneue Heavy Rock Tracks die Eindruck hinterlassen.

Sechstes Album der norwegischen Kultband. Oliver und Svein Kersbergen zaubern einen neuen Mix aus Drones und Soundscapes mit wunderschönen Melodien. Mit dabei, eine sehr ungewöhnliche Zusammenstellung an Gästen: Kjetil Manheim (Mayhem, Order, Big Robot), Sandy Dedrick von der 60s Sunshine-Pop-Band Free Design sowie Mark Refoy von Spacemen 3 und Spiritualized.
Für Fans von Fans von Vintage, verträumtem Pop und Kraut.
Yellow Vinyl-Version in streng limitierter Auflage!

South American Jazz & Bossanova flavours from 60s & 70s in Liguria, north west Italy. Melody sounds really close to Brazilian Portuguese and instrumental tracks smells of South American Jazz.
Nonetheless, the sound landscape clearly reflects the Italian Library Music of the time. This mingling was made possible by the commercial and cultural interconnections during the discovery of the New World: the local Ligurian language was influenced by new stimuli from the new territories and vice-versa. Moreover, from the end of the Nineteenth Century, a strong migration of Italians involved South America, with numbers comparable to the Italian migration in the USA, but less known because less represented in films or narrative.
As a result of these connections, these songs sound mellow, carioca and exotic, based on the phonetics of one of the most musical, folkloric and peculiar Italian dialects.
The artwork project is a homage to lithographs and ADV that were inspired by the first tourist and migration trips departing from Genoa towards Rio De Janeiro. The lithographs were recovered by “L’Image” an existing art gallery in Alassio, a small town in Liguria.
"Bossa Ligure" can be seen as a micro-genre and a different form and aesthetic of Brazilian music, which is unknown to many, but that we would like to make available with this collectanea. A musical and a
cultural expression which reveals a strong influence and connection to the Brasileiro sound in an unexpected territory.

Another collaborative effort from the consistently fascinating US ambient kings Past Inside The President, this time with Hendrix - not that one - and Wayne Robert Thomas, whose atmospheric guitar-led work has featured several times on the label before. If the average ambient album has its head in the clouds, this is more grounding, more gamboling in the fields perhaps than floating in the ether, with gentle flute and guitar giving the walls of synth sounds some perspective. That said, the closing track of the four, 'Retract R (Type K)', sizzles away like something by Growing or even Spaceman 3 left to fry in the sun. Magnificent stuff..

Beginning life in 2018 in the home of songwriter Myles McCabe experimenting with shouty, electronic bedroom pop ME REX are equipped with multitudes of “surging gargantuan hooks”, McCabe was quickly joined by longtime friends Kathryn Woods (guitar/vocals), Phoebe Cross (drums/vocals) and Rich Mandell (bass/keys/vocals). In 2021 the band released their debut album Megabear: a record built from 52 short tracks intended to be played in shuffle mode in order for the listener to create their own perfect combination of songs. In 2022 they dove headfirst into follow-up EP Pterodactyl which saw them change pace and tact throughout — constructing delicate vocal layers with luscious swathes of guitars and keys to build a bridge between their raw DIY past and a bright, creative future. Across all four songs on new EP, Plesiosaur, ME REX focus their attention on catchy choruses and snappy rhythms. With Toilet of Venus acting as an extension of Lager Door, the former track looks at present struggles as opposed to the latters inherent nostalgia, Jupiter Pluvius looks theologically at the idea of projecting strength and power onto inanimate objects, all wrapped in sharp wordplay and vibrant fuzzed out guitars and keys that are addictive as hell. Described as “nothing short of an artistic triumph” by Brooklyn Vegan— as well as seeing praise from Pitchfork, DIY, Rocksound, Line Of Best Fit, BBC 6Music, Radio X, Amazing Radio, Audiotree, The I Paper and Baby’s Alright— ME REX are showing no signs of slowing down.

