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Mannequin Records is thrilled to announce the upcoming release of Chromium Industries, a double LP (MNQ 162) capturing the innovative spirit of two pioneers of electronic music: Andrew Lagowski and Paul (Howie D) Howard. This long-anticipated album marks a return to the seminal sounds of the Chromium Industries label, which emerged as a crucial platform for boundary-pushing techno and electronic music in the early 1990s.


Andrew Lagowski, a name synonymous with exploration in electronic music, has been at the forefront of sound innovation since the early 1980s. Known for his work under various aliases, including Lagowski, Legion, and S.E.T.I., his early output in experimental and industrial sounds paved the way for his later techno-focused ventures. Albums like Knowledge (S.E.T.I.) and Nadir (Lagowski) highlighted his pioneering approach to unconventional sound sources and production techniques. In the 1990s, his work with Chromium Industries brought him into the techno spotlight, with a series of influential 12” singles that helped shape the electronic music landscape. With over 60 albums and 10+ singles to his name, Lagowski’s versatility and dedication have garnered him a loyal following and lasting influence across genres.


Paul Howard, aka Howie D, brought his DIY ethos from the punk scene of the 1970s into electronic music. As a founding member of The Frames and co-founder of the Brain Boosters and Spacematic labels, Howard has consistently pushed boundaries. His early forays into hip-hop saw him release the genre-pioneering jazz-rap track Miller Light as Fission. The transition from punk and hip-hop to electronic music was a natural one, culminating in his creation of Chromium Industries after a fateful night hearing Lagowski’s Vermilion at a London party. The label brought some of the most unique techno releases to the scene, with tracks like Blue Anomaly causing near-riots on the dancefloor. Since then, Howard’s work has evolved to include multiple aliases, including The Legend That Is, Phase Collective, and Skulpture.


Chromium Industries 2xLP will be available for purchase from January 2025 through Mannequin Records and select distributors.


This is an essential release for collectors, DJs, and anyone who reveres the legacy of 1990s techno and early rave.

After the iconic Musica da Discoteca series, l’oggetto returns with DANCE, a new 12” continuing his exploration of the rooted electronic music interplay between his native Italy and his adopted home, the US.

With his signature deep vibes and iconoclastic style, these four new tracks deliver a sonic journey through oblique electronic textures: raw and sharp yet smooth and uplifting; leftfield and trippy, percussive and bouncy, hypnotic and transcendental.

l’oggetto is the moniker of NY-based Italian multidisciplinary artist Marco Scozzaro. With roots in the Italian hardcore/punk subcultures of the ’90s, he quickly embraced electronic music production and club culture. True to his DIY ethos, in 2020 he co-founded MKDF Records to release and distribute his uncompromising sound.

f11 FLRNTN, Benjamin Duchenne - "Last Man Standing" (feat Sivan) (1:08)
f12 Nicholas Gunn & Harshil Kamdar - "Here I Am" (feat Alina Renae - Richard Durand remix) (1:08)
f13 DJ TH X TH3 ONE X Sue McLaren - "Everything To Me" (1:08)
f14 Matty Ralph - "Te Adoro" (1:08)
f15 Armin Van Buuren & Vini Vici - "Sarabande" (feat Anna Timofei) (1:08)
f16 Lilly Palmer - "Hare Ram" (1:08)
f17 David Forbes - "Techno Is My Only Drug" (1:08)
f18 Armin Van Buuren - "Blah Blah Blah" (Lilly Palmer remix) (1:08)
f19 Armin Van Buuren - "The Road To Your Destination" (A State Of Trance Year mix 2024 outro) (1:14)

Strong atmospheric techno from Sound Synthesis on his newly launched Submersive Underground label. Limited hand stamped copies..

This heavy roots reggae cut comes courtesy of The Viceroys, legendary harmony group from the stables of the world renowned studio 1. First recording for the venerable Mr Dodd in 1967 The Viceroys were instrumental in moving the sound from rocksteady to reggae with early hits like “Ya Ho” and “Love & Unity” .

The A side of this weighty 45 is a revisited vocal from the early days of the group, a haunting, smokey rendition of Maga Down. Drawing musical influence from Ethiopian and Cuban music as well as its obvious early reggae basis this record sounds fresh whilst simultaneously transporting you back to the golden era with its warm nostalgic themes.

The flip side is an ethereal dub mix from the Bristol based Yakka, an almost psychedelic journey into the mixing board bringing out the best of the vintage sound pellet.

This is the third release from Bristol label Poor Man's Friend Records, produced in the Poor Man's Friend studio and voiced in Jamaica only 300 copies of this smoked out ode to the golden era are available for purchase.

