Suche:the u machine

Mit brachialen Tempowechseln und sägenden Gitarrenriffs sowie klebrig-süßen Arrangements und ungestümen Ausbrüchen zwischen Hardcore, Punk und Alternative stiegen die Pixies gegen Ende der Achtziger zu Independent-Superstars auf. 1987 nahmen Frank Black & Co. bei einer dreitägigen Session 17 Songs für das Demo "The Purple Tape" auf. Eines dieser lila Bänder fiel Ivo Watts-Russel in die Hände, der die Pixies schließlich bei 4AD unter Vertrag nahm. Acht der Demo-Stücke landeten auf der EP "Come On Pilgrim", der ersten Veröffentlichung der Band. Im Jahr 1988 entstand das Debütalbum der Pixies, "Surfer Rosa", produziert von Steve Albini. Wieder hielt sich das Quartett nicht lange im Studio auf, in vierzehn Tagen war alles im Kasten. "Surfer Rosa" enthält "Where Is My Mind?" und damit den sicherlich berühmtesten Song der Band. Das Debüt begeisterte die Kritiker, "Melody Maker" und "Sounds" zeichneten es als "Album des Jahres" aus. Auch rückblickend gilt die Platte als eines der wichtigsten Rockalben jener Zeit. Zum 30-jährigen Veröffentlichungsjubiläum bringt 4AD die beiden Meilensteine zusammen mit dem 1986 mitgeschnittenen Radiokonzert "Live From The Fallout Shelter" noch einmal als Triple-Album heraus.

Depeche Mode - Speak & Spell 12" Single Box

Depeche Mode realized the format's potential and embraced the power of 12" vinyl and the avenues of innovation it opened up. The 12" single allowed the band to explore new sonic possibilities while the physical beauty of the packaging gave Depeche Mode room to develop a sophisticated and commanding visual aesthetic. Depeche Mode used their singles discography as a means of offering left field remixes and other delights for their fans.
Each box set in the series will contain the singles from each Depeche Mode album on audiophile-quality 12' vinyl, with audio remastered from the original tapes and cut at the legendary Abbey Road Studios. The artwork for the exterior of each of the new box sets draws on street art iconography inspired by the original releases, while the vinyl sleeves themselves feature the original vinyl single artwork.
Speak & Spell | The 12' Singles contains a facsimile reproduction of the rare Flexi Disc 'Sometimes I Wish I Was Dead' b/w 'King of the Flies' (the Fad Gadget track as on the original release); Dreaming Of Me 12': 'Dreaming of Me' b/w 'Ice Machine'; New Life 12': 'New Life (Remix)' b/w 'Shout! (Rio Mix)'; Just Can't Get Enough 12': 'Just Can't Get Enough (Schizo Mix)' b/w 'Any Second Now (Altered)'; original single poster reproduction; download card.











AE Productions in association with In Effect Recordings are proud to present the next installment from Philadelphia legend Phill Most Chill, this time with beats provided by Nova Scotia based DJ/Producer Jorun Bombay, under the guise of Jorun PMC - with a tip of the hat to Hip Hop legends Run DMC. If you've heard either of Jorun's incredible Rock The Discotek mixes you may have heard one or two tracks from this 12' in their early form as parts of those mixes. Here at AE Productions we thought it was a shame that they weren't available as songs in their own right on vinyl so here they are with an extra track for good measure and with more of Phill Most Chill's trademark artwork making the sleeve look incredible!
The EP opens with Can't Stop Won't Stop and gets straight down to business. Phill Most Chill starts on the first beat of the first bar almost as if he can't wait to rock the spot. This is pure party Hip Hop fueled by uptempo Disco Breaks, but don't be fooled by that statement - this is no crossover rap music, we mean the type of party that could be found in parks in New York in the early days of Hip Hop. Listen for a whirlwind of extended turntable action from Jorun who slices like a food processor throughout.
Magic Disco Machine stays with the classic Disco Break sound with various nods to Block Party Classics which create a great club friendly track. Again with some serious turntable skills from Jorun to complement Phill's hype rhymes, this is the brand new exclusive track for this release and has all the credentials of a summer party classic.
The final track here The Champ stays with the classic block party theme but this time utilising a raw Funk groove that will be a surefire hit with B-Boys and B-Girls worldwide and shouldn't fail to get any Hip Hop party moving. This could be considered the most underground sounding of the three tracks assembled here.

Maeve kicks off their first label compilation 'Heavy Rotations Vol 1', covering all facets of the labels sound with tracks from Mano Le Tough, Isolée, Oliver Deutschmann, Ed Davenport, Aera and more. Comes as 3 LP in a specially designed cover consisting of 3 differently printed innersleves in a cut out outersleeve.

"A heavy selection of mod-rockers, garage and psych-funk tracks," runs the sub-title of new compilation series, Down In The Valley from Perfect Toy, encapsulating in a nutshell the multifarious pleasures on offer.