Charlie Griffiths, guitarist for British Progressive Metal band Haken, proudly presents his debut solo album ‘Tiktaalika’. With musical roots still firmly in the progressive realm, Charlie draws from his love of old-school 80s thrash, 90s tech-metal and alternative rock. Running the gamut from melodic to avant-garde to straight-up heavy, you might say Tiktaalika bridges the gap between King Crimson and King Diamond! This concept album was 375 million years in the making, with the 9 tracks drawing inspiration from themes of geological time, fossilisation, transformation and humanity’s connections with each other and the planet we inhabit. The Griffiths-penned lyrics are given voice by some of the best vocalists in the business: Tommy Rogers (Between the Buried And Me), Danïel De Jongh (Textures), Vladimir Lalić (Organised Chaos) and Neil Purdy (Luna’s Call). The album also features a host of guest musicians: Drummer Darby Todd (Martin Barre, Frost, Devin Townsend), Keyboard wizard Jordan Rudess (Dream Theater) and Saxophonist Rob Townsend (Steve Hackett). The album was mixed by Adam ‘Nolly’ Getgood and mastered by Ermin Hamidovic. The artwork was created by Dan Goldsworthy. Available as Limited CD, Gatefold 180g 2LP+CD & as Digital Album.

Charlie Griffiths, guitarist for British Progressive Metal band Haken, proudly presents his debut solo album ‘Tiktaalika’. With musical roots still firmly in the progressive realm, Charlie draws from his love of old-school 80s thrash, 90s tech-metal and alternative rock. Running the gamut from melodic to avant-garde to straight-up heavy, you might say Tiktaalika bridges the gap between King Crimson and King Diamond! This concept album was 375 million years in the making, with the 9 tracks drawing inspiration from themes of geological time, fossilisation, transformation and humanity’s connections with each other and the planet we inhabit. The Griffiths-penned lyrics are given voice by some of the best vocalists in the business: Tommy Rogers (Between the Buried And Me), Danïel De Jongh (Textures), Vladimir Lalić (Organised Chaos) and Neil Purdy (Luna’s Call). The album also features a host of guest musicians: Drummer Darby Todd (Martin Barre, Frost, Devin Townsend), Keyboard wizard Jordan Rudess (Dream Theater) and Saxophonist Rob Townsend (Steve Hackett). The album was mixed by Adam ‘Nolly’ Getgood and mastered by Ermin Hamidovic. The artwork was created by Dan Goldsworthy. Available as Limited CD, Gatefold 180g 2LP+CD & as Digital Album.

This limited reissue of Arjen Lucassen’s (of Ayreon fame) second solo album from 2012 comes in a gatefold jacket and features the original booklet. The story of “Lost in the New Real” follows Mr. L, a twenty-first century man who was cryopreserved at the moment of clinical death from a terminal disease. The album begins as Mr. L is being revived at a point in the distant future, when technology has advanced enough to cure his disease. Mr L finds himself in a world that has drastically changed — to the point that the line between what’s real and what’s not is no longer clear. Arjen Lucassen as “Mr. L” Vocals, instruments, music, lyrics Rutger Hauer as “Dr. Voight-Kampff” Instrumentalists Arjen lucassen: all instruments, with the exception of those listed below Wilmer Waarbroek: backing vocals Ed Warby: drums Rob Snijders: drums Ben Mathot:violin Maaike Peterse: cello Jeroen Goossens: flute Elvya Dulcimer: Hammered dulcimer on “Battle of Evermore”

TRANSMISSION EDITION OF PORCUPINE TREE'S 2008 MINI ALBUM 'NIL
RECURRING'.Following on from the announced reissue series from
Porcupine Tree, issued through their own Snapper Music imprint
Transmission, 2008's mini album 'Nil Recurring' will be made available on
classic black vinyl edition
Originally released on CD in 2008, the mini- album (29 minutes of music) was
written during the 'Fear Of A Blank Planet' sessions, completed over the Summer
of 2007 & is presented as a cohesive, self-contained Porcupine Tree work in its
own right. The title track features Robert Fripp on lead guitar, & the album moves
through the full Porcupine Tree spectrum of atmospheric ambience, melodic
hooks & crushing riffs.
Porcupine Tree are gearing up for the release of their new album in June, marking
another step forward in the incredible journey of the band that began as a solo
studio project created by Steven Wilson in the late eighties to a multi grammy
nominated act & one of the world's most revered live bands, selling out arenas
across the globe & wowing fans with their incredible performances.
This new Transmission reissue of 'Nil Recurring' remains faithful to the original
artwork & has never sounded better.
"post- prog pearls of modern intelligent, rock- propelled pop....very tasty indeed"
Classic Rock