Bandler Ching makes a bold return from within the vibrant, Brussels music scene with their sophomore album, Mercurial. In this latest offering, the band edges even closer to the ever-evolving world of electronics and dance music while retaining the improvisational spirit that has always defined their sound at its core.
On Mercurial, the band navigates the fringes of industrial trap, while expertly bending and pushing the possibilities of their instruments. Ambroos De Schepper's saxophone transcends its traditional role even more, becoming a dynamic, shapeshifting entity capable of evoking haunting melodies one moment and otherworldly harmonies the next. Federico Pecoraro's bass transforms into ethereal ambient pads that drift through the mix like vapor, adding depth. Meanwhile, Olivier Penu's drums form the rhythmic backbone, laying down eclectic grooves that defy the constraints of any single genre, merging seamlessly from trap to electronica, hip-hop, and beyond.
Known for their ability to blend disparate genres and experiment with textures, Bandler Ching forges a new instrumental language, one that feels untethered to convention and free from classification. It's not a genre-crossing experiment-but a daring move towards a new instrumental genre in the digital age.
Fans of experimental electronic icons like Aphex Twin, Squarepusher, and Ceephax Acid Crew will find much to admire in the upcoming Mercurial album- it's a next step in pushing to a new musical territory and boldly casting off the jazz genre in the process.
It's been two years since Bandler Ching first released their debut album Coaxial on Sdban Ultra. Kicking off the album campaign with an album release show in Volta, the Brussels hotbed for a new generation of Belgian artists. What followed was a series of concerts in key venues and festivals across Belgium and the Netherlands to honorable reviews in national and specialized press.

Recorded during a residency in Tenerife powered by Keroxen Festival and Discrepant back in 2020 - amidst the pandemic, no less -, the duo of Carlos Godinho and Mestre André return after their 'Mãe D'Água' debut on Sucata Tapes and an entry on Keroxen's Aquapelago Series through a split with tropical druids Lagoss. Mostly captured in performance through a quadraphonic system placed inside a huge disused fuel tank, with a few tracks recorded out in the open throughout the island, 'Lava Love' evokes the tectonic shifts and motions inherent in their title in 13 tracks.

Based around Godinho's percussive arsenal, from found objects to instruments from all sorts of cartographies, and André's electronic processing, each of these expositions is a point in a map that is created between the island's concrete and fictional existence, discarding any superficial overdubs and crescendos, to focus on the balming and transporting properties of sound itself. From stripped down vignettes like 'Bajamar I' & 'II', 'Chacho' or 'Tangana I' to hypnotic tapestries that confuse the real and imagined like 'Haha No!' or 'La Gomera', Banha da Cobra conjure a collective dream of the island.

All tracks performed and recorded by Banha da Cobra in a quadraphonic system inside an enormous fuel tank (Espacio Cultural El Tanque, Santa Cruz de Tenerife),except Bajamar I and II (recorded outdoors at cantonera de Bajamar, with Lagoss), Taganana I and II (recorded outdoors at Playa de Almáciga) and El Guachinche de Los Realejos (recorded outdoors at Playa de Castro, with Lagoss).

Enxin/Onyx, the duo of Nicky Mao/Hiro Kone and Tot Onyx (formerly group A), joins Other People with their debut album "In Rupture," capturing the same mesmerizing energy for which their live sets have become known.

“In Rupture” is not painless but in rupture lies possibility. The elasticity of this time pitching us across unknown terrain, revealing new potentialities, eclipsing static being. Whether in breach, collision,shimmer or severance, Enxin/Onyx explores these as occasions for transformation. Peeling back the layers through discord and harmony, exciting the inversion of expectation, towing the listener to depths and back up again to illuminate the senses. At times metallic and feral, at others murky and sharp, each song serves as an offering for all that is in rupture; body, spirit, land, ecosystem.
The opening track “A Void” calls to mind some mutation in its mechanical ecstasy, but for what purpose remains unknown. Even in the near moments of stillness, “Needle Pierces the Threshold” breathes a forceful disquietude. Tommi’s vocals pulling the listener down into some subterranean
madness, to unravel upwards from all sides, flooding the once parched landscape. In “Embers Kissthe Eye”, all of time emerges in one moment, compelling the subject’s gaze towards a new horizon.
The album follows its subjects through exile, exhumation and discovery. Through this process plates shift, fissures are revealed and what once appeared to be indomitable absolutes crack, pointing towards their inevitable collapse. To be in rupture is regeneration, to be in rupture is to return.

On "Not Around But Through", Portland-based experimental musician and tape wizard Amulets
 navigates the process of acceptance and the tumultuous journey of looking within. Over the course of 8 tracks he explores the emotional path of moving through rather than circumventing, in the process soundtracking a purposeful desire to face trauma and vulnerability.

Infusing his trademark ambient soundscapes with ambitious blends of post-hardcore, emo, and metal, "Not Around But Through" connects the dots between personal and social dislocation, leaving us with a taste of the fragmented and fallen future we are all steeling ourselves for. Traversing a landscape that varies from gentle and meandering to explosive and cathartic, Amulets uses cinematic tension and relentless attention to detail to construct his sonic apparitions. On "Lifelike" he collaborates with Midwife, incorporating Madeline Johnston's voice into a song that pulsates with post-shoegaze transcendent energy.

