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In a culture of instant gratification, patience is a subversive virtue. This attitude is precisely what lies at the heart of Farron's debut 12" on the Mojuba sublabel, a.r.t.less. The "Patience EP" is a convergence of two distinctive musical forces. Here, the architect behind the Shaw Cuts imprint, whose rhythmic complexity is influenced by a personal music taste ranging from hip-hop to punk via breakbeat, meets the emotional Detroit and dub-infused techno coordinates of a.r.t.less. The result is a record that embodies this tension. Farron's characteristic, subtly broken percussion merges with warm, floating pads and stabs to form a unique, seductive whole. It's not techno for pure escalation at peak time, but rather, music for the hours before and after with a sound that challenges and rewards the body and mind equally. The EP's four tracks tell a coherent story of maturation and catharsis that goes far beyond functional club tools. Following early releases as LaChriz on labels such as Ilian Tape and the consistent refinement of his vision through Shaw Cuts, this release is both a natural progression for Farron as an artist and an exciting new addition to the sound palette of a.r.t.less. Some things are worth waiting for!

DJ 3000 Redefines the Fusion of Detroit Techno and Albanian Identity on New EP Shotë
With over two decades of pushing boundaries, DJ 3000 returns with Shotë — a striking new EP that reaffirms his place at the crossroads of Detroit techno and global rhythm. Out soon on Motech Records, Shotë is a four-track, limited-edition release pressed onto 12” vinyl with vibrant jacket artwork that reflects both his cultural heritage and sonic evolution.
Named after a traditional Albanian folk dance, the title track Shotë anchors the record in deep, ancestral roots while remaining forward-facing, raw, and emotionally resonant. Shotë balances past, present, and future in equal measure.
“I’ve been making records for over 20 years, but I still approach every release like it’s my first. With Shotë, I wanted to honor where I come from without the music sounding nostalgic or dated. The culture’s in there, but the sound is timeless and alive.” —DJ 3000
Each track on the EP tells its own story:
• Shotë – a reimagining of a traditional Albanian rhythm, layered with tough grooves and hypnotic builds.

• Laya – built on hypnotic motion and rolling percussion, its haunting vocal textures hint at deeper rhythmic traditions.

• Lumni – from the Albanian word for “blessed,” it carries a spiritual weight wrapped in rhythm and resolve.

• Qilim – inspired by handwoven Albanian rugs, its detailed arrangement plays like sonic embroidery.

This EP is a continuation of DJ 3000’s mission: to merge deep roots with futuristic form. Shotë represents raw, focused techno that respects the past while refusing to stand still.

The mighty Ron Sexsmith, will release his wonderful new album Hangover Terrace. Ron is one of Canada"s most accomplished singer-songwriters. He has collaborated with Daniel Lanois, Mitchell Froom, Ane Brun, Tchad Blake, and Bob Rock. His songwriting appears on albums from Rod Stewart, Michael Bublé, k.d. lang, Emmylou Harris and Feist. Film-maker Doug Arrowsmith made an acclaimed documentary about Ron in 2010 called "Love Shines". In 2017 Ron published his first book, a fairy tale entitled "Deer Life".

Canadian singer-songwriter Marissa Burwell creates moments of warm musical tones featuring thick harmonies wrapped around gentle guitars and drums, while other moments showcase cathartic bursts of energetic alternative rock. Burwell"s sophomore album "Before the Hour"s Up" was born from a push and pull from within. The record is titled after the closing track, which explores the hopeless desire for all of life"s issues to be solved by the end of a therapy session. The creation and release of this album echoed this sentiment; there was a hope that by the time it was released, Marissa"s questions would be answered and her feelings resolved. Instead, she is humbled (yet unsurprised) by the reality that no matter how many topics you address in the hour, they do not simply disappear.

Since our first contact with NYC based producer Thavius Beck in 2018, he sent us over 100 unreleased tracks, or beats, as he calls them. 25 of them have been selected for releases on U-TRAX, good for over 2 hours of music, across this album and the Lovesick EP.

Growing up in LA, Thavius Beck entered the hip-hop scene as member of Global Phlowtations, and released several solo albums under the Adlib moniker. In later years, he released five albums under his own name on labels like Mush, Big Dada and Plug Research, and also produced albums for artists like Saul Williams and K‑the‑I???, and did some remixing for amongst others Nine Inch Nails.
Nowadays he combines making music with a career as a succesful certified Ableton and Bitwig trainer and as a music teacher at Berklee NYC.

The tracks vary in style a lot, but what they have in common is that they either are moody – in U-TRAX lingo: deep - or they are drum heavy. The common denominator would probably be 'experimental/instrumental hip-hop', reminiscent of producers like Flying Lotus. People have tried all sorts of comparisons to pinpoint Thavius' sound, ranging from 'between DJ Shadow and Orbital' and 'a mix of Massive Attack and The Orb'. None of these are spot on, yet quite a few of these tracks feel like a happy marriage between hip-hop beats and techno sounds.

Despite the fact that some tracks are 20 years old and have been made with widely different gear (one track was even made on a PlayStation 2), this selection sounds remarkably balanced, yet diverse.

From the irresistible single 'Lovesick/Still Sick' to the dark and massive 'Birdsong' (that echoes the sound of his popular song 'Atmos'), and from the head-nodding 'Work!' to the soothing 'Reunited With The All' - if this collection showcases anything, it's Thavius' brilliant production and composing skills, as well as his wizard-level sampling techniques. The result is a luscious electronic music album with a broad appeal.

Available on double 180 grams colored vinyl vinyl, comes in gatefold picture sleeve.

Opener “That’s Magic” features a magician talking us through a convoluted magic trick, to a mysterious synth theme that a celebrity conjurer might use to help the pyramids disappear. It’s probably one of the only pieces of music to draw influences from Paul Daniels. “Carpet Squares” is a hefty slab of squirming machine bass, acid squidges and clanking industrial drums, its samples extolling the virtues of fitting comfortable flooring, with a voiceover recorded on a Canadian golf course. “Vanja & Slavcho” tells the odd story of twins who have an extraordinary ability to a bustle of spiralling arpeggios and comedic sound effects, while “Tiktaalik” has a glam rock beat, guitar twangs, wild synth runs and dance music drum rolls that build to nowhere, plus processed dolphin noises and a vocal about evolution. Then there’s “Piccolo’s Travels”, a spellbinding mix of classical strings and... is that a malfunctioning Clanger?