MARIUSZ DUDA'S 2008 DEBUT SOLO ALBUM IS BACK ON VINYL.Lunatic
Soul is the solo project from Mariusz Duda, the creative force, lead singer
& talented multi-instrumentalist behind Poland's Progressive Rock
shooting stars Riverside
Since the release of their debut album in 2003, Riverside have built a solid fan
base in a genre that boasts the likes of Porcupine Tree, Opeth & Dream Theater.
Lunatic Soul adds another name to this new post-progressive stable.
Following a string of critically acclaimed releases over recent years, Kscope are
now proud to present the bands' debut in a slick new single black LP format.
'Lunatic Soul' was recorded at Serakos Studio, Warsaw, Poland between Jan – Jul
2008, mixed & produced by Robert Srzednicki & Mariusz Duda, with the beautiful
artwork created by Rafa Buczek.
'Haunting Sounds… Brilliant' – Metal Hammer SELF- TITLED DEBUT FROM
LUNATIC SOUL IS AVAILABLE ON LP VIA KSCOPE

MARIUSZ DUDA'S 2008 DEBUT SOLO ALBUM IS BACK ON VINYL.Lunatic
Soul is the solo project from Mariusz Duda, the creative force, lead singer
& talented multi-instrumentalist behind Poland's Progressive Rock
shooting stars Riverside
Since the release of their debut album in 2003, Riverside have built a solid fan
base in a genre that boasts the likes of Porcupine Tree, Opeth & Dream Theater.
Lunatic Soul adds another name to this new post-progressive stable.
Following a string of critically acclaimed releases over recent years, Kscope are
now proud to present the bands' debut in a slick new single black LP format.
'Lunatic Soul' was recorded at Serakos Studio, Warsaw, Poland between Jan – Jul
2008, mixed & produced by Robert Srzednicki & Mariusz Duda, with the beautiful
artwork created by Rafa Buczek.
'Haunting Sounds… Brilliant' – Metal Hammer SELF- TITLED DEBUT FROM
LUNATIC SOUL IS AVAILABLE ON LP VIA KSCOPE

Love At Leeds is the realization of many dreams for Mikey Erg
A lifelong music obsessive, growing up in the early 90's,there was one sound he'd
always hoped to capture on his recordings. The sound of Steve Albini. Steve's
credits include The Pixies, PJ Harvey, Jimmy Page & Robert Plant and of course
Nirvana's 3rd LP In Utero, One of Mikey's absolute favorite records. Mikey had
never in his 20 plus year recording career ever gotten to make a fully analog
recording. Love At Leeds was the perfect time to rectify all of that. Using the
group of musicians that helped him realize his debut solo LP Tentative Decisions
(Jeff Rosenstock, Alex Clute & Lou Hanman), He Headed out to Chicago to make
this dream a reality. Recorded and Mixed in only 5 Days, Love at Leeds is a swift
25 minute long grunge-pop tour de force. Once the album was complete, Steve
and his trusty razorblade compiled the master mix reels and sent the band on
their way. The tapes then made the journey to Hollywood, California to the
legendary Bernie Grundman Mastering facility to be mastered and cut straight to
lacquer disc by Chris Bellman (Frank Zappa, Neil Young, Kenny Dorham, Pearl
Jam).

White Vinyl

Part of The Optic Sevens 4.0 Reissue Series.
Limited to 800 copies worldwide. Please check your allocation with your sales rep.
Pressed on White Vinyl.
Includes postcard and poster. Non-Returnable.
The Wake formed in Glasgow (Scotland) in April 1981, after singer/ guitarist Caesar teamed up with drummer Steven Allen and a bassist, Joe Donnelly. Previously Caesar had played guitar in Altered Images, writing first single Dead Pop Stars and appearing on the first two John Peel sessions, but left the group shortly before they crashed into the mainstream pop charts with Happy Birthday.
With few opportunities to play large live shows the new group financed a single on their own Scan 45 label, coupling upbeat indiepop number On Our Honeymoon with Give Up, a darker song featuring a keyboard line picked out by band friend Robert ‘Bobby’ Gillespie.

Originally released on M-Plant subsidery label, Duet in 2002.
20 years later sees these hypnotic grooves remastered by Thomas Heckman for a highly demanded re-release !

Berlin-based label. Burial Soil proudly presents a collaborative electro album initiated by CYRK.

For their album "Freundschaft" CYRK has collaborated with Steffi, Anthony Rother, Ravn Jonassen, JakoJako, Jensen Interceptor, Alienata, Nite Fleit and David Carretta.
Over the last few years electro has had a massive resurgence. Since then, a new generation of producers has taken the genre under the microscope, recombining classic tropes and influences in new ways. CYRK is among the list of artists consistently pushing all things electro to new heights with forward thinking, dancefloor shattering and bass-heavy concoctions ready to turn your favorite club dance floor into a sea of spaced-out euphoria.