Amulets is the solo project of Portland-based audio + visual artist Randall Taylor. Amulets employs handmade cassette tape loops and live processed guitar loops to create live, lush soundscapes and immersive drones. Through the recontextualisation of cassettes, sampling, field recording, and looping, these long-form compositions blur the genres of ambient, drone, noise, and electronic music.

The Young Mothers return with their third album, Better If You Let It, blending a genre-defying mix of jazz, hip-hop, punk, experimental rock, and electronic music. Formed by Norwegian bassist Ingebrigt Håker Flaten in Austin, Texas, the band’s sound is shaped by the diverse musical backgrounds of its members, hailing from both the U.S. and Norway. With influences spanning from Texas’ vibrant hip-hop and punk scenes to Norway’s experimental jazz traditions, the band creates a powerful fusion that feels cinematic and unpredictable.

The lineup includes Jawwaad Taylor (trumpet, rhymes, electronics) and Jason Jackson (tenor and baritone sax) from Houston, Stefan Gonzalez (vibraphone, drums, percussion, voice) from Dallas, Frank Rosaly (drums, electronics) from Chicago and Amsterdam, and Håker Flaten (bass) from Norway.

This global roster brings together a dynamic, cross-cultural sound, with Better If You Let It showcasing their most cohesive and wide-ranging material yet. Recorded in Oslo and set for release on Sonic Transmission Records, the album is a bold statement, proving The Young Mothers’ ability to push musical boundaries across genres and geographies.

Transparent Blue Vinyl.Limited to 300 copies. Bob Balch here. When Gary Arce mentioned that Yawning Man was gonna record and we should do another round of Yawning Balch jams I was super stoked. I'll always jam with those guys. Once the invite was extended I knew I had to drop some money on new pedals. Haha. Not that I don't have enough already but jamming with Yawning Man means you have to build a massive pedal board and try to get the most "out there" sounds you can. At least that's what it means to me. Another aspect is once we start jamming I like to improvise riffs but keep them in mind so I can return to them throughout the jam. It was an honor to share a few hours playing with those dudes and I'm always surprised how much material we get out of it. Volumes 3 and 4 were recorded in one five hour session April 20th, 2024 in Joshua Tree, CA.

Finnish-born producer and pianist Idealism (800K Spotify Monthly Listeners) and French transplant Lucid Green (175k SML) are no strangers to each other’s subtle, yet potent productions. Having worked together on „Untold“ their Sophomore, fully collaborative LP “Unsaid” is a natural journey into the beautiful ambient, downtempo, lo-fi worlds they’ve each created. Through visits to Lucid’s flat in Paris and ideas being exchanged remotely, the duo experimented with different sounds, instruments and aural environments, in the process crafting a natural partnership that sits in a comfortable, melancholic pocket.

With lulling guitar and poignant piano progressions that provide a pillow to rest your ears, and downtempo percussions that keeps you ebbing and flowing along on a subtle current, unsure where one wave ends and the next begins, only the albums progressions dictate the head-nod. The album soars, reminiscent of life’s simple, yet wholly memorable moments.

As with all 823 releases, the project is a visual one as much as it is a musical project. The first singles visualizers are a fusion of Hopes & Dreams Club & 823’s design aesthetics with personal super8 footage captured by Idealism & Lucid Green, beautifully expressed from Hopes & Dreams Club membersi. Each visualizer and single art will easily stand on its own, transporting you to worlds familiar, yet undeniably groovy and sonically comfortable.

823 is a multifaceted Perth-based record label, fashion brand, and artistic community, founded by Australian producer and all-around creative, Ta-ku (630 SML). With an astute attention to detail and an ethos that appreciates the everyday things in life, 823 doesn’t stick to any particular genre. Past 823 releases include “So Far To Go” EP via Cabu (500k SML), Ta-ku and matt mcwaters’s duo project “Black and White,” featuring Masego collaboration “Flight 99” (38mil streams on Spotify), the “All Things Considered” compilations, a curated, collaborative series featuring both budding and well-established artists around the world and have included Idealism, Wun Two, pastels, L.Dre, Flobama, SwuM, Jinsang, Tenderlonious, among a host of others, as well as multiple sold out clothing capsules.