And what better way to open such a set than with Van Broussard's banging titty-shaker Mojo This is followed by The Little Bits' screaming garage-soul cut Girl Give Me Love (recorded when the band members were all between nine and twelve years old!) and Frozen Sun's Jamm Pt.1 - a monster psych-soul number secretly laid down in the lobby of radio station KTKT (in Tucson, AZ) on a Sunday after midnight and about as aptly named as a track can get. Phlegethon's You're No Good provides cover song thrills by getting heavy-psychedelic on the Clint Ballard-penned classic, while yet more garage-soul delights are locked down by offerings from The Chapters, The Looking Glass and The Four. Closing the set is Pump's previously unreleased Ashtray Candle 6:33 - a slow-grooving psych masterpiece.

Once again, Chan the Man - previously the guiding light for Perfect Toy's Down & Wired series - was the driving force behind this project. It is his incredible knowledge, combined with the network of record collectors, DJs and vinyl nerds that he has established over the past few decades which have made it possible to come up with such a high-octane selection of super-heavy and extremely rare tracks. Accompanied by detailed liner notes and never-before-seen photos of the artists, Down In The Valley 1 sets the bar high for future volumes.

First release for the Italian label Alley Version is a split built up of rugged jackin' patterns and brutalist house jams, all recorded on tape by Mituo Shiomi and Drum Machine. Limited to 200 copies.

· Bart Davenport's 7th album since his 2002 solo debut
· West Coast yacht rock meets '80s English pop
· Produced by L.A. Takedown's Aaron M. Olson
· Confirmed live dates in Los Angeles, San Francisco, Portland, Seattle, San Diego, Vida Festival (Spain)

Recorded in Boyle Heights, Los Angeles, Blue Motel is the new album by Bart & The Bedazzled, a brand new musical enterprise by Bart Davenport and his seventh album proper since his solo breakout in 2002. Alluding to Los Angeles with the lights down, it's an amalgam sound of '80s English pop and West Coast yacht rock jams, sprinkled with cinematic flourishes clearly influenced by the understated production of L.A. Takedown's Aaron M. Olson. The jangly pop aesthetic, resplendent with choppy chorus tinted guitar, snappy snares, sax and bass is underlined with life trodden stories about day jobs, dating, financial insecurities, lost innocence and most prominently, time travel.

The album lives somewhere in an imagined past (or future) that is curiously both the 1960s and 1980s conveying the groups's nostalgia for a fantasy world with a cheeky cynicism, despite a perception of a world that is, for Bart, on the downfall. To that end, Davenport's songs are, as always, delivered with a happy and sad sensibility reminiscent of the great Burt Bacharach. From the surreal yet humorous 'The House That Built Itself' to the sad surf music of 'Halloween By The Sea' or the romantic L.A. noir of the title track, Blue Motel arrives with a spoonful of tears, a nod and a wink.

The Bedazzled band lineup, united by their love of the 'Elegant '80s', includes the guitar of Wayne Faler (Dream Boys), drums, percussion and beats by Andres Renteria (Jose Gonzales) and post-punk bass lines from Jessica Espeleta (L.A. Takedown). The four friends from Los Angeles, united in their affection for the more sophisticated sounds of English '80s groups like Prefab Sprout and Style Council give the setlist a more distinctively pop flavour compared to Bart's soulful last outing on his album Physical World, also released on Lovemonk. Blue Motel features regular appearances from female vocalist Nedelle Torrisi (Domino, Asthmatic Kitty) who notably adds the lush layers of harmony on 'The Amateurs'. Saxophonist Billy McShane is also featured on three songs with improvisations that evoke the scene of whales in outer space.

Producer Olson often incorporates soundtrack and avant-garde elements in his own work. His gift for song arrangement, understanding of the synth and penchant for subtlety all shine brightly on Blue Motel.

Inspired by Belgiums retro house music, Ilario Liburni delivers two original dancefloor weapons.

Einer der besten Lounge-Serien der Welt, "Hotel Costes", setzt seine Vinylserie mit den Volumes 4-6 fort. Jede der von Stephane Pompouganc zusammengestellten Ausgaben hat ein individuell-exquisites Cover und Tracklisting. Vol.5 enthält 15 superbe Tunes von DJ Cam, Minus 8, Louie Austen, The Strike Boys, Rouge Rouge, Clementine, Hippiehaus, u.v.a.

Recently, Superpitcher was invited to go on a safari in South Africa. He bought a custom made safari hat at his favorite milliner in Cologne (Ju¨rgen Eifler) and set off with big eyes and a pair of binoculars. It was wild and wonderful and he saw many exotic (and big!) animals, even a leopard in a tree that told him the secret of the universe. He forgot what the leopard said because his mind was still playing and replaying the sound of what he heard on the first night of his arrival - the hypnotic and moving sound of the voices of Africa, the voices of the wonderful Tanda Tula staff choir. There, the choir members work during the day at the camp and at night entertain the guests with their captivating voices and energetic dancing. So impressed was he with their songs and beautiful Shangaan language that he decided to record a CD for them to sell in the shop at their camp and now this precious recording is also available through Hippie Dance / Bush Recordings on vinyl and CD for you in whatever wherever camp you are. The LP of the Tanda Tula Choir comes with a very pretty poster.