A sound that embraces different styles and different eras, but which has only one basic concept as a common denominator: spreading the “Black Power Sound”.

That’s the spirit of the double vinyl compilation of Soul Fingers, a legendary Black Music traveling party that has now become a cult in Italy, still religiously followed by dancers of all kinds and ages.

At Soul Fingers it is usual to listen and dance to a unique and tasty blend of soul, disco and funk, with rap and latin rhythms. There are no preconceptions other than that of putting songs to feel good and make people feel good.

The real deal is to share with the dancefloor a record that is magical, full of soul and that can elevate us from our state of human beings to become a single beating heart under the speakers of the sound system.

Recorded at Channel One Recording Studio in Kingston Jamaica
featuring Sly & Robbie, Tommy McCook and Ansel Collins
Arranged by: Trevor Hartley
Produced by: Phil Pratt
First released 1979
Extensive Sleeve Notes
Promotion across social media platforms
Advertising in Riddim, Black Echoes and Record Collector Magazine

Twice Mercury Prize nominated, 5 time Ivor Novello nominated and
critically acclaimed, Everything Everything launch their new forthcoming
studio album 'Raw Data Feel'
On Raw Data Feel, Everything Everything set about revolutionising modern pop
music, with Higgs abandoning his own brain and letting technology do at least
some of the thinking: feeding LinkedIn T&Cs, Beowulf, 4Chan forum text and the
teachings of Confucius into A.I. automation processes and using its responses
as a basis for the record's lyrics, song titles and artworking.
Produced by Everything Everything guitarist Alex Robertshaw and production
partner Tom Fuller (aka Kaines and Tom A.D), Raw Data Feel follows 2020's REANIMATOR which charted at #5 in the Official Albums Chart.
This new phase is a rapturous return and - staying true to form - sees the band
continue to push the ribbon on melody & rhythm with a heavy helping of
electronic exploration.

He may not have known it before, but Toronto-born, New York-based
guitarist Matthew Stevens, prized for his forceful, distinctive electric
sound was an ideal candidate to make an album fully devoted to solo
acoustic guitar: the intimate, unadorned, straightforwardly titled
'Pittsburgh'
September 2020, Stevens was hunkering down in his wife's family's hometown of
Pittsburgh, while navigating his way through the crisis. He had with him a vintage
Martin 00-17, a small- body mahogany guitar. Practicing daily on the Martin, he
began generating a series of short song "starts" - ideas and sketches he thought
might lead somewhere. Then one rainy Pittsburgh day, Stevens' bike slid out from
under him and he broke his right elbow. Rather than getting derailed musically, he
became immersed in a creative process that led straight to 'Pittsburgh': a
document of those short song "starts" from the notebook, now hatched as
completed compositions. "Playing this music became a big part of my rehab,"
Stevens recalls.
As the album took shape, it became clear to Stevens that he was headed in the
direction of a wholly unaccompanied recital, with no overdubs or sound layering
of any kind. Just him and this special Martin, two Neumann U89 mics and enough
peace of mind across two separate sessions to make 'Pittsburgh' the triumph that
it is.
In addition to his extensive high-profile work with Esperanza Spalding (serving as
co- producer on 'Exposure' and '12 Little Spells'), Stevens is also a member,
songwriter and co-producer of Terri Lyne Carrington's GRAMMY-nominated Social
Science band. He has made vital contributions to groups led by Dave Douglas,
Linda May Han Oh, Christian Scott aTunde Adjuah, Ben Williams and more. With
tenor saxophonist Walter Smith III he co-leads the In Common collective. Stevens
has also amassed many credits beyond the jazz world, collaborating on
forthcoming releases by Anna B Savage, Jamila Woods, Tyler Armes
(Murdagang) and Berlin-based electronic artist Robag Wruhme.

It's dark in the forest. Especially in the »northwest«. You have to adjust all your senses. But once you have, the forest will take you in his arms. The forest will protect you. Just like Daniel Herrmann's first album for Live At Robert Johnson will protect you.