“Album Titles” lists rejected names for the record to hilarious effect, with outlandish blips, accordion riffs and bubbling percussion setting the scene, “The 38th Parallel” is a wonky slab of electronica, while “Push It” has everything from rock guitar interjections to explosions and birdsong. If “Customer Services” imagines the bewildering experience of dealing with a sentient automated phone call, then the following “Nothing To Write Home About” is a waltz-time organ piece with a nostalgic, bittersweet air. “Ready?” lists practically every genre under the sun and gives you a burst of it, from drill to country & western, hardcore to Miami bass, and the final track, “The Void”, is an AutoTune-laced R&B track with a deep, emotional core.

That’s the genius of Wevie Stonder: their ability to make you laugh one minute, and the next transport you
to an atmospheric reverie.

A1 FORWARD
Was inspired by the revolution of the year of 1988 also referred to as the 2nd summer of love. Revolutions great and small are happening all around us all the time, and they take place in the minds of individuals.

A2 CHARANJIT DRIVE
Describes the revolution i 've got in mind, angelic bass-string harmonic notes flying left and right, Indian-vocals, sudden sped-up dancehall baselines and breaks. Imagine a hippie a homeboy and a funky dread, hugging and dancing and telling their mates how much they love each other in a nice green field while this plays.

B1 HONDA WANDERER
A man in a blue honda civic is traveling through a misty world at a high velocity. Seeking that which is just hiding behind the next bend. I made this after a beautiful misty, raining/sunshine rainbow ride on the autobahn. I had just picked up a cheap mutron bi-phase which was sitting beside me in the passenger seat. It was amazing.

B2 MISTY VALLEY
It's time to get a little bit serious, this one feels like the place where i made all of this music, the village of Ruigoord, covered in a thick winter fog. The remnants of a possible previous reincarnation of myself as an 80s new-beat producer are haunting this music.

all music & artwork by Mozes Meijer, mastering: Wouter Brandenburg, cut: Dubplates & Mastering a&r: Arne Cinema Royale Visser.

"Astral Americana hymns hovering somewhere between the dirt and the stars" Pitchfork

"Mood music for moments of solitude, best experienced without distraction" The Times

"Overwhelmingly effective and ravishingly beautiful" The Wire

American Dust is an ode to the beauty of the American Southwest, where vast desert landscapes hold stories both stark and tender. Eve Adams’ characteristic folk noir weaves a vivid tapestry of love, sacrifice and quiet revelation, conjuring images of dust storms, stray dogs and far off trains.

The high desert of California is a vast and confounding place. Equally inspiring as it is punishing, it’s a landscape that carries magic in its deep dark nights, holding stories both tender and stark in the coarse layer of dust that settles upon everything. It’s long been a source of inspiration for musicians, writers, and painters, each of them adding to the same current, carried forward over time, through hope and hardship and the passing years.

Somewhere out there in that broad and boundless landscape, Eve Adams has been living her own desert life, quietly writing the follow-up to 2021’s Metal Bird LP. Where that album sang of liminal space, the dream-like turbulence of Hollywood’s golden age, American Dust is far more rooted in traditional storytelling; a eulogy for the American Dream channeled through that sweeping part of the country that holds such power and mystery. Slipping into different and varied costumes throughout its ten songs, it finds Eve not just observing the people around her but stepping into their shoes and peeling back the layers of their quiet lives.

Adams writes from within. A few years ago she moved out there, to “the middle of nowhere”, finding a slowness that didn’t exist in the city, and she knows only too well about the mystical nature of the land and those who live within it. Weaving together themes of grit and romance, American Dust holds its focus on the bittersweet poetry of lives lived in solitude, most notably the women who sustain life at the center of it all. “There’s something very radical about domestic life,” Adams says of this thread. “So many women live their entire lives behind closed doors, completely in the shadows. Within those lives is such sacrifice, devotion, and love. I wanted to honor that: the poetry in the mundane, the longing in the repetition. The way love survives boredom and dust and time.”

Eve is joined on American Dust by Canadian musician Bryce Cloghesy, aka Military Genius of Crack Cloud, who plays throughout and also helped produce the album. Musically bold and vivid, it’s an ambitious and detailed stride forward from what’s come before, the scope of the LP’s narrative reflected in the radiant sweep of the playing. On top of gentle piano and guitar, gorgeous strings drift through the album, lending the songs a woozy sense of romanticism; a collaboration with Gamaliel Traynor (Cello) and Caroline’s Oliver Hamilton (Violin).

For all the drama that’s coiled around these songs, it’s the recurring notion of love and hope fighting against everything that holds true throughout American Dust. Musically it’s lush and vibrant, intimate and cinematic side by side, and always bursting with warmth. But it’s what it holds in its weary bones that elevates it to something truly special, something more than just a collection of songs penned in the heart of the desert. The characters it speaks of, and from, feel shadowed but wholly real, like they’re bursting to share their stories that have remained hidden for years and years and they allow Eve Adams to grow as a songwriter right in front of our eyes.

“The same swirling dust that clung to the covered wagons of my ancestors as they crossed the Great American Desert is the same dust my great-great-grandmother swept off her porch during the Dust Bowl of 1936 in Oklahoma, is the same dust that blows in through the cracks in my windows here in the desert, carrying stories from a time long gone,” Eve says, reflecting on the personal narrative that runs through her new album.

“It’s not just dust—it’s American Dust, the kind that settles into the bones of a family and never leaves. I think about that dust as a symbol of the passage of time. I hope this album will be part of that same current, carrying forward for the next generations of my family to find. I’ve been lucky enough to have journals and poetry from my ancestors that documents their lives during times of pure hope and pure hardship. I’d like to think of this album as a contribution to that family history.”

In an interview released to Billboard in 2017, east coast veteran AZ explains how this collaboration with legendary DITC producer Buckwild came along:

"The sound was shifting. A lot of brothers in the street were telling me "You got to save us." And I'm like, "Save y'all from what?" So I took that title to save the people, then Buckwild played a joint in the studio called "Save Them," and I was like, "This is it."