Sunny War, also known as Sydney Ward, found inspiration for her latest album Armageddon In A Summer Dress while living in her late father's 100-year-old house in Chattanooga, TN. She initially thought the house was haunted. Eerie sounds and visions led her to write the song "Ghosts." However, she later discovered that hallucinations were caused by gas leaks, shifting her understanding of those experiences but not her artistic focus. Armageddon In A Summer Dress explores themes of memory, loss, and the ghosts of past selves. After the success of her 2022 album, Anarchist Gospel, Sunny spent more time touring with artists like Bonnie Raitt and Mitski. To avoid falling back into past struggles with alcohol, she channeled her energy into music, crafting intricate demos and experimenting with sound. This process involved shifting from acoustic to electric guitar, aiming for a fuller band sound. Tracks like "One Way Train" and "No One Calls Me Baby" highlight her blend of punk and roots influences, emphasizing the rebellious spirit shared by both genres. A notable collaboration on the album is with Steve Ignorant from Crass, whose participation in "Walking Contradiction" reflects Sunny's admiration for the band and its critique of modern society. Armageddon in a Summer Dress serves as a reflection on identity and choices, balancing heavy themes with empowerment. Sunny War encourages listeners to live authentically and resist societal pressures. Committed to continual growth, she sees every performance and song as an opportunity for exploration. Through her music, Sunny War captures the complexities of life, loss, and the transformative power of creativity.

Anna and +1 Records are proud to announce the release of her sophomore album, Someone Should Stop Her, set for February 21, 2025. Following Shoemaker’s 2023 Hey Anna, a breakup, and a cross-country move, Someone Should Stop Her marks the start of a transformative new chapter. Known for her alt-leaning production, intoxicating pop melodies, and unflinching lyricism, Anna’s music vividly captures the turbulence, charm, and self-reflection of young adulthood. This album truly chronicles her journey of personal evolution. This upcoming release embraces a stripped-back production, offering listeners the intimacy of a late-night conversation with a big sister, where vulnerability takes center stage.

Exploring late-night, after-hours meditations on sound; ‘Everything Above The Sky (Astral Travelling with Luke Una)’ is a new compilation by the titular DJ, promoter and enigmatic cultural curator. Off the back of the E Soul Cultura phenomena, this compilation comes at a timely point in Luke’s rich career as he soars the heights of playing all over the world. Avoiding any chance of his sound being pigeonholed, Luke has put together a tracklist of songs and music that have a transcendental feel, after coming off the grid, going back to source, outside the city walls .

Music has long been believed to aid out of body experiences and many of us have searched long and hard for a combination of those elusive ingredients that might alleviate some of the monotony of everyday life, our daily routines and obligations, and those things that seem to block us from the spirit of the universe. In this collection, Luke selects music with all the right ingredients in just the right quantities, allowing the listener to engage in an esoteric journey of enlightenment through sound. Being a prolific collector of music, Luke initially delivered enough tracks to compile several compilations, making the licensing process the biggest effort to date for the label. The music moves softly and slowly, never becoming too intrusive, exemplifying the wonderful elevating properties of simple songs played from the heart.

Luke’s Everything Above The Sky manifesto reads, “Astral Travelling in the meadowlands with acid folk, spiritual jazz, around midnight hocus pocus, cosmic psychedelic soul, magical spellbound whirling swirling love songs, Brazilian ballads of light into machine soul gospel utopia dreaming, Balearic bossa, Outer Space ancient African drum, the breath of trees, escaping the big bad modern world, gathering round winter fires, walking amongst the bracken in Padley Gorge in late summer twilight, overlooking the Hope Valley, escaping ego, detaching and finally letting go amongst the stars with the slowly floating people. It’s beautiful beyond. Everything above the Sky”.

Beginning his career as an original Sheffield house young blood in the mid 1980s, Luke’s move to Manchester and partnership with Justin Crawford saw the birth of Electric Chair, a cornerstone cult night in the UK underground club scene. Then came Electric Elephant, a Croatian festival paying homage to their wild eclecticism from Balearic to Brazilian to É Soul, house, disco and techno. Luke’s much loved, long-running Homoelectric night and more recently Homobloc sell out festival for 10,000 souls has been at the forefront of Manchester’s LGBTQ+ cultural landscape. Luke’s Friday evening show on Worldwide FM captured imaginations and became a cult four-hour must-listen monthly journey for fans all over the world. Today, Luke remains, as ever, at the forefront of a changing milieu, pairing the momentous legacy of Manchester’s 80s and 90s scene with the delivery of what today’s club communities need to get down.

High Roller Records, reissue 2025, bonus track "Road Crew", transparent electric blue/ black marble vinyl, ltd 200, 425gsm heavy cardboard cover, insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2025, bonus track "Road Crew", transparent electric blue/ black marble vinyl, ltd 200, 425gsm heavy cardboard cover, insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2025, transparent beer/ black marble vinyl, ltd 200, 425gsm heavy cardboard cover, insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

High Roller Records, reissue 2025, transparent beer/ black marble vinyl, ltd 200, 425gsm heavy cardboard cover, insert, poster, mastered for vinyl by Patrick W. Engel at Temple of Disharmony