Herrmann is far from being unknown in the world of music - let alone in the art or photography world. In the music field, he is probably much more known under his Flug 8 moniker where he released five albums on Disko B, Doxa Records, Ransom Note, and Acid Pauli's Smaul Recordings. Under his given name, Daniel Herrmann's relationship with LARJ's label boss Ata Macias goes way back. As an artist and photographer Herrmann was the only one allowed to take pictures inside Ata's ROBERT JOHNSON club, thus creating an iconic series of pictures of clubbers and club life in general. Herrmann’s pictures of the partying punters themselves were presented as wallpaper all over Robert Johnson back in 2002.

With »Enroute« Herrmann enters new territory: It is his most ambient work up to today. And yes, it is a piece of work created during the lockdown. Herrmann's studio is situated in the outskirts of Frankfurt, near the forest - a quite remote place already in-between the Taunus mountain range. Imagine life during the lockdown in such a place … This is where Herrmann set up his former basement studio in the large living room with a variety of instruments besides a cozy fireplace spending warm light and warmth. A warmth that despite its seemingly rather "cold" atmosphere can be heard all over »Enroute«. Once you soak in the sounds (or get soaked into the sounds) of the first tracks like album opener »northwest«, »Fly By Wire« or the 11min »Dark Trace« you might feel this warmth too. A cold warmth you could say, yet a warmth that only modular systems and synthesizers can create.

There is a change of mood with »Intercontinental« - literally as it seems that Herrmann indeed is on an intercontinental journey here despite the strolls and long walks in silence through the Taunus forest. This is also the place where Herrmann took many photographs of the forest and its trees (to be seen on his Instagram account) - and the picture on the cover: This spooky yet fragile high seat in the mist in front of those trees. Yet darkness alone is not dominating this album. Even during these dark days, there was a bit of light at the end of the tunnel. And it shows in the beauty of »Bouncing Rays«.

»Enroute« is done all alone and in total isolation. And one can hear it. But it also invites the listener to be a part of this lonely world. And we all know that being lonely is made easier with someone on your side - »Enroute« to a better place. A place that isn't lonely at all.

PS: For all digital music lovers we have included two bonus tracks: The GLOK remix of »Bouncing Rays« and Herrmann's clattering and creaking tune »Economy« - enjoy!

First time reissue from this essential latin jazz album from 1971 !

Often affectionately referred to as the "Godfather of British Latin music" Robin Jones was truly one of the great performers on the international Latin scene.

Denga, his first recording from 1971 is a scintillating fusion of Afro-Cuban and Afro-Brazillian rhythms laden with heavy Fender Rhodes sounds and no less than three Afro-Latin Percussionists. The hard-to-find album has now been reissued by legendary London jazz DJ Paul Murphy's Jazz Room Records imprint. It should be an essential purchase for anyone who loves Latin jazz.

Feature's Robin's personal favorites including "Goodbye Batucada" which rightfully lays claim to be the first Brazilian Jazz Samba tune recorded in the UK and the Worldwide Sound standard setters "Denga" and "Africa Revisited".

Mark Korven's original soundtrack for 'The Lighthouse,' starring Robert Pattinson and Willem Dafoe, marks his second collaboration with director Robert Eggers (The Witch).
"Robert Eggers and I were rather like the two wickies that went insane in The Lighthouse, musically speaking. We travelled to some very dark harmonic and textural places. We both enjoy not just breaking the rules, but blowing them to smithereens. The spirit of experimentation was always present."
-Composer Mark Korven


"Composer Mark Korven and I developed a shorthand working together on The Witch. This made collaborating on The Lighthouse an incredibly enjoyable process. But it was not without its many challenges. Originally, I wanted a score with no strings at all. The Witch soundtrack was so string-prominent that I wanted a full departure. I only wanted horns, pipes, conch shells, concertina - things that sounded like the sea - or the lighthouse station's ominous foghorn. It would be a minimalist aleatoric soundtrack with a nod to sea shanties and ancient Greek music. As Mark and I embraced the sound of big brass sections, it quickly became a maximalist aleatoric soundtrack.

Planet Battagon – Episode 01, a labyrinth of different sounds and textures was created live, purely on machines. Creating Experimental and other-worldly tones, all three tracks hail from the quirky "Planet Battagon" world, with "Like You, Like Me" the most likely contender for Club play by the more adventurous DJs. Touching on early Techno and Space-Jazz, Episode 01 is certain to take you on a sonic journey like no other...

Gilles Peterson – “Love it, I can’t wait to play this one out”

Rob Da Bank - “ WOW what a fresh and unique sounding record…drumtastic! "

Felix (Basement Jaxx) - " It's like the Clangers playing at a bass music festival ”

Rhythm Doctor - “ Explosive, Techno Jazz experiment. . .will become a classic ”

Toddla T - "Refreshing, Sic!”