The two don't really need no introduction: with the Brooklyn lyricist gracing the mic since the mid 90's beginning with one of his first appearances alongside Nas on "Life's A Bitch" and dropping legendary classics such as "Doe Or Die", and the Bronx producer providing beats to artists that range from old school acts such as The Notorious B.I.G., Jay Z, Kool G Rap, Big Pun, modern day legends such as Vinnie Paz, Meyhem Lauren, Termanology and, last but not least, legendary DITC members Big L, Fat Joe, Diamond D and the list goes on and on.

AZ had to recruit "some brothers who I know respect the craft" and found them in Wu-Tang Clan's own Raekwon alongside the late great Prodigy of Mobb Deep. The song was released in April 2017 and brought a breath of fresh air with its classic vibe, together with a video being released just days before Prodigy's untimely passing in June 2017. The rest, you already know, is straight up hip-hop history.

Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to our knowledge, only one: Debris'. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver "Rectomo" Powers and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock 'n' roll this side of MX-80 Sound.

When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris' came in well-rehearsed – nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones' debut album, Debris' would release their lone record onto the world.

Opener "One Way Spit" could easily be mistaken for a lost KBD single – from Chuck's bizarre count-in to the band's trashy start-stop rhythms, unfurling a Dadaist flag around Johnny's visceral vocals. On "Tricia," a reference to the then-current Patty Hearst trial, Oliver's gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-'70s Cleveland scene.

Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges' Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris' were one of the first to do so.

Debris' had a standing invitation to play New York at Max's Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the label name printed on the original front cover) has since become a collector's item and is even namechecked on the infamous NWW list.

Durango 95 releases his new album on Discos Tabú. He shares with the world his unique sound which has been in the works for years. This album tells a personal story, inspired by remote places in Mexico and the roots of all its traditions; with a synergy of chaos and order. An inner fight between man and wolf in a remote place, in another time. There is a strong connection between the stories of the of land, his personal experiences and a journey through sintheseizers that gave life to Durango’s music. As Robert Moog; one of the most important pioneers of sinthesis once said. 'Everything has some consciousness and we tap into that. It is about energy at its most basic level.' This is an important philosophy behind Vamonos Muchacho.

A“This album is about what it means to be human, and its creation is my offering. I attempt to tell a tale of the human experience in the reflection of my own.”

‘In the Andean mythology, condors are believed to be immortal. It is said that once they feel old, without energy, and useless, they climb to the highest peak and let themselves fall to death.’

The Allegorist is a visionary, enigmatic, transmedia, and boundary-pushing artist known for crafting deep, immersive dark sonic tales. Embracing a wide array of influences, weaving together the mysteries, art and spirituality, the art project defies categorisation, resonating with those who seek the unconventional.

From Birth Until Death is an introspective and immersive concept album that reflects on the essence of the human experience. Crafted over six years by The Allegorist (aka Anna Jordan), the album traces the arc of life—from its fragile beginnings to its inevitable end—using sound art to explore existential and philosophical terrain. Inspired by the Andean mythology of the condor – a symbol of immortality – the album blends electronic soundscapes with raw field recordings, evoking a deep sense of connection between the natural world and human existence.

The album’s progression mirrors the stages of life, starting with the birth of new beginnings and culminating in death, with each track offering a unique reflection on the moments in between. From the dynamic energy of Momentum, to the ethereal, illusionary world of Fata Morgana, the tracks guide the listener through emotions, perceptions, and experiences that shape the human condition.

A distinctive feature of From Birth Until Death is its intricate production. The album incorporates field recordings from Grunewald Forest, a distant roar of a jet, barking dogs, blending the sounds of nature – footsteps in the snow, birdsong, ocean waves – with layered synthesisers and electronic beats. The bass and ambient textures are crafted using an array of analog hardware, while all vocals, both lead and backing, are performed and recorded by Jordan. Some of the vocal takes were intentionally left raw, capturing the spontaneous energy of early recordings, while others were re-recorded to balance the album’s organic yet polished feel. Each element is meticulously crafted, revealing its deeper meaning as the album unfolds like a multidimensional, living sculpture.

At its core, From Birth Until Death is a meditation on the full spectrum of life. The album’s title track, From Birth Until Death, encapsulates this journey, reflecting on the passage of time and the unique experience of being human. The final track, Death, offers a melancholic yet beautiful exploration of endings, not as finalities, but as moments in the grand cycle of life. With its combination of evocative sound design and deeply personal themes, From Birth Until Death invites listeners to contemplate their own lives, offering a moving experience of reflection, growth, and transformation.

About From Birth Until Death
Words By Robin Rimbaud (Scanner)

From Birth Until Death is a deeply personal and reflective album and beautifully crafted. A detailed listen reveals that Jordan was in search of a profoundly human and authentic expression. In an era when so much around us seems defined by speed, Anna Jordan, aka The Allegorist, stands apart – aware that skimming the surface of life is neither sufficient nor rewarding. She reminds us of the value of deep, authentic listening.

The track Andean Condor seductively draws us into a smoky, blurred rhythmic soundscape, capturing the essence of the darkest Berlin nightclub, while Birth pulses with an almost shamanic transformation of sound, moving from the organic to the musical. It features a recording of Jordan’s footsteps in the snow in Grunewald Forest, Germany.

At times, the music feels almost sculptural in shape and tone – lifting, pushing, lilting, opening, and closing – where each piece is given room to fully develop. Many of the works blend synthetic sound with the natural, incorporating the human voice alongside environmental recordings: the wild waves of the ocean, a jet flying overhead, and barking dogs.

With From Birth Until Death, Jordan, like an alchemical architect revealing in the process of getting lost and relinquishing control, leaves us with a taut, immersive soundtrack in which to lose ourselves.