Jules Reidy"s sublime music maps the human experience in glittering constellations of sound. The guitarist is a driver of Berlin"s fertile contemporary music scene. A wide-eyed imagination combined with technical mastery guide each work in Reidy"s extensive catalog, from solo guitar albums and collaborations with innovative peers, including recent works with claire rousay, Oren Ambarchi, Andrea Belfi and Sam Dunscombe to major commissions from JACK Quartet and Zinc & Copper. The songs of Ghost/Spirit collectively convey an astral sense of yearning and wonder, pushing towards transcendence. The album charts a deeply personal journey with love, spirituality and transformation expressed in fractal guitar figures, ethereal vocal vapors and rippling microtones. Reidy"s guitar approach unlocks the tonal and textural possibilities of the instrument from their use of alternate tunings and astute processing. The maximalist melodics of album opener "Every Day There"s a Sunset" are bolstered by rumbling bass samples from Andreas Dzialocha, Reidy"s collaborator in the duo Sun Kit. On "Satellite," cello samples from Judith Hamann stretch out through the cosmos, orbited by spiraling finger-picked guitars, while stacked trombone chords echo out into the ether. Thundering drum samples from Berlin metal mainstay Sara Neidorf push the album to ecstatic peaks on "Every Day There"s a Sunrise," fragmented rhythms breaking apart in the atmosphere. Field recordings of the Berlin S-Bahn recur throughout the album, another endless cycle of leaving and returning that shuttles beneath the album"s whirling tones. Ghost/Spirit captures the inherent power and agency in choosing to offer yourself up to the universe and let go, ego death and prayer rendered in incandescent sonics. Reidy"s inimitable skill as a guitarist, producer and composer is on full display, and when combined with the intensity of experience, the resulting album is a remarkable work of art.

After four EPs of skeletal kraut-punk and slimmed down post-motorik alienage Milan’s Tv Dust are back with an entirely different beast, their proper debut ‘Transition’, an incredible collection of no-jazz, breakneck rhythms, mutant-wave, trance-funk, shredded sax jags and furious, yet mysterious assaults.

Tv Dust run a tight ship, they jam econo, with the album strongly based around the incredible interplay of drums (Sergio Tringali), bass (Filippo Aloisi) and sax/synth (newest member Gaetano Pappalardo). Shedding the use of vocals has completely freed the band up into a mutating beast, wild horses racing beside a volcano eruption, improv bursts that perfectly soundtrack the ruins of a city facing the inhuman consequences of wild expansion and dumb economics.

Transition is a no-jazz, no-panic, no-border album, born between a small bar and a basement, reworking some ideas from the first Tv Dust sessions with a new mindset, with improvisation becoming an important tool in the trio's new path that already sees releases on Occult Punk Gang, My Own Private Records, Sentiero Futuro and Maple Death.

Transition like the transformation of the group, you still get the original package of furious hypnotic grooves, shortwave radio alien funk, devo-id convulsions, jittery no-wave and Italo post-punk tradition alongside dada-jazz and freeform freakouts.

Italian composer and saxophonist Laura Agnusdei returns with “Flowers Are Blooming In Antarctica” a career defining record that sees the artist diving into uncharted waters, a profound timeless meditation on our relationship with planet Earth, the eco-conflicts arising and the fascination with non human forms of life, backdropped to a vivid soundtrack of coral exotica, spiritual Jazz, fourth-world minimalism, tropical electronics, tribal futurism and contemporary elegance.

Every step of Laura Agnusdei’s path, from electroacoustic experimentation to her constant research based upon the acoustic dimension of wind instruments and their interaction with polymorphic electronic sounds, seems to have pivoted into a new sense of awareness, as if the mind and intellectual practice has finally caught up with the body, the heart and the soul, resulting in her most organic and transcendent work yet. “Flowers Are Blooming In Antarctica” is loosely inspired around a trifecta of pioneering ideas that explore unconventional reality: James Bridle’s ‘Ways Of Being’ with his radical story that mixes ecology, tech and intelligence; Luigi Serafini’s late-70s fantastical ‘Codex Seraphinianus’, an unparalleled collection of flora, fauna, anatomies metamorphosed into new fragile beings; J.G. Ballard’s climate-fiction foreshadowing sci-fi ruminations. These influences shift Agnusdei’s musical trajectory injecting doses of terrestrial malaise, the earthy sub-saharan ‘Ittiolalia’ with its wah-wah filtered sax and trance inducing groove; the rubbery playfulness of ‘Oasi Bar’; the gentle eco-system of ‘P.P.R.N’ reminiscent of Herbie Hancock’s innovative synthesis of funk, space and synthesizers; the kaleidoscopic northern lights of ‘Emperor Penguin Lullaby’, where south-east Asian echoes reach icy shores; the Jon Hassell hyper-ambience of ‘Cuttlefish REM Phase’; the post-apocalyptic march of ‘The Drowned World, a jazz standard for an artificial civilization on the brink of self-destruction. Nothing feels out of place and it’s no coincidence that one of the most powerful messages on the record is delivered on centerpiece ‘Are We Dinos?’ via an interview conducted with two preschoolers. Radical optimism or sonic liberation?