Top tip for Boards Of Canada fans! Gorgeous isolation wrapped in electric memories. 8-track electronica for homesick time travelers. 'Nothing Left To Abandon' is a slow rendering of brooding introspections and imaginary spaces. Memories, visions, eroded philosophies, tragedies in a few words. A childhood of livid skies, barren escarpments, homeless wastes. An absorbing contemplation of unlikely beauty and dusty melancholy that intersects with the creative territories of Vangelis, Boards Of Canada, Klaus Schulze, and Ulrich Schnauss, and the musings of Joe Frank and Robert Ashley. Clocolan is South African-born composer Emlyn Ellis Addison. A long formal training in music, his work centers on original writings and the found sounds of abandoned ideologies--generations of radicals and skeptics searching for meaning. From his childhood in South Africa--a landscape of neglected hinterlands, eroded topology, unconquered vastness--emerged clocolan's homesick, lo-fidelity electronica, expansive themes lost in the background noise of human affairs.

The next instalment of the Slow Motion Soundtracks Serie, this time from Pordenone's Alessandro Parisi.Interested in esoteric and religious texts, this comes across loud and clear in his stunning, ethereal E.P Andromeda, which at turns send shivers down your spine and expands your mind.Having released on the likes of Giallo Disco and Charlois, this is Alessandro's first release on Slow Motion. These ecclesiastical synth workouts are sure to inspire clubbers and thinkers alike. Solid.

10 Years Boxset

In the spring of 2007, musician and producer Paul 'Mudd'
Murphy decided to launch his own label. Named after the house
he grew up in, Claremont 56 would release beautiful music by
friends, associates, collaborators and like-minded musicians.
In the 10 years that have passed since, Claremont 56 has more
than surpassed Murphy's modest expectations. It has built up
a cult following around the world, with listeners responding
positively to the label's combination of magical music, beautiful
artwork, and impeccable packaging.
To mark the label's frst decade, Murphy has put together
a sumptuous vinyl box set of previously unheard material,
produced and presented with the same attention to detail that
listeners have come to expect.
Each copy of Claremont 56: 10 Years contains fve weighty slabs
of wax and a bespoke info sheet, housed in a specially designed,
hand-numbered box with debossed logos on the front and rear.
However impressive the packaging, it's the music that makes
Claremont 56: 10 Years stand out. Featuring a mixture of
unreleased tracks and brand new remixes of vintage label
releases, the highlights come thick and fast.
As you'd expect, some of the most impressive contributions
come from those artists you could describe as legendary',
including Chicago deep house originators Larry Heard and Ron
Trent. Can legend Holger Czukay kindly contributes one of the
standout moments, the eccentric 'Music To Be Murdered By',
from his own unreleased catalogue, while Afro-cosmic pioneer
Daniele Baldelli joins forces with Marco Dionigi to deliver a
typically spacey remix of Bison's 'Familiar Stranger'. There's also
an epic, Afro-tinged dub disco remix of Smith & Mudd's 'Nether'
by Norwegian scene founder Bjorn Torske.
Elsewhere, Good Timin' man Jex Opolis turns an overlooked
track by Paraiso into a samba-boogie killer, Sean P dubs out
Zee Erf's beautiful cover of 'Southern Freeez', and Phil Mison
turns FreshRo's laidback electrofunk cut 'Pacifc State' into a
breezy, Balearic gem. Look out too, for the emotion-rich beauty
of Statues' 'River Darkness' - a track arguably worth the cost
of the box set on its own - and the deep space explorations of
Almunia's Leo Ceccanti.
We could go on, but we're running out of space. Sufce to say,
Claremont 56: 10 Years is a lovingly compiled, curated and
presented celebration of the label's frst decade.

TS07 is the 4th EP of the TONE SERIES project and in line with the previous three releases TS08, -09 and -10. However, while MACHINE DREAM freezes you up with its winter grooves whilst on your way to the club, KEEP THE BOMB warms you up as soon as you get inside. Whereas MACHINE DREAM unveals shamanik percussions driving a tribal acid vibe with a big amount of pads that make the track ramping crescendo up, KEEP THE BOMB establishes itself as a major dance floor tune with its killer beast, cruising vibe and staccato voice percussion. With regard to the artwork, as shown on the cover, each track has its own colour. There is neither a A nor a B-side. The same applies to the record vinyl itself. Each track stands on it own. As a result, MACHINE DREAM and KEEP THE BOMB distinguish themselves from each other through their vibes and colours, although they remain in the same spirit. In summary, TONE SERIES brings together the idea of interdependence between music and design: what colour follows on from music and, in return, which musicality comes out of colours.TONE SERIES was born from the collaboration between late Villa's former bouncer (one of the most underground clubs of Berlin) Wolfram, French music producer, live performer and DJ David K, and LumièresLaNuit's co-founder and An der Grenze's founder.