About the album ‘From Birth Until Death’
words by The Allegorist

“The album From Birth Until Death did not come easily to me. I started working on it in 2019, and it underwent many alterations over the years. I produced multiple versions of the tracks each year, but the album name, the track titles, and the album cover art stayed the same for 6 years. Not everything I did fit into the album’s final form, but I hope the heavy selection just made it better. I played this piece live in my techno live set between 2019 and 2020, and in the years after, I performed different art, ambient, and vocal versions of it, most notably the one at the church St. Marienkirche in Berlin in 2022. It just wanted to live and didn’t want to be finished. As I aged, this album aged with me. And now I’m ready to let it go.”

Limited Edition ( 300 )

Heavy 180g Vinyl & Download Token Inside & Hype Sticker.

Full Colour Inners & Contextual Images
Curated & Sleevenotes By John Kertland Of CTR (English & French)

France-the 1980s. A local radio and studio system almost unsurpassed in Europe - add brilliantly inventive labels and producers with a sense of fun & adventure & the result ?

A golden age of Synth-Pop – Post-Disco..inventing the future ..celebrating the chanson of the past. Updating that for a new generation & a new dancefloor.

Virtually neglected until now - only the heads knowing...

Presented in the classic 45 (Quarante Cinq) 7" format - the way that these great records were produced for the radio and were meant to be heard at that moment..

Now, the "savoir" is yours also.

Hard to find 7"s by elusive artistes...

Glorious vocals ,soaring synths and irresistible basslines it’s all here ..

Bon écoute !

Die LP-Ausgabe von "Babygirl (Original Soundtrack)" kommt gepresst auf candy pinkfarbenem Vinyl und enthält Cristobal Tapia de Veers Original-Filmmusik und Sky Ferreiras Single ,Leash". "Babygirl (Original Soundtrack)" ist der Soundtrack zum Film Babygirl aus dem Jahr 2024 unter der Regie von Halina Reijn mit Nicole Kidman, Harris Dickinson, Sophie Wilde und Antonio Banderas in den Hauptrollen. Das Album enthält 12 Titel aus der Filmmusik von Cristobal Tapia de Veer und wurde am 25. Dezember 2024 digital über A24 Music veröffentlicht. Separat erschien der im Abspann verwendete Song "Leash" von Sky Ferreira als digitale Single. 2025 wurde de Veers Filmmusik in der Kategorie ,Beste Originalmusik" bei der 97. Oscar-Verleihung nominiert.

A reissue on black vinyl of the cult 1982 soundtrack to Tron by legendary electronic pioneer and composer Wendy Carlos (The Shining, Clockwork Orange). The music, which was the first collaboration between Carlos and her partner Annemarie Franklin, featured a mix of an analogue Moog synthesizer and GDS digital synthesizer, along with non-electronic pieces performed by the London Philharmonic Orchestra. Two additional musical tracks (“1990’s Theme” and “Only Solutions“) were provided by the American band Journey. This is the first reissue of the black 18 track 1 LP vinyl. 2022 will mark the 40th anniversary of the Tron Franchise. The original film tells the story of computer engineer Kevin Flynn who finds out that an executive at his company, has been stealing his work. Flynn tries to hack into the system but instead is transported into the digital world of The Grid , where he has to battle Sark, and the imposing Master Control Program. Helped by Tron (a security program) and Yori , Flynn becomes a freedom fighter for the oppressed programs of the grid. The soundtrack perfectly captures the geometrically intense landscapes of cyberspace and the virtual gladiatorial computer game.

The quietest voices can be the most durable.

American Football’s original triumph, on their 1999 self-titled debut, was to reunite two shy siblings: emo and post-rock. It was a pioneering album where lyrical clarity was obscured and complicated by the stealth musical textures surrounding it.

Like Slint’s Spiderland, or Codeine’s The White Birch, even Talk Talk’s Laughing Stock, American Football asked far more questions than it cared to answer. But there wasn’t a band around anymore to explain it, anyway. The three young men who made the album – Mike Kinsella, Steve Holmes, and Steve Lamos – split up pretty much on its release.

Fifteen years later, American Football reunited (now as a four-piece, with the addition of Nate Kinsella). They played far larger shows than in their original incarnation and recorded their long-anticipated second album, 2016’s American Football (LP2). The release was widely praised, but the band members still felt like their best work was yet to come.

‘I feel like the second album was us figuring it out,’ says Nate. ‘For me, it wasn’t quite done. I knew there was still more.’

Enter American Football (LP3). ‘We put a lot of time and a lot of energy into it,’ says Mike. ‘We were all thoughtful about what we wanted to put out there. Last time, it was figuring out how to use all of our different arms. This time, we were like – Ok we have these arms, let’s use them.’ The band used the same producer, Jason Cupp, and recorded the album at the same studio (Arc Studios in Omaha, Nebraska) as its predecessor – yet they approached it in a markedly different way. There was a determination to let the songs breathe, to trust in ideas finding their own pace. The final result is a definite, and deliberate, stretching of the band.

As a result, LP3 is less obviously tethered to the band’s past than the second album. An immediate contrast between LP3 and its two predecessors is its cover. The two previous albums featured the exterior and interior of a residence in the band’s original hometown of Urbana, Illinois (now attracting fans for pilgrimages and photo opportunities), by the photographer Chris Strong. But American Football knew that LP3 was an outside record. Instead of the familiar house, this time the cover photo (again by Strong) features open, rolling fields on Urbana’s borders. It is a sign of the album’s magnitude in sound, and of the band’s boldness in breaking away from home comforts.

American Football also joked that LP3’s genre was ‘post-house’, because of this very conscious visual break. But, in a strange way, there are links in LP3 with an actual post-house genre: shoegaze. The more exploratory members of the original British shoegaze scene were inspired by the dreamtime and circularity of house music (ambient house in particular), cherishing its sonic possibilities. That spirit drips into LP3, most obviously on ‘I Can’t Feel You’, a collaboration with Rachel Goswell of Slowdive.

The album also features Hayley Williams from Paramore on the album’s catchiest moment, ‘Uncomfortably Numb’, and Elizabeth Powell, of the Québécoise act Land Of Talk. Mike wrote lyrics in French especially for her.