Further support from Riton, Sinden, Canblaster and Brodinski

Resident Evil: Welcome to Raccoon City is a 2021 action horror film written and directed by Johannes Roberts. Adapted from the stories of the first and second games by Capcom, it serves as a reboot of the Resident Evil film series and the seventh live-action film overall, which was loosely based on the same-titled video game series. The film stars Kaya Scodelario, Hannah John-Kamen, Robbie Amell, Tom Hopper, Avan Jogia, Donal Logue, and Neal McDonough. Set in 1998, it follows a group of survivors trying to get through a zombie outbreak in the small town of Raccoon City.
Resident Evil: Welcome to Raccoon City had its world premiere on November 19, 2021 and topped the chart over on VUDU in its first weekend of release.
The score is composed by Mark Korven. He is best known for his work on the sci-fi horror cult film Cube (1997), and most recently his collaboration with director Robert Eggers on the period horror films The Witch (2015) and The Lighthouse (2019).Resident Evil: Welcome to Raccoon City is available as a limited edition of 2000 individually numbered copies on translucent red coloured vinyl. The package contains an XL poster and exclusive Umbrella Corporation fan-art insert

Animal Records – founded by Chris Stein of Blondie fame – only ever released one album in its brief early-80s history, but what an album that was. Wild Style remains the most seminal soundtrack in hip-hop history, a snapshot of the scene as it evolved from the streets to the recording studio. But it’s not just a vital document, it’s also a damn good listen.

The line-up is a who’s who of those who stood out from hip-hop’s nascent block party days. The Double Trouble pairing of Rodney Cee and KK Rockwell, The Chief Rocker himself, Busy Bee, the mighty line-ups of both The Cold Crush Brothers and The Fantastic Freaks. The music captures the free-form, roaming nature of the film – it’s rough at the edges, it’s occasionally amateurish, but it’s completely, utterly glorious.

The original Animal tracklisting, of which this is a reissue, is full of recurring sounds and motifs, all of them co-produced by Chris Stein and Fab Five Freddy, stepping away from breakbeats to produce a sound that reminds you of them, while being totally unique. The epic drums are courtesy of Lenny ‘Ferrari’ Ferraro, a Vietnam vet and punk drummer whose career spanned stints backing Aretha Franklin and Lou Reed.

Over time, those sounds – the Charlie Chase and Grand Wizard Theodore scratches, the indelible lyrics - have become hip-hop touchstones, endlessly sampled and referenced, the bedrock of so much music to follow. That’s because the soundtrack perfectly encapsulated the essence of the film, the scene and hip-hop’s emergence from The Bronx to the attention of the wider world. Presented in this reissue with the original artwork, it remains the blueprint.

The ninth installment in Numero's Cabinet of Curiosities is 100% chart smashes. Culled from the depths of the private press, Super Hits gathers 12 magical adaptations from the Me Decade's introspective songbook. Pop this oversized 8-Track into your Fleetwood Weltron and enjoy a motley crew of lounge singers, wedding bands, synth enthusiasts, trailer park dreamers, accountants, gym teachers, and more as they bring their own unique energy to classics by Steely Dan, War, Boz Scaggs, Neil Diamond, John Denver, Smokey Robinson, The Carpenters, Redbone, The Box Tops, Fleetwood Mac, and more. Tape warble not included.

Reissue in Opaque Purple Vinyl

Debut full length album on the Valley of Search label by Mexican born, New York-based vibraphonist, marimbist, improviser and composer Patricia Brennan. The twelve original instrumentals that make up the album were composed and performed solo by Brennan on vibraphone and marimba. Employing unusual performance techniques and occasional electronics, many of the compositions were borne from improvisations created live in the studio at the time of recording. At times exploring silence and space, stillness and patience the album investigates new sonic territories with an endless sense of curiosity. "This album is a personal statement not only as a vibraphonist but also as an improviser and composer," says Brennan. "From bowing and bending pitch, to the use of extended effects via guitar pedals, this album reflects my vision for the vibraphone and the potential of all the possible ways it can be played. I wanted to not only incorporate all those techniques in the compositions but also wanted them to become part of my general improvisatory language." Patricia has performed with many renown musicians including singer and composer Meredith Monk and Theo Bleckmann, saxophonists Jon Irabagon and Scott Robinson, trumpeter Ambrose Akinmusire, drummer Marcus Gilmore, guitarist Mary Halvorson and many others. She has performed in venues such as Newport Jazz Festival, SF JAZZ, and Carnegie Hall, as well as international venues such as Wiener Konzerthaus in Vienna, Austria, Alte Oper in Frankfurt, Germany, Palacio de Bellas Artes in Mexico City and Teatro Colón in Buenos Aires, Argentina.