Emergence is the becoming of what has always been.'The Emergence Ep' marks the first vinyl release for Chicago-based techno label, Webuildmachines. Emergence highlights the breadth of interests from it's creator, Tunnel, across 5 uniquely crafted tracks. From the broken beat seance of Doctrines of Secrecy' to the 4/4 warehouse vibes of Rituals of Discovery' and Visibility Machines', Tunnel's deftly presented range of mood and form are highlights of his production and research since the inception of the label in 2013. Limited to 125 copies.

Killekill catalogue number 025 is a jubilee release:
It's KILLEKILL MEGAHITS II !!
But it's not only a jubilee release. It's also milestone and turning point in the Killekill history, because with this release Killekill closes one chapter, and opens up another.
We are constantly getting too many demos full with good music in way too many different styles to squeeze them onto one label. So finally we have come to the point where we will start a line of new labels with different profiles to give ourselves the opportunity to feature even more daring artists and release whatever we like in the most suitable outfit for it.
So far, there is this compilation, which has been carefully compiled for your pleasure. Label regulars such as Cassegrain & Tin Man, Furfriend, Alex Cortex or Eomac have delivered high quality stuff of all kinds, but we are also introducing a lot of artists who will feature on the coming labels:
Umwelt with his epic and dramatic electro, who will release an album with us later in 2016, Dez Williams with his genre-crossing sound which works on every dance floor plus Power Vacuum's Bintus who delivers his portion of electro/acid madness on Record 1.
Record 2 features the legendary Detroit Grand Pubahs, who present their electro outfit Techmarine Bottom Feeders, The Fool's Stone, which is a new project by Hard Ton, electro legend Adriano Canzian and italian queer artist Brigida plus London's underground hero Jerome Hill, who lets it jack and roll with his Memory Machine.
On Record 3 Kamikaze Space Programme surprises with some bell-driven percussive techno and what can we say It is with great pride that we include the acid techno epos by none other than the legendary 'Prince of Techno' Blake Baxter.
This compilation is a trip through a big musical universe. Enjoy!

Deep Purple 'The Vinyl Collection'
Die 7-LP Vinyl Collection enthält alle zwischen 1972-1987 veröffentlichten Alben auf Vinyl, verpackt in
einem stabilen Deluxe Schuber.
Die Alben werden paralell auch einzeln angeboten werden, als Stand-Alones.
KEY FEATURES: Re-mastered von den original Bändern original Insert Repliken 180 gm Vinyl Das
erste Re-master von Perfect Strangers und The House Of Blue Light (Polydor Alben)
Enthalten sind:

LP with Gatefold Sleeve and silver hotfoil spine. Short info: Nearing its first birthday, Other People is celebrating the only way it knows how: Work. The label has put out new material every Sunday since it launched with last year's Trust compilation, and the culminating Work comp doesn't break that streak-consisting almost entirely of new material from Other People's artist roster, and a few remixes from some special guests. Work is not, however, an uncooked mash of music. It's sequencing is deliberate and its selection purposefully not encompassing. In fact, Work is more an album than anything else. Kicking off the affair is Soul Keita, whose roots run back to the days of Nicolas Jaar's first label, Clown & Sunset. Dave Harrington follows with a cover of the Nick Drake song 'Things Behind The Sun' with the singer Tamara. His amorphous chords flow right into the tight groove of VISUALS' 'A Pixel', produced by Nico and featuring some guitar by Dave. Darkside also pay their dues with two unreleased tracks from their Psychic sessions-'What They Say' and 'Gone Too Soon'. Putting a nail in the coffin, German pyro-techno duo Ancient Astronaut do battle with a troupe of remixers. The first comes in snarling at the hands of Powell. The second builds gently with the subtle touch of Jenilek. And last comes a deadly dub mix by Francis Harris and Gabriel Hedrick. Work paid off.

Late Night Tales welcomes back the cult figure and ultimate musical connoisseur, Bill Brewster to compile his second episode of the curated compilation series 'After Dark'. An obscure and timeless DJled journey which begins somewhere out in the near ocean, the waves are rolling and lolling gently into the shore, while a full moon shines on the surface. It's only faint, but somewhere nearby is the sound of bass, pulsing slowly, almost in time to the waves. Welcome back to 'After Dark: Nightshift'. Once again Bill Brewster comes armed with a sensitivity and sense of occasion that few other DJs possess. Delivering another batch of slow cooked musical stews, making sure the tempo stays nice and steady and the emphasis is on funk, soul, grits and corn fried chicken, Brewster has done so much digging, Late Night Tales had to hire a forklift truck and tractor. Among the unreleased nuggets, there's the Fernando mix of The Detachments; inordinate excitement about Gino Fontaine, a tune spotted a year ago but has languished in Andy Meecham's Stafford catacombs ever since. Also unearthed are some hitherto secret recordings between Robert Fripp and The Grid, and there are also some proper club faves here, too, like the daft but brilliant 'Mopedbart' by Hubbabubbaklubb and the luminous 'Boutade' by Mugwump, as well as killer oldies like Salsoul Invention and General Lee

Hakan Fridlund (Garonneman) is laterly more known as his crazy Project "FDASFDA". It's 11 years since his last dance-related release came out (as borft 102 -2002) This is "off trend" strange dancemusic with sweet melodies and Magics.