LP3 is contemplative, rich, expressive, yet with a queasy undercurrent. It is heavy with expectancy, revealing its ideas slowly, eliciting the hidden stories people carry around with them. ‘I feel like my lyric writing has changed a lot over the years,’ says Mike. ‘The goal is to be conversational, maybe to state something giant and heavy, but in a very plain way. But, definitely in this record, I keep things a little more vague.’ As on the first album, the lyrics on LP3 may seem confessional and concentrated, but the more you scrutinize them, the further their meaning slinks away. Or, as Mike tellingly sings on ‘I Can’t Feel You”: I’m fluent in subtlety.

‘Somewhere along the way we moved from being a reunion band to just being a band,’ says Steve Holmes. American Football is now a bona fide ongoing focus, and they are making some of the best music of their lives. American Football (LP3) stands with two other rare reunion successes – Slowdive and My Bloody Valentine’s mbv – as a fine example of how a band refinding one another can augment, rather than taint, their legacy.

‘I think that there are those albums, or the music that you heard when you were younger, and they imprint on you,’ says Nate. ‘And no matter where you go, or what you do they’re always there.’ He is talking of Steve Reich – an early and ongoing influence on American Football – but he might as well be reflecting what is said of his own band, and the ardent following they inspire. American Football stands as an enduring symbol of elusive emotional landscapes, where introspection can be as dramatic as confrontation

Buh Records presents Primera Secuencia, the debut album by Ballet Mecánico, the project of Fernando Pinzás. After his time in the synth-punk band Varsovia, Pinzás embarks on a new phase as a solo artist and producer, exploring electronic styles from the 1980s like synthpop, Hi-NRG, Italo disco, and techno pop. The album blends synthesizers, programmed sequences, and pulsating basslines to create a nostalgic yet danceable soundscape. Set against the backdrop of the pandemic and social movements in Peru, each track tells a story, featuring guest vocalists from the Peruvian independent scene, including Susana Fátima (Gomas), Noelia Cabrera (Blue Velvet, Silveria), Kat Kathia, Luxsie, Luminiscencia, Anabhell (Las Ratapunks), Laura Rosales (Solenoide), and Elva Cío (Specto Caligo). Singles No Cederé and Testamento define the project's dark and ethereal pop aesthetic. No Cederé, featuring Susana Fátima, critiques societal notions of success over an Italo disco and Hi-NRG beat. The track includes a remix by Italoconnection, the duo of Fred Ventura and Paolo Gozzetti, who take it into a hypnotic, spacey realm. Testamento, with Luminiscencia, reflects on the emotional weight of the pandemic, blending synthpop and ethereal pop. Other standout tracks include La ciudad de los incendios, a dystopian vision of Lima with dark disco rhythms, and Como la última vez, a synthpop-driven, melancholic song featuring Noelia Cabrera.

New colour on Enter Shikari’s 2023 number 1 album.

Enter Shikari are a rock band from St Albans, UK. In 2020, they released their sixth album - Nothing Is True & Everything Is Possible - which also gave them their sixth album to debut in the UK Album Chart top 5. Frequently collecting Best Live Artist awards, Enter Shikari’s seventeen-year career thus far has seen them rise from teenagers touring the UK grassroots venues, to festival main stages and arena headliners worldwide.

It was in the Spring of 2022 that the band descended to the coastal town of Chichester, and a delipidated farmhouse, to rebuild their studio setup and capture their renewed momentum on record. Using only solar power to track the album–in what Reynolds says was to “bring back some sense of naivety” – the life-giving properties and Technicolor palate of A Kiss For The Whole World were made real. Reynolds continues: “Back to basics. This band - my best friends - bundled into an old farmhouse, miles away from anywhere. Off-grid, and ready to rediscover ourselves. This album is powered by the sun, the most powerful object in our solar system. And I think you can tell. It’s a collection of songs that represent an explosive reconnection with what Enter Shikari is. The beginning of our second act”.

Balance (Expanded Edition) features Van Halen's multi-platinum 10th studio album with remastered audio across 2 LPs for improved sound quality, and an exclusive etching on Side D. Contains the singles "Don't Tell Me (What Love Can Do)," "Can't Stop Lovin' You" and "Amsterdam," plus the instrumental "Baluchitherium," included on the album's vinyl format for the first time since the original 1995 release.Pressed on Orange Vinyl.

Balance (Expanded Edition) features Van Halen's multi-platinum 10th studio album with remastered audio across 2 LPs for improved sound quality, and an exclusive vinyl etching on Side D. Contains the singles "Don't Tell Me (What Love Can Do)," "Can't Stop Lovin' You" and "Amsterdam," plus the instrumental "Baluchitherium," included on the album's vinyl format for the first time since the original 1995 release.

The UK's renowned jazz-funk outfit Speedometer spawns a new single here that takes the form of a bunch of classy covers, all taken from their recent third album Four Flights Up. The A-side offers a refined version of 'Am I Your Woman?', plus a take on the Chi-Lites' classic 'Are You My Woman (Tell Me So)' with Ria Currie's standout vocals lodging deep in your soul. This one was inspired by a night spent dancing at a club in Osaka during their 2005 Japan tour and arms with a smooth groove. On the B-side, they do a fine job of 'Nam M'Yoho Ren'Ge Kyo,' originally by the Night Blooming Jazzmen, by delivering a tight, funky groove with exceptional horn and drum arrangements.

Car Button Cloth' is an extraordinary affair of musical and emotional extremes, a soundscape spanning “the most beautiful piano-led mourning in the history of the broken heart” that switches into perky jangle-pop for fleeting moments and contains the ultimate self-deprecating classic ‘The Outdoor Type’, penned by Smudge cohort Tom Morgan, as well as a cover of the bluegrass standard ‘Knoxville Girl’ and ‘If I Could Talk I’d Tell You’ co-written with The Vaselines’ Eugene Kelly. All bases are covered. “One of the most distinctive voices of the ‘90s” The New York Times. To further unravel where Evan’s head was at during the period of its creation, this deluxe double album comes with a record of exquisite and typically eclectic scene setting covers that occupied B-sides and alternative format versions, plus other super rare offcuts, live takes and remixes. A diet of Volcano Suns, Glen Campbell, The Jacobites, The Sir Douglas Quintet and Whitney Houston influenced Evan’s thinking and added further colour to an album that remains something of a Dorian Gray-style masterpiece. The first side of extras is rounded off with the never before released ‘Arise’, originally set for the remake of Great Expectations and later realised as Rancho Santa Fe on solo album ‘Baby I’m Bored’.