Philip Lawn is an Italian music producer, co-founder of Turbokitchen, releasing on labels such as Motek and My Favorite Robot Recordings.

In his debut EP as solo artist for Thisbe Recordings, “Ten Years of Travel”, he tells the tale of the Odyssey and his protagonist Ulysses through the use of machines (such as Nord Lead 4, Roland SPD-30, Behringer TD -3, Yamaha Reface CS & Moog sub 37) and hot grooves. Out of his secret garden, a perfect acoustically isolated walk-in closet, “Ten Years of Travel” was born. Particular to the structure of the EP is that each track has its own remix.

With a rework of “Distorted View”, Days of Being Wild deliver a dark disco classic, true to their idiosyncratic sound and original beats, mesmerizing the dancefloor straight away. Traveller and cosmic poet Pyrame rework of the single “Start” first feels like rain dropping before the storm comes and reveals an euphoric feeling as the break starts. Romain FX nails a fine remix of Ten Years of Travel, the main single of Philip Lawns´EP. His remix is a pure italo disco rework of the original, infused with pop synths and keys, that won´t leave anyone still and quiet. Banger.

repressed !

incl. Floorplan Remixes!

Sophie Lloyd produced 'Calling Out' in a dreary January as an antidote to the pervading doom and gloom of the news, summoning the power of the most joy-filled sound of all, gospel. The track radiates all the live atmosphere of gospel worship in mid flow, with soul trio Dames Brown bringing the authenticity. Following the 7' release, which sold out due to huge demand, comes the 12' complete with the original version plus two brand new mixes from Floorplan. The duo of Detroit techno pioneer Robert Hood and his daughter Lyric Hood are well known for their gospel-infused sound with Hood's hometown influences always apparent. Their Club Mix opens with a heavily swinging groove which breaks down into pure 4/4 indulgence, while the Revival Mix singles out the looped piano and organ riffs. Putting their assertive spin on this new Classic anthem, Floorplan turn up the levels on 'Calling Out', bathing it in further glory.

Compiled by Sean Marquand and Greg Caz, 2 DJs well-known for their epic parties at Williamsburg’s legendary Black Betty club, that sadly closed in 2009. The duo played a deep variety of strictly vintage samba, samba-rock, Tropicalia, and Brazilian funk under the banner of ‘Brazilian Beats Brooklyn’.

Sean is known as half of Embassy Sound Productions. He took his team to Brazil to help resurrect Black Rio legends Uniao Black for a new release. Greg has DJ'd at some of the hottest Brazilian parties around the globe and presents a monthly radio show ‘Warm Wave’ on Soho Radio NYC.

Featuring Noriel Vilela’s singular “16 Toneladas,” a sublime cover of the Tennessee Ernie Ford smash “16 Tons” with a spare samba groove and unbelievable baritone vocals and hot jams from Tim Maia, Erasmo Carlos, Joao Bosco, Toni Tornado.

Included in this compilation of original 60's and 70's Brazilian gems are some of Greg and Sean's favourite tracks that have been filling dancefloors for years.

Four killer tracks of high grade electronic soul from James Baker AKA REKAB. A fantastic EP showing both breadth of style and respect for the roots and traditions of the music from this artist.The first, Locked on Dodge, is a driving deep Detroit techno track with a hypnotic arpeggiated lead and filtered atmospherics to lose yourself inside. Don’t get too comfortable though, it’s capped with a surprise electro switch in the breakdown to keep the floor on their toes! The second track, We Need to Care, delivers a cool clear synth sound design over Chicago influenced house tempo beats and lush pads. Simultaneously groovy and comforting, this is a track for those special moments. Jacking with your eyes closed and a big grin on your face.
Third we have a clear tribute to Drexciya with In Search of the Deep Sea Dweller. Tough 808 beats and laser zaps punch through a bed of evocative strings whilst a filtered single note loop rises and falls like the tide. An abstract robotic voice presides over the track, adding atmosphere whilst giving it a sense of mysterious machine driven intelligence.
Lastly, Too Much Time gets its space boogie on. Electro funk beats jump round staccato synth chords and a simple but effective Moog-like bass line. Once the scene is set, a writhing 303 joins the proceedings accompanied soaring pads and beautiful melodic leads that make you feel like you’re being lifted into the cosmos.
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ReKab aka James Baker from the UK started Djing in the early 90’s. Later on he started playing around with music. Finally the ReKab sound was established in 2019 with his first release on Where We Met records. Other releases followed soon on Móatún, Withhold, Intellitronic Bubble, We’re Going Deep and Fourier Transform.
His music is very deep and full of emotions and influenced by his love for Detroit.