Nick Lapien's debut release as Metropolis garnered little attention when it materialized last year. A skeptical yet dedicated network of underground heads built up a subterranean buzz that has yet to spread into the daylight. That initial transmission was thick with the raw analogue flavors that have become ever-present in dance floor fare recently—but his is a sound that is dedicated to the emotive, narrative aspects of electronic music rather than simple fetishization or passing curiosity in the days of yore.

This, his second release as Metropolis, shows a more focused and patient hand at work. The titular track on the A side is a deep, psychedelic groover. Melodies, textures and sequences undulate and intertwine within a lightless atmosphere guided by Lapien with optimum restraint. Equally pensive and gorgeous, The Flood serves as a Machine's beat-less foil on the reverse. Made up of little more than feedback and two slow, echo laden arpeggiated sequences, this is reminiscent of Jean Michel Jarre's more sinister moments: a brilliant paradox of economy and indulgence. Expect to hear more from Lapien here at Sequencias. He has many more dark corners left unexplored.

Midnight Juggernauts have forged a unique path, refusing to be bound by boundaries of genre, convention, or expectation. The band are now on the verge of releasing a new anticipated album, Uncanny Valley, out on June 17th, their first output for 3 years following their previous albums Dystopia and The Crystal Axis. This EP is the first taste of their new material, which sounds uniquely Midnight Juggernauts. Situated at a self-styled nexus between genre and era, their new output may be described as warm-hearted cold wave, interstellar harmony's, early 1950's house, steeped in the darkness of dusty Giallo soundtracks, audio spomeniks at once futuristic and rustic, a bold musical future envisaged through a soundtrack to a forgotten Eastern Bloc Tarkovsky film, sifting through the ruins of LPs past.

Lowfish originally released his 'Burn The Lights Out' LP in 2007 on the US label Satamile but we have found some copies of it in the warehouse. Synth-pop meets breakbeats in an electrifying fusion of emotive melodies and bass-heavy beats across all four sides of the long player with ten then-new tracks and two classics from his Sat.31 EP. They all show that his music, complex yet accessible, evokes images of Blade Runner, Wave Noir, or William Gibson. It is post-modern in approach as it skilfully blends past and present styles to create a sound uniquely his own, seamlessly bridging the gap between eras while pushing the boundaries in his own way.

Straight out of Toronto, Waspriders )) issue an ultimatum to the current state of things - smashing heavyweight bass music into the sonic DNA of transcendental techno raves. Modern esoteric experience, engineered for those who know how to lose themselves on a sweaty dance floor. Tss - stay quiet when the bass talks. Bass is the source of truth. Bass is your new god! Behind Waspriders )) are two unhinged creative minds - Danny Voicu (aka Dan Only, ½ Cloudsteppers) and Alex Pletnev (aka Pletnev, Moisk). These transmissions started taking shape in a Toronto studio back in 2024. Toronto's own Cindy Ciel - also ½ of Cloudsteppers - blessed the EP with a body-moving banger of her own.

Once I Was Young and The Airplane Album find the producer taking yet another sonic right turn. "These records were made in the same year with a very similar creative process. I moved almost completely away from sampling, experimented more than ever with ambient and techno elements and used the album format as a way to tell a story about moments in my life." Once I Was Young is a storytelling work that journeys through analogue synth-pop, modulated techno and raw, dusty drums with otherworldly melodies. Moments of beauty come through escapist, naturalistic ambient tracks and fusions of Kraftwerkian sequencing with more classical piano, while stark, clubready grooves keep things moving. Airplane contrasts similar shades of light and dark, synthetic and organic, rough and smooth. Glitchy, imperfect analogue sounds, knackered drum machine grooves and eerie synth phrasing evoke a post-human world with icy atmospheres. Elsewhere, warmth comes from bittersweet melodies and loose, funky drums that ooze retro-future charm.
Once I Was Young and The Airplane Album show a diff erent side to Escobar, one that embraces introspection and experimentation while exploring a whole other world of meaningful machine soul

Kashpitzky returns with an era marking new EP on Be As One Imprint, channeling the classic Detroit techno into a modern sonic journey.

Blending driving rhythms with lush orchestration, the release is rich in sweeping strings and cinematic textures, Each track unfolds with emotional depth, balancing raw machine energy and elegant musicality.

The EP pays homage to the golden era of Detroit while pushing its sound into new territory, A timeless yet forward-thinking release, it captures both nostalgia and innovation in equal measure.

Diplo—the prolific artist's self-titled album and first full-length of electronic/dance music in 18 years—is the realization of a three-year deep dive into the house music that first blew Diplo's mind as a teenager and that he has now founded Higher Ground to champion worldwide. A titan of electronic music, he’s now turned his focus back to these roots.

The album includes the Grammy-nominated “On My Mind” with Sidepiece, "Don't Forget My Love" with Miguel, “Looking For Me” and “Promises” with Paul Woolford and Kareen Lomax, “Don’t Be Afraid” with Jungle and Damian Lazarus and “One By One” with Elderbrook and Andhim—classic house records that have soundtracked the reopening of clubs worldwide—as well as collaborations with Aluna, TSHA, Leon Bridges, Lil Yachty, Busta Rhymes, Seth Troxler, Amtrac, RY X and more.