Roughly two years after the release of their initial statement of intent, debut single “Toutpartout PT2” with its hypnotic ripples, Andi Haberl and Florian Zimmer aka Bella Wakame have successfully channeled the magic of a 2024 live recording (captured at Berlin’s Donau115 & Silent Green) into their first proper studio offering. You can hear inspirations ranging from Bitchin Bajas, Jeremiah Chiu to Groupshow (Jelinek, Leichtmann, Pekler), the hypnotic, intricate battle between form and freedom (the fun of momentary formlessness) continues to unfold over the course of 10 new tracks, featuring album guest Indra Dunis (Peaking Lights). Their first single "Shadows of Nambei" was very much inspired by the wonderful band Spirit Fest and their song "Nambei".

You can either shorten the reins, or you can loosen them – and give things more slack. With Bella Wakame, it’s definitely the latter. Constantly challenging each other, they’re tapping a whole new energy. Tons of different energies.

Based on the impulsive, propulsive interplay between drums/sensory percussion (Andi Haberl) and modular synthesizer (Florian Zimmer), the frenzied, free-form results take listeners into completely new dimensions – sonic worlds that don’t really sound anything like their other musical outlets (The Notwist, SUN, Saroos, Driftmachine etc.).

Whereas most bands tend to notoriously overthink names/monikers, these guys obviously only care about the ecstatic push-and-pull that occurs once their instruments meet and overlap: it’s wildly explosive textures with a booming heart. Moving restlessly between motorik club, electro-acoustic jazz experiments, ambient excursions, and fast-paced instrumental anthems that seem to explode at the seams, one can immediately tell how much they enjoy the newfound freedom, the turbulent encounters born on the spur of the moment.

It’s all about a quick-paced exchange of friendly blows, a chasing of tails into ever-new musical terrains. Relying on just enough form for that wildness to blossom within, their just-in-time dashes continually unfold, refold, return, grow bigger – and leave you startled.

Thank You For Using GTL is a 2020 album from vaunted Los Angeles rapper, Drakeo the Ruler. The album contains verses recorded entirely through phone service from GTL while Drakeo the Ruler was incarcerated at Men’s Central Jail in Los Angeles, California. The album focuses on topics such as the targeting of rap and rappers by the US criminal justice system, the prison-industrial complex, incarceration, capitalism, and the gray area between what’s real versus fiction in hip-hop. Lauded by Pitchfork as “Likely the greatest rap album ever recorded from jail,” and included at number 32 on their 50 Best Albums of 2020, the album serves as an interesting moment in hip-hop, further cementing Drakeo the Ruler as one of LA’s most beloved rap luminaries. For the very first time, for any album, on any format, Drakeo’s music will be available on vinyl for fans. Pressed on Green & Blue A Side B Side vinyl and limited to 1700 copies.

For the first time ever, The Commi$$ioner Vol. 1 & 2 by Kool Keith lands on wax. A cult classic across underground hip-hop circles, these volumes capture Keith at his most raw and unfiltered. From cosmic rhymes to gritty boom-bap, it's a wild ride through the mind of rap’s most eccentric visionary.

Newly mastered for vinyl by Davide Bassi and featuring brand new cover artwork by Alejandro Torrecilla this is a true collector’s piece — vivid, strange, and unmistakably Keith. Originally CD-only, this long-overdue vinyl treatment is the format it always deserved — file under essential.

Ghetto Cycle is the soundtrack of Charlie P’s life, set to music by O.B.F.

Meeting up with Charlie P and Rico from O.B.F in a studio is like diving into a particle accelerator operating at full speed. Lively, hyperactive, hardworking, Southend’s MC and the greatest warrior of French sound systems just can’t stay put.

Their creativity works continuously: riddims, melodies, lyrics, clip concepts and other fantasies spurt out at top speed. These common traits allow them to produce explosive collaborations, both on stage and in the studio.

After the success of the singles “Dub Controler” and “Sixteen Tons of Pressure”, the launch of an album became self-evident. Coming from a modest background in a remote London suburb, Charlie P has been through a lot before understanding that his passion for music could be a vehicle for emancipation. It is this life trajectory, punctuated by difficulties, pitfalls, hard work, encounters and challenges that he tells through the tracks of “Ghetto Cycle”.

Conceived as a concentrate of joint influences, this album gathers tracks in the purest digital dub vein, but also reggae, dance or downright grime. A new stage in the development of their collaboration.

The Making Of Five Leaves Left tells the story of how Nick Drake’s debut album ‘Five Leaves Left’ came to be released in 1969. This Nick Drake Estate authorised 4LP edition comprises over 30 previously unheard outtakes from the sessions, compiled across three discs. The final disc to complete the package is the original Joe Boyd produced album. The whole set has been mastered by John Wood. Accompanied by a 60 page book printed on special textured paper stock, written by Neil Storey in collaboration with Richard Morton-Jack, complete with full track recording details, charts and recording history. This Nick Drake Estate authorised 4CD edition comprises over 30 previously unheard outtakes from the sessions, compiled across three discs. The final disc to complete the package is the original Joe Boyd produced album. The whole set has been mastered by John Wood.
Accompanied by a 60 page book printed on special textured paper stock, written by Neil Storey in collaboration with Richard Morton-Jack, complete with full track recording details, charts and recording history.

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Originally issued in 2007 on Secret Records as a companion CD to Lester ‘Dillinger’ Bullock’s spirited deejay album, ‘Ten To One’, whose bold, brash braggadocio can still be heard echoing in and out, in and out and in and out of the mix here over a superb selection of dubwise rhythms from Niney The Observer…
Incl. Insert with sleeve notes.

Originally released In July 1970 “Wil Malone”, a typically idiosyncratic supper-club/chamber pop take on the singer/songwriter genre that was so in vogue at the time. Featuring such earnest/facetious nuggets as 'I Could Write A Book' and 'At The Silver Slipper', the album has many admirers these days.
The original release is considered a rare collector's item, with some original copies fetching high prices. This reissue on Morgan Blue Town is available as a limited edition 180-gram yellow coloured vinyl pressing.