Laura Agnusdei’s tenor sax cuts deep all across “Flowers Are Blooming In Antarctica”, a laser baton raised up to the clouds, a conductor orchestrating devotional soundscapes for a three-eyed dolphin, guiding us through prismatic pastures and acidic oceans. Her tropicalized realm is pin-pointed with Miles-like sheer clarity, a bristling nakedness on the verge of exploding at any time, creating an album where ascension becomes the unifying code.

Jules Reidy"s sublime music maps the human experience in glittering constellations of sound. The guitarist is a driver of Berlin"s fertile contemporary music scene. A wide-eyed imagination combined with technical mastery guide each work in Reidy"s extensive catalog, from solo guitar albums and collaborations with innovative peers, including recent works with claire rousay, Oren Ambarchi, Andrea Belfi and Sam Dunscombe to major commissions from JACK Quartet and Zinc & Copper. The songs of Ghost/Spirit collectively convey an astral sense of yearning and wonder, pushing towards transcendence. The album charts a deeply personal journey with love, spirituality and transformation expressed in fractal guitar figures, ethereal vocal vapors and rippling microtones. Reidy"s guitar approach unlocks the tonal and textural possibilities of the instrument from their use of alternate tunings and astute processing. The maximalist melodics of album opener "Every Day There"s a Sunset" are bolstered by rumbling bass samples from Andreas Dzialocha, Reidy"s collaborator in the duo Sun Kit. On "Satellite," cello samples from Judith Hamann stretch out through the cosmos, orbited by spiraling finger-picked guitars, while stacked trombone chords echo out into the ether. Thundering drum samples from Berlin metal mainstay Sara Neidorf push the album to ecstatic peaks on "Every Day There"s a Sunrise," fragmented rhythms breaking apart in the atmosphere. Field recordings of the Berlin S-Bahn recur throughout the album, another endless cycle of leaving and returning that shuttles beneath the album"s whirling tones. Ghost/Spirit captures the inherent power and agency in choosing to offer yourself up to the universe and let go, ego death and prayer rendered in incandescent sonics. Reidy"s inimitable skill as a guitarist, producer and composer is on full display, and when combined with the intensity of experience, the resulting album is a remarkable work of art.

The second release on Between Stations (proceeding the «rst BETWEENTAPES release by DOOM TV), sees label head Cowper kicking off the «rst in the BETWEENEDITS series. Possessing atom-splitting heft at a tectonic pace, A1 writhes around on a French Kiss theme, tantalising FX swirls and thundering bass before sensual pads slowly begin to caress the central nervous system, taking us off into hypnotic revelry.

B1 grasps onto a swirling and mesmerising, opiated version of Larry Heard. A spine-tingling concoction of elements and drifting echoes transporting us to a blissful ocean, ebbing with the sonic currents in a suspended state of glee. B2 pulls on the space cord, bringing us back from our temporary drift with a slow and steady hand. This one lets the machines do the talking whilst we concentrate on keeping stable as the «nal remnants of euphoria are squeezed from our serotonin glands.

In the early 90s, Jérôme Soligny met Mike Garson, the extraordinary pianist who transformed David Bowie's music on Aladdin Sane. Soligny invited him to make an album of piano covers of Bowie's songs, and in 2011 he released The Bowie Variations For Piano. In 2024, to accompany his book Rainbow+, Soligny launched The Rainbow Variations. The album features 9 Bowie covers, including "Space Oddity" and "Wild Is The Wind", and one original. Mike Garson displays the full extent of his talent one last time on this project, which brings their collaboration to a close. Available on vinyl for the first time.

Neue Musik von Anton Newcombe von BRIAN JONESTOWN MASSACRE und DOT ALLISON (u.a. ONE DOVE, Solo, Sonic Cathedrals). Eine Zusammenarbeit zwischen den beiden Soundtüftlern. Während des Lockdowns in Berlin und Schottland aufgenommen, arbeiten Dot Allison und Anton Newcombe als All Seeing Dolls zusammen. Produziert von Anton Newcombe in Berlin, schickten er und Dot sich gegenseitig Gesangs- und Musikideen, um Dots eindringlichen Gesang mit ihren Fähigkeiten als Multiinstrumentalisten zu vereinen. Auf dem Album finden sich Gitarre, Ukulele, Klavier und Autoharp, gespielt von Dot, sowie zusätzliche Beiträge von Hakon Adalsteinsson (Gitarre) und Uri Rennert. Im Interview mit Clash Magazine sagte Dot über den Entstehungsprozess: "Wir haben unseren Weg gefunden... viele der Songs wurden während des Lockdowns geschrieben... wir sprachen über Musik, das Leben, was wir für wichtig halten und teilten Songs, die wir mögen und sprachen über Künstler, die wir mögen... wir beschlossen, Ideen auszutauschen... also schickte ich etwas mit Autoharp und Stimme oder Akustik und Stimme, und er schickte mir tolle Ideen zurück... wir haben uns gegenseitig unterstützt und gestärkt... und ich sagte zu ihm, dass es ein bisschen wie ein kleines Weihnachten ist, die Tracks zu hören, nachdem er sie zurückgeschickt hatte." Auf erstem hören musikalisch näher an DOT ALLISONs letzten Sonic Cathedral-Output, finden sich hier die eher BRIAN JONESTOWN MASSACRE-typischen Ideen in den klanglichen Tiefen wieder. Exklusiv für den Indie-Handel: Transparentes mit farbigen Splatter Vinyl