A special Australian export edition from Sweat It Out featuring a curated selection of remixes by Barry Can’t Swim, DJ Seinfeld, Andhim, and more. This 3x LP set is the exclusive physical home for these remixes. Each of the three discs comes in a unique color: Green, Red, and Blue.


b A2 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) Sebastian Ingrosso & Desembra Remix
c A3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) [Extended]

[e] B1 - Diplo & SIDEPIECE – On My Mind (Purple Disco Machine Remix) [Extended]

[g] B3 - Diplo & Joeski – Fortress (feat. Rhye) [Extended]
[h] B4 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [AMÉMÉ Remix]

[j] C2 - Diplo & RY X – Your Eyes (Barry Can’t Swim Remix) [Extended]
[k] C3 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Soulwax Remix]

[m] D1 - Diplo & Miguel – Don’t Forget My Love (John Summit Remix) [Extended]

[o] D3 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [DJ Seinfeld Remix]

[q] D5 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [Andhim Remix] [Extended]

[s] E2 - Diplo - High Rise (feat. Amtrac & Leon Bridges) [Major League DJz Remix]
[t] E3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) [Kalabrese Troxler Alternative Mix – Edit]
[u] E4 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) [Extended]

[w] F1 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Extended]
[x] F2 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [Extended]

[z] F4 - Diplo - One By One (feat. Elderbrook & andhim) [Sofia Kourtesis Remix] [Extended]


[b] A2 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) [Sebastian Ingrosso & Desembra Remix]
[c] A3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) [Extended]

[e] B1 - Diplo & SIDEPIECE – On My Mind (Purple Disco Machine Remix) [Extended]

[g] B3 - Diplo & Joeski – Fortress (feat. Rhye) [Extended]
[h] B4 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [AMÉMÉ Remix]

[j] C2 - Diplo & RY X – Your Eyes (Barry Can’t Swim Remix) [Extended]
[k] C3 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Soulwax Remix]

[m] D1 - Diplo & Miguel – Don’t Forget My Love (John Summit Remix) [Extended]

[o] D3 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [DJ Seinfeld Remix]

[q] D5 - Aluna, Diplo & Durante – Forget About Me (Nite Version) [Andhim Remix] [Extended]

[s] E2 - Diplo - High Rise (feat. Amtrac & Leon Bridges) [Major League DJz Remix]
[t] E3 - Diplo & Seth Troxler – Waiting For You (feat. Desire) [Kalabrese Troxler Alternative Mix – Edit]
[u] E4 - Diplo & TSHA – Let You Go (feat. Kareen Lomax) [Extended]

[w] F1 - Diplo & Damian Lazarus – Don’t Be Afraid (feat. Jungle) [Extended]
[x] F2 - Diplo & Melé – Right 2 Left (feat. Busta Rhymes) [Extended]


[z] F4 - Diplo - One By One (feat. Elderbrook & andhim) [Sofia Kourtesis Remix] [Extended]

2 x LP Gold & Purple Splatter Effect Vinyl in Picture Sleeve

Cititrax release Sand Clock, the new full-length album by Men With Secrets, the Italian trio of Donato Dozzy, Lino Monaco, and Nicola Buono (Retina.it). Originally emerging from a shared background in experimental techno under the name Le Officine Di Efesto, the three musicians turned toward classic post-punk, minimal wave, and synth-driven pop with the formation of Men With Secrets. Their debut album Psycho Romance (2020), released on Bunker Records, introduced a meticulously produced body of work that felt like a rediscovered European darkwave recording from the early 1980s—yet was entirely contemporary in its construction.

With Sand Clock, the trio deepen this language. The album leans more directly into the melodic clarity and romantic tension of late-80s and early-90s darkwave and synthpop while maintaining the stark restraint that defines the project. Icy synthesizers, shuddering basslines, and precise drum machine programming frame baritone vocals that are intimate, emotionally exposed, and quietly apocalyptic.

Balancing pop structure with gothic atmosphere, Sand Clock moves between shadowed dance floor momentum and solitary headphone introspection. It is not an exercise in revivalism, but a continuation—an acknowledgment that the emotional architecture of that era remains unresolved and still relevant. Written and produced by Donato Dozzy, Lino Monaco, and Nicola Buono and recorded in Rome and Pompeii.

The vinyl edition is pressed on clear 160-gram vinyl, limited to 500 copies worldwide. Each record is housed in a heavy printed jacket with a printed inner sleeve.

2 x LP Yellow Vinyl in Picture Sleeve

Celebrating three decades of cutting-edge electronic music, iconic Canadian Melleefresh’s Play Records marks its 30th anniversary with a premium collector’s edition vinyl release. Founded in 1996, Play Records was the launchpad for much of deadmau5’s early catalogue as he rose to global stardom. This special anniversary edition dives deep into the Play Records archives, showcasing previously unreleased gems, exclusive tracks, and rare remixes and covers spanning the label’s storied history. The release comes as a 2×LP transparent yellow vinyl, housed in an iconic artwork sleeve with photography marking the label’s rich legacy.