The Gold is inspired by the true story and theories of the 1983 Brink’s-Mat robbery, which saw
the theft of £26 million worth of gold bullion, and the decades-long chain of events that followed. First aired in February 2023, the first series of The Gold garnered 8.7 million viewers for the first episode and was nominated for a BAFTA. Series Two is inspired by theories around what happened to the other half of the gold.

Simon Goff’s work sits at the intersection of contemporary classical, electronic, and cinematic
music. His albums Vale and Spark Like Living Mothers have received critical acclaim for their immersive, textural soundscapes and compositional depth. He has also worked with some of the world’s most acclaimed musicians as a collaborator and sound engineer on Joker and Chernobyl - both of which earned him Grammy Awards.

“In series one of The Gold, the score developed around using the sound pallets of strings and electronics, acting themselves as characters in the narrative. The subject of class permeates the whole story and we used these sound worlds to represent two worlds, divided at first but becoming more and more intertwined as the series progressed. The ways in which the worlds have collided and merged in series two is even more complex. The tension is even higher and the neurosis that torments the characters runs deeper.” Simon Goff

Swimming Paul's first album is available again as a new edition.



In the vibrant city of London, a talented French producer named Swimming Paul made his mark. While he had already spent several years producing music for others, Swimming Paul felt a strong calling to embark on his own creative project—one that would redefine the concept of dance music and infuse it with meaning.
Paul drew inspiration from the early days of house music, recognizing it as more than just a genre. It represented a cultural movement that united people from diverse backgrounds. Motivated by this spirit, Swimming Paul sought to create music that not only made people dance but also brought them together and conveyed powerful messages.
With each composition, Paul approached his work as an artist would approach a blank canvas. He poured his heart and soul into every beat, melody, and rhythm, meticulously crafting a sound that blended elements from various genres while bearing his own unique touch. His music pulsated with the infectious energy of a crowded dance floor, yet it also possessed the ability to evoke deep emotions and provoke introspection.
Swimming Paul’s vision extended far beyond mere entertainment. He aspired to establish a space where people could connect, express themselves, and find solace in the universal language of music. Every track he produced served as an invitation to embrace the present moment, to let go of inhibitions, and to discover the transformative power of music.

Grinderman entstand 2005, als Nick Cave Material für das Album „Abattoir Blues/The Lyre of Orpheus“
von Nick Cave & The Bad Seeds schrieb. Gemeinsam mit Martyn Casey am Bass, Warren Ellis an Violine
und Gitarre und Jim Sclavunos am Schlagzeug erarbeitete die Band gemeinsam Songs. 2006 ging sie in
ein Londoner Studio und begann eine Marathon-Session mit Songwriting und Demoaufnahmen. Mit dem
Ziel, den raueren, ursprünglicheren Sound von Caves gefeiertem Post-Punk-Projekt „The Birthday Party“ nachzubilden, wichen die Texte und die Musik von Grinderman deutlich von Nick Caves früheren Arbeiten
mit The Bad Seeds ab.
Im darauffolgenden April nahmen sie die besten dieser neuen Songs auf und nahmen mit Hilfe ihres langjährigen Freundes und Produzenten Nick Launay ein Album auf. Ihr am 5. März 2007 veröffentlichtes Debü-
talbum „Grinderman“ mit elf Songs wurde von der Kritik hoch gelobt und enthält die Singles „No Pussy
Blues“ und „Get It On“. Das Quartett kam 2009 wieder zusammen, um „Grinderman 2“ aufzunehmen, das
2010 erschien. Im Dezember 2011 gab Cave die Auflösung der Band auf einem Musikfestival in Australien
bekannt.
Das „unglaublich aufregende Debütalbum“ (Observer Music Monthly) ist auf schwarzem Öko-Vinyl und im
CD-Digisleeve-Format erhältlich

Cosey Fanni Tutti has announced details of a new album, 2t2, set for release on the artist’s own imprint, Conspiracy International, on 13 June 2025 on vinyl & CD. Composed, performed and produced by Cosey Fanni Tutti, the 9-track album moves between propulsive beat constructions and expansive electronic explorations, continuing themes from 2019’s acclaimed album TUTTI. It is a personal reflection; a sonic realisation of her life, drawing on her powerful inner resolve and expressing it through music. The album finds Cosey making sense of some very tough years, dealing with personal bereavements alongside swingeing world events that have impacted us all. Centring on her own strength and self will, the album’s two distinct sides – one rhythmic, one more meditative – are connected by an overwhelmingly positive mood. She explains, “My overtone chanting on the track ‘Stound’ was part of that, tapping into the inner self, to the core of your being, emotionally, physically, allowing the sounds to permeate and soothe as well as create a sense of power, resistance and resilience to what we face.” Even in the more melancholic moments, there’s a lightness that she explains is an “acknowledgement that it’s alright to be sad, that’s part of life, but there is so much joy too in our memories of people we lose and in the moments we share with each other. Joy is our resistance.” There are also threads from her most recent projects running through 2t2. Her latest book RE-SISTERS and the score she wrote for Caroline Catz’s film Delia Derbyshire: The Myths and Legendary Tapes are acknowledged, most directly on ‘Threnody’ which is dedicated to Delia Derbyshire and Andy Christian, an artist friend of Delia’s. He sent Cosey an abstract drawing of the same name, created one night from an improvised evening where he drew while Derbyshire intoned and sang softly as she looked at the drawings, as if reading a score expressing how they made her feel. Cosey’s process and the different strands that make up her work form a totality of vision. She goes on to say, “Once you get creating and listening, weaving, collaging sound it’s a wonderfully fulfilling feeling that takes you both out of yourself at the same time as essentially deep within.”

The artwork reflects this idea that the album is a “sound cameo”, reflecting the light within the music, and the buzz of life that exists within all of Cosey’s work. Musician, artist and author Cosey Fanni Tutti has continually challenged boundaries and conventions through her work. As a founding member of the hugely influential avant-garde band Throbbing Gristle, one half of electronic pioneers Chris and Cosey, and as an artist channelling her experience in pornographic modelling and striptease, her work on the margins has reshaped the mainstream. Her first solo album, Time To Tell (1983) was followed by 2019’s Tutti and 2022’s Delia Derbyshire: The Myths and the Legendary Tapes. Her debut book, the Penderyn Music Book Prize shortlisted Art Sex Music, was published in 2017, followed by RE-SISTERS in 2022 (both Faber), which will soon get a Spanish edition.