parabrutality was composed over the course of three days, featuring vocals from Æthereal Arthropod and production from bod 包家巷.
parabrutality is defined exactly as the word's construction delineates.

the work should be considered a mantic instrument for knowledgeable and careful usage.
the artwork is derived from a photo of a tattoo given by Æthereal Arthropod to bod [包家巷] and a stone carving made in prehistory.

all track titles are encoded to a key that will only be disclosed (in addition to the source of the stone carving) in exchange for a private transfer of one thousand euros or more to paypal.me/baojiaxiang

As part of the 60th anniversary celebrations of iconic series Doctor Who, one of the show’s most renowned tales underwent an out of this world update as it received an artistic colourisation.

Originally transmitted in December 1963 to February 1964, The Daleks were introduced to audiences and soon became one of the Doctor’s most formidable and enduring foes.

The story follows the very first crew of the TARDIS as they land in a petrified forest on an alien planet. Determined to explore, the Doctor (William Hartnell) leads his

companions into the metal city, where they discover danger at every corner and what will become his deadliest enemy, the mutant Daleks.

These seven original 25-minute episodes have been colourised and weaved together into a 75-minute blockbuster.

With brand new sound, a brand-new soundtrack - created by Mark Ayres utilising elements of Tristram Cary’s original music with newly recorded score –

The Daleks has been updated, whilst ensuring the original classic story remains as thrilling as it was when it began in 1963.

Prolific Norwegian trumpeter and ECM veteran Arve Henriksen returns with Estonian guitarist/composer Robert Jürjendal in tow, matching his idiosyncratic shakuhachi-style melodic condensations with Jürjendal's glassy electro-acoustic soundscapes and sonorous percussion.

Henriksen releases a lot but is remarkably reliable; his playing is so versatile that hearing it dematerialise into different ensembles and individual methodologies is always a treat. Jürjendal is a veteran guitarist, but doesn't approach his instrument from a purely classical standpoint, taking a Fripp-inspired path towards texture, processing and looping his sounds until they're barely recognisable. The duo share a similar love for Hassell's Fourth World ambience, and here inject new life into that mood.

Jürjendal's percussion is impressive: he offsets cascades of oddly-tuned electronics on 'Tuonela' with booming, ritualistic tom hits that punctuate Henriksen's melancholy phrases; and on the brilliant 'Ancient Bells', plays a set of gongs and gamelan-style instruments, creating swirling hammered tonal clusters that quiver beneath Henriksen's echoed-out, spirited improvisations. It's not always that corporeal, either; on 'A Remarkable Flow', he loops guitar phrases, creating gentle vibrations that rumble in the background while he mirrors Henriksen's pitchy zig-zags with high-pitched oscillator vamps.

Even on the peaceable 'Miraculous Lake', discreet kalimba loops set a celestial tempo that anchors the duo's gaseous soundscapes. And although they veer towards end-credits loveliness on the Göttsching-influenced 'Reunion Hymn', it’s balanced by the album's darker passages, like 'Rebirth' and 'Another Me'. On the latter, Henriksen's trumpet is transformed into a voice-like warble, while Jürjendal replies with glacial E-bowed drones that resonate creepily alongside his lysergic FM pads.

Walter Astral's debut album tells the story of Light, its journey through the day and catalyzes it in the Éclispe, a suspended moment when space and time stop to contemplate the universe.

Over the past two years, the two druids have transmuted light into sound in the form of a concept album that explores all facets of Walter Astral, from folk and techno to pop, drum & bass and psychedelic rock, always in the presence of their totem banjo.

Sound explores and is explored, to represent light; magic and the everyday, between digital and analog sounds expressing the natural and the supernatural, humans and the cosmos. Transposing the invisible, the presence of absence, the Eclipse, into silence and sound.

“Eclipse” questions the shadows hidden by light, and the glimmers hidden by shadows, the ambivalence of a state, its capacity to transform, to mutate. Like ancient alchemists, Walter Astral set to music the transitions of states, stars, humans and emotions.