Straight from an alternative dancefloor, a recollection of stone cold classics from huge & influential post-punk pioneers. They called it white funk once, but here you can even catch echoes of latin, dub and club influences, a mutant disco manifesto from a series of British champions such as Normil Hawaiians, Glaxo Babies, Playgroup, C Cat Trance, Suns of Arqa & Prince Far I and many more.

Tracklist Side A:
Normil Hawaiians - Obedience
Vee VV - Keep Beat
Spit Like A Paint - For The Life Of Me
Group Therapy - Arty-Fact
C Cat Trance - Hypnotised

Tracklist Side B:
The Chicken Granny - Quit The Body
Machine Gunn Hogg And Co - Bed Bound Saga
Playgroup - Hoggs Might Fly
Glaxo Babies - Shake (The Foundations)
Suns of Arqa feat. Prince Far I - G.D. Magik

There’s no direct English translation for the word “hiraeth”. In the Welsh language, it describes a form of longing for an intangible something, somewhere or someone that no longer exists. Sofie Birch and Antonina Nowacka draw on the concept to guide their second collaborative album, a suite of vulnerable, open-hearted improvisations and reflections that attempt to grasp an image of the past that’s chimeric, dissolving almost as soon as it materializes. The duo’s process follows the same distant beacon; unlike Languoria, their critically acclaimed debut, Hiraeth is, at heart, an acoustic record, informed by in-person improvisations with voices and string instruments that gesture to an era before computers, AI and DAWs. It’s just as lush, but Hiraeth is warmer and more muted than its predecessor.
Nowacka and Birch conceived the album in the wake of a slew of collaborative live concerts, spurred on by serendipitous improvisations and an interest in paring down their setup. Unsound arranged a retreat in Sokołowsko, an idyllic village nestled in the verdant hills of Southern Poland, close to the Czech border. Sokołowsko surrounds a large ruined sanatorium that’s rumored to have inspired Thomas Mann’s 1924 novel The Magic Mountain, and has long been a magnet for artists. The two took the opportunity to rethink their approach completely, arriving with just a guitar, a zither and a portable Nagra reel-to-reel machine. Recording directly to tape, they sketched out ideas with just their voices and instruments, reflecting their surroundings without being distracted or mediated by modern technology.
“We wanted to get away from screens as much as possible,” says Birch, “to bring to the world something vulnerable and honest. Without advance preparation, every day we went out into the open air, finding places to sit, during sunset or the midday sun. We discovered new tunings on our instruments, picked up a melody, and started the machine, playing over
and over till we got a take.” In the autumn, they met again in a Copenhagen studio, sparingly and carefully layering old synths and organs to add more depth without muddying the mix.
Both Nowacka and Birch sing throughout, their voices threading the acoustic instruments and tangling with each other, almost becoming one. But it’s the environment of Sokołowsko, “the birds and the light, even the wind playing against the harps,” that’s woven into the music’s lining. Affected by time spent meditating and in nature, as well as the fact that Birch was pregnant whilst recording, the album feels alive and remarkably present. Even the sound quality of the tape machine gives Hiraeth a tactile, organic quality, as Nowacka puts it, “like being in a warm bath.”

They still have the raw recordings from Sokołowsko on old reels, physical souvenirs of their time spent making music in a “habitat for intuitive songs, a little ecosystem, alive and spirited.” The outmoded gear and remote setting helped the duo disengage from the modern world for a few moments and imagine an existence that’s been lost to time and nominal progress. With digital technology receding into the background, Nowacka and Birch had space to make “intuitive connections with frequencies and people,” as Birch explains. Hiraeth is a testament not to nostalgia, but to the power of kinship.

Following Parnell March’s Back Bar Grooves EP in February and November’s release of the Dust Tears (lead song from Sarah/Shaun’s debut) remixes, Edinburgh’s Hobbes Music label returns with a second EP of dream pop from husband-and-wife duo Sarah/Shaun (pronounced simply Sarah Shaun), alias Sarah and Shaun McLachlan (pronounced McLochlun), who wooed hearts and wowed critics with debut EP ‘It’s True What They Say?’ last year.

‘It’s True What They Say?’ attracted fans across the board: Artist Of The Week in The Scotsman, rapturous reviews from The Skinny and Tokyo's Ban Ban Ton Ton blog, BBC 6Music airplay courtesy of Nemone (Mary Anne Hobbs' Morning Show), more radio play from Radio Scotland's Roddy Hart & Vic Galloway, plus Simone Butler (Primal Scream) and Jim Sclavunos (Bad Seeds) via their respective Soho Radio shows, not forgetting ringing endorsements from the likes of David Holmes, Youth, Kevin Bales (Spiritualized), Brent Rademaker (Beachwood Sparks) and Julian Corrie (Franz Ferdinand).