‘Moiré’ is the second album by French musician and singer Charlotte Leclerc. Charlotte's songs are like those little details of everyday life that you discover when you slow down the pace of your busy day. She uses the sound of her machines to tell us about human relationships. Relationships between two people and universal relationships. The ones that connect us all and make this planet run a little more smoothly.

"The nineteenth entry in the Altered Circuits catalog comes courtesy of Alex Neri with a selection of 4 tracks that distill an equal amount of decades in the studio. They are undeniably straightforward yet difficult to pigeonhole. It is clear Neri is aware of current trends and, at times, might even throw them a little nod - but overall, his music escapes easy temporal classification. On the "Club Voyage EP", he aims at the brash and brazen yet keeps the pace lighthearted. When the results come buttressed with the type of technical prowess at hand, it is hard not to get sucked into the adventure. "Teller Mood", charged with a fierce bassline, boisterous drums and jittery arps, is a slab of electroshock production. The track comes complete with extra motivational vocals to drive the point home, and when it arrives at its most stripped parts, instead of toning down, an alarm-like lead emerges. "Schelter's Sounds" features an FM bass and gently modulated, slow-attack synth embellishments. It is a set-up that allows for catching a breath until a grandiosely introduced portamento-heavy patch cranks things up a notch again. On the other side, the delayed and flanged percussion of "Tenax Roots" forms the ideal conditions for ominous synth work and robotized vocals; a theme that could have been lifted from a giallo flick completes its suspenseful, hypnotic ambience. "Move Tokyo Inputs" starts with another salvo of invigorating percussion. Amidst subtly evolving formant basslines and several risers, the tune directs a tweaked deadpan vocal sample to take center stage, showcasing how, in the right hands, the sparsest source material can be turned into a showstopper."

Thee modern masters of sweet soul return with two killer 6/8 ballads that explore the messy particulars of love lost and love found. The moody, blues forward “Somebody Knew” tackles the former as singer Josh Lane bares his soul with a tale about a sensitive subject many of us can relate to- processing the shame and pain associated with losing the one you love to another. Tracked during the sessions for Got A Story to Tell and a stand out in their live set, “We Don’t Have to Be Alone” is a gorgeous, floaty ballad that deals with two folks coming to terms with the fact that it’s ok to find comfort and joy in love at a provisional level.

Wiederveröffentlichung des zweiten Milkshakes-Albums als schwarze Vinyl-Stereo-LP! ,Vom eröffnenden Raspeln von ,SEVEN DAYS" bis zu den ausklingenden Tönen von ,WO' NOW" geht der rasende Beat weiter. Sogar die ruhigeren Tracks sind mit dem unverwechselbaren MILKSHAKES-Branding versehen, was darauf hindeutet, dass THE MILKSHAKES die unbestreitbaren Anführer des World Beat sind!", heißt es hier. Nach dem imaginären internationalen Erfolg ihres Debütalbums ,Talking Bout...", und der 45er Single "It's You" c/w ,Please Don't Tell My Baby" beschlossen die Milkshakes, das wenige Geld, das sie noch hatten, für einen weiteren Longplayer zu verschwenden. Das Ergebnis war das clever betitelte, wenn auch etwas prahlerisch klingende ,Fourteen Rhythm & Beat Greats". In der Tat, wenn man die Augen schließt und den Plattenspieler ausschaltet, könnten alle 14 - zähle sie (wenn du das nächste Mal deine Augen öffnest) - fein gearbeiteten Stücke auf dieser LP fast als ,großartig" bezeichnet werden, je nachdem, wo du musikalisch stehst. Mit Live-Favoriten wie ,Black Sails In The Moonlight" und ,Red Monkey" war der allgemeine Konsens, dass dies das bisher beste Werk von THE MILKSHAKES sei (fragt sie selbst). Das muss zum Teil stimmen, denn das renommierte Londoner Label Big Beat Records fand das Album gut genug, um es auf seinem eigenen renommierten Label Big Beat wiederzuveröffentlichen - und das gleich zweimal. Aber das war vor über 40 Jahren, also versucht bitte, eure Begeisterung zu zügeln und bildet eine geordnete Schlange... obwohl, je schneller sie ausverkauft ist, desto eher kann sie - wieder einmal - nachgepresst werden. Bassist Russ Wilkins erinnert sich an die Aufnahme der LP: ,Die Aufnahmen fanden in Herne Bay in Oakwoods zweitem Studio statt. Ich glaube, ich war gerade mit den Prisoners dort gewesen und hatte "Taste of Pink" aufgenommen. Ich benutzte meinen Framus Star Bass und fing gerade an, einen Fender-Bassverstärker zu benutzen, der mich im Studio im Stich ließ, also musste ich einen AC30 Top verwenden, der ziemlich verzerrt und nicht das war, was ich wollte, aber wir mussten damit arbeiten. Man kann es bei "No-one Else" hören, das bei den Proben großartig klang. "Can You Tell Me" war der Beginn des Strippings, bei dem wir versuchten, so minimal wie möglich zu sein, und ich schaffte es später, es auf nur zwei Noten zu reduzieren. Es gab natürlich auch die Wall City Version der Platte, die von Hansi Steinmetz in Berlin herausgebracht wurde - mit einem andersfarbigen Logo auf der Vorderseite. Da sind auch viel mehr Backing Vocals drauf. Ich denke, dafür muss ich etwas Verantwortung übernehmen. Es wurde eher wie die vorherigen Pop Rivets-Alben aufgenommen, indem wir uns alle zusammen in einem Raum aufstellten und live spielten, mit sehr wenigen Overdubs, abgesehen von dem einen oder anderen Solo. Wir haben noch ein weiteres in dieser Art gemacht und dann die Richtung geändert, als wir die sieben Alben an einem Tag oder was auch immer veröffentlichten." RUSS WIILKINS, MAI 2025