Rare and exquisite french boogie / synth-pop reissue!

A few months after the release of her first song, "Elle se promène", which brought her a nice success, RoBERT released a second single in 1991 called "Les Jupes". This track, the second single from the album "Sine", was supported by a video clip with a refined but sophisticated aesthetic directed by Michel Gondry.

"Les Jupes" is now being reissued by the independent label AnaphoreMusic, thirty years after its original release, and is an emblematic track in the singer's discography. This new transparent blue "curaçao" coloured vinyl pressing contains the original version and the instrumental version (never before released on physical media) of RoBERT's famous "Jupes", both remastered from the original DAT tapes.

"Blues guitar icon and five-time GRAMMY nominee Robben Ford teams up with saxophonist Bill Evans to present a timeless blend of jazz, soul and funk.
Robben Ford is an American rock blues and jazz guitarist. Ex member of fusion pioneers Yellojackets, he is admired for his solo works but also known for his collaborations with giants of music like Miles Davis, Joni Mitchell, George Harrison and many others. Here, he is working with Bill Evans, a legendary American saxophone player, who contributed to numerous iconic Miles Davis albums. Three years after its initial release, “The Sun Room” is finally available on finest 180g vinyl in a beautiful 1LP pressing."

Johannes Kolter is Kolter, an artist formerly known as DJOKO, and now a hotly tipped breaks and garage head who has already got plenty of attention. Here though he makes a grand and widescreen statement with the first release on the all-new Pilot label. It is a stylish and adventurous record with plenty of killer cuts from the downbeat hip hop opener to the deep house delights of 'Journey' via the elastic and energetic future house kicks of 'Roboflow.' Showcasing both a knack for well craft synths and expert drum programming precisions, this record plays out like a mini DJ set with all the twists and turns you need to keep you on your toes and fully engaged.

One of the most legendary LPs from Uruguay remains a hidden treasure in the rest of the world. It is the first LP by singer Diane Denoir. Diane was a regular in the “Conciertos Beat” (“Beat Concerts”) of Montevideo's 1960s scene where she performed with Eduardo Mateo on guitar (leader of El Kinto, one of the most influential bands in "candombe beat", and the ones who coined the term), Roberto Galletti on drums and Antonio Lagarde on double bass. Diane was also Mateo's muse throughout the early years of his career, he wrote several songs for her, among them “Esa tirsteza,” “Y hoy te vi,” and the classic “Mejor me voy.” Eduardo Mateo would become one of the biggest names of all times in Uruguay's musical scene. Diane, instead, found herself outside the country when the military coup installed a non constitutional government in Urugay in 1973 and was wisely advised by friends not to go back home to avoid trouble with the new dictatorial regime. A brave defendant of Human Rights, she had been very active against torture, thus becoming a target for the dictatorial regime military intelligence. She exiled in Argentina and Venezuela, and she later settled in Europe and didn't perform in public or record again until recent years when she returned to her home country.



On her eponymous 1972 debut album, Diane fused all her influences in one solid sound through songs created by Uruguayan songwriters (Eduardo Mateo, Urbano Moraes –bassplayer for El Kinto,– Daniel Amaro, Giuso Bellanca), plus Argentinian lyricist Edgardo Lisi. She had released a couple of 7" between 1966 and 1970, but it is her debut album –which would be her only one until her 2008 comeback– that made her legend grow among future generations of music lovers.



It's hard to name artists in the same dimension as Diane Denoir for reference, but be sure that you will love this LP if you like the candombe beat scene of El Kinto, Tótem or the Fattorusso brothers (Hugo and Osvaldo) in their post Los Shakers works, but also the bossa nova sound and even artists of their own like Vainica Doble.



Very limited edition, only 500 copies made. Remastered sound. Comes in upgraded artwork, gimmick cover with printed inner sleeve.