They played gigs supporting Glasgow's huge Glasvegas, at festivals (Kendall Calling, Dunbar Music, Hidden Door), plus a slew of venues across the Scottish capital, ending the year with a trio of shows supporting Glaswegian 80s pop legends The Bluebells at Aberdeen’s Tunnels, Dunfermline’s PJ Molloys and Edinburgh’s Liquid Rooms, while The List magazine tipped them among their Ones To Watch For 2025, with journalist Fiona Shepherd suggesting they were “blending the starry-eyed pop of Sonny & Cher with the electronic experimentation of Chris & Cosey.”

Very much the companion piece to the debut EP but arriving a full twelve months later, Someone’s Ghost is emblematic of the duo’s desire not to rush things or release anything half-baked.

“I’ve always wanted to create the perfect pop record and I do really feel that we’ve achieved that with this one,” says Shaun. And he’s clearly not the only person who thinks so.

REVIEWS, FEEDBACK ETC:

"I LOVE that! Dreamy dreamy pop." ROY MOLLOY (Marvellous Crane/Alex Cameron) on BLAST RADIO, Sydney
“the Scottish music scene’s cream of the cool... buzzy drum beats, high, distant chimes, and heavenly electronics…. very ethereal.” THE SKINNY

"Listening to Sarah/Shaun is like eavesdropping on a noir dreampop, long-distance phone call between them both, across two separate sonic locations. On this stunning 4-song EP, Sarah’s voice, effortlessly mesmerising, draws you into these big beautiful and haunting passages of perfect dream-pop. All beautifully produced in a multi-layered-scape of low-fi analogue textures, epic cinematic crescendos, intense electro-pulse grooves and warped psycho-pop guitar riffs. Within the songs lurk a sense of unresolved emotions, longing and pathos. There are shades of classic Lee Hazelwood & Nancy Sinatra but also Post-Punk Electronica and Beach House. But what a unique sound they’ve created of their own. I love it" DAVID MCCLUSKEY (The Bluebells)
"Absolutely beautiful" SEAN JOHNSTON (A Love From Outer Space)
"Lovely stuff here! Total quality." MARTYN 'MASH' HENDERSON
"Ooooh. Everything the last record promised is here. Well done" GEORGE T aka George Demure (Accident Machine)
"Vince clark Era Depeche Mode in places" KEVIN BALES (Spiritualized)
"Sounds cool. Well done" PETE KEMBER (Sonic Boom, Spacemen 3)
"Glorious, it (Debbie Harry) grabs hold of you and doesn't let go." IAIN DAWSON aka RAVECHILD (Everyone Wants To Play The Hits Podcast)

SOMEONE’S GHOST

Born out of an incredibly anxious, stressful time, the songwriting process for these recordings has been something of a personal tonic for Shaun…

“There was a period when I was having nightmares,” he reveals. “Apparently I was saying there was someone in the room, I was talking to that person and Sarah was seeing all this while I was still asleep.

So, I was thinking that this was my ghost. I started writing songs because I was going through something and I was dealing with something and writing songs was a comfort. My ghost was a comfort, whether it was real or not. The idea of it was a comfort.”

“I firmly believe that everyone has someone who watches over them but all of the songs are essentially about being there for someone,” he says. “Everybody needs someone but also everyone needs to stay real and keep what you have, keep it close, never let it go. If you don’t have it, continue to tell people you’re there for them. It’s about loving and hoping people will be good to you in return.”

While Shaun took the songwriting lead on Filter Of Love and EP closer The Sound Which Stresses The Sound Of My Ears, Debbie Harry was originally instrumentally conceived by producer Jaguar Eyes, alias Ali Chisholm, later lyrically completed by Shaun, and the EP’s lead track, Anhedonia, and one of its stand-outs (much like Starbed on the debut) was conceived by Sarah, as a result of experiencing a bit of a spiritual epiphany of her own.

“When I first heard the word Anhedonia, I didn't know what it meant but when I found out I thought about it quite a bit. How sad it would be to have no enjoyment in anything,” she explains. “This song is really about my own personal beliefs. When I have been down, that's one of the things that helps me the most. It talks about trying to make amends but realising, for some things, you can't. But I think with any kind of faith comes hope… which is always a good thing.”

A record about hope, truth, honesty, a belief in something bigger than oneself… and all set to a soundtrack that wouldn’t feel out of place in a David Lynch or Eighties feature film. What more could anyone ask for, really?

There’s equally a desire to offer something universal and positive to anyone who tunes in. The labels for the 12” edition reveal the dual mantras “Who just wants to survive?” and “It’s about time to live a little”, with both messages also engraved in each record’s run-out grooves. T-shirts accompanying debut EP It’s True What They Say? bore the slogan “Kill Them With Kindness” - leading caps intentional. Shaun carries the acronym KTWK everywhere he plays, as a reminder: it’s stitched into his guitar strap. And this particular wee pebble has already caused a few ripples: people have been approaching him at gigs to acknowledge their appreciation and respect for it.

"We feel we have made an honest, open, colourful, body of work,” say the duo. “We hope to go out and play the songs with the guys (our band) and then potentially make more records. We are taking things as they come. Everything has been organic so far, after all. We are looking forward to whatever this brings."