'Erotic Probiotic 2' is Nourished By Time’s debut album on Scenic Route, following up from last year’s two track EP, Erotic Probiotic, which had support from Jamz Supernova on BBC 1Xtra and NTS shows; Yaeji, Shy One, Macca, Anu, and more. 2023 has already been a busy year for the singer/songwriter/producer, supporting 4AD’s sardonic post-punk band, Dry Cleaning on their 20 stop tour of North America. As well as remixing their playful album track, Gary Ashby, dropping on March 1st. Nourished By Time also collaborates with progressive electronic artist Yaeji on her debut album, With A Hammer, out on April 7th on XL Recordings.

Erotic Probiotic 2 showcases the range of this rising Baltimore pop star, telling his transformative story through impeccable songwriting, infectious ear worm melodies, vivid storytelling and intimate DIY production. The album traveresses a broad spectrum of sound, allowing his songwriting to dictate the ever changing mood he orchestrates; whether it is love or loss. Sitting somewhere between indie, pop, alternative RnB, ultimately carving out a fresh sound defined by his vulnerable vocals, raw guitar licks and undeniable groove. Quantum Suicide is the lead single with a bitter sweet sentiment brought to life through fuzzy shoegaze guitar riffs, glimmering synths and beautiful melancholy vocals, leaving you with a dizzying sense of possibilities.

The album was recorded mostly in 2021 - 22 in his parents basement in Baltimore. “At this time, I was in a beautiful and formative relationship that was running its course. Songs like ‘Unbreak My Love’ and ‘Rain Water Promise’ come from that place of dealing with the end. A story of lovers parting and making sense of the battling feelings of resentment and longing. As well as the existential aspect of having to end of a relationship. All while with dealing long-time depression, songs like lead single “Quantum Suicide” and “Shed That Fear” exhibit the importance of choosing to live and that getting out of pits of despair requires tremendous amounts of effort and intention and is a very difficult lifelong task. Whilst other tracks such as ‘The Fields’ and ‘Daddy’ and ‘Workers Interlude’ are attempts at trying to aim my anger at productive targets like Capitalism which both songs are a critique of.”

ŽUR (‘Zhure’, party) is absolute cult and one of the most rare Yugoslavian disco funk albums, originally recorded in 1981, reissued on Everland Music for the first time since the original vinyl came out more than 40 years ago. The album was carefully and brilliantly remastered by grammy nominated sound engineer Jessica Thomson.

Boban Petrović is a legend of Belgrade's sophisticated disco funk scene from the late 70s and early 80s.
Back in the second half of the 70s Boban started one of the first disco clubs in Belgrade and he was one of the biggest organizers of private house parties.

The finest balance between Boban Petrović's big-hearted party-maker-turned-philanthropist personality and his hustler one was achieved on Žur.
On Žur, he is at home, in his safe place, since the parties, the music and the people are the first out of many things he had completely figured out in his life. He is at the top of his game, occasionally bothered by a casual heartbreak, but always feeling himself, coming out playful and fundamentally peaceful, satisfied and ready to transcend himself in order to put the rest of the world in the limelight. In fact, Žur isn’t about the party, music, lyrics or its, hands down, beautifully balanced sonics. It’s about Boban and the funk he lived thoroughly. The funk before, but the funk he lived after this album even more so. All the ups and downs that he faced since the moment the first needle dropped on a Žur record to this very day are on this album as the unwritten destiny of that lighthearted character he played.

In short, ŽUR represents the essence of underground club life in Belgrade from the late 70s, when the album was recorded.
The quality of this trust is confirmed by the fact that Boban Petrovic's music is still actively listened to today, not just anywhere, but at the finest club events.
High end production and extremely authentic arrangements outside the mold of classic disco music, and lyrics that literally convey the vibe of his already jet-set lifestyle in Belgrade at the time.

Shortly after his musical career, Boban Petrovic became a businessman of the conscious class. He was living in Spain on his own luxury yacht for years, he had a private airplane, a car park. But all this time living on highest class level he never lost his identity. In all his offices, yacht, airplane and everywhere was playing loud funk music and he was dressed like a musician who just finished or need to start a gig.
Along the way Boban also wrote two books: Rokanje 1 & 2 describing the time when the album ŽUR was created.

The ŽUR album is one of the the holy grails of disco funk music releases on a global level.

ŽUR (‘Zhure’, party) is absolute cult and one of the most rare Yugoslavian disco funk albums, originally recorded in 1981, reissued on Everland Music for the first time since the original vinyl came out more than 40 years ago. The album was carefully and brilliantly remastered by grammy nominated sound engineer Jessica Thomson.

Boban Petrović is a legend of Belgrade's sophisticated disco funk scene from the late 70s and early 80s.
Back in the second half of the 70s Boban started one of the first disco clubs in Belgrade and he was one of the biggest organizers of private house parties.

The finest balance between Boban Petrović's big-hearted party-maker-turned-philanthropist personality and his hustler one was achieved on Žur.
On Žur, he is at home, in his safe place, since the parties, the music and the people are the first out of many things he had completely figured out in his life. He is at the top of his game, occasionally bothered by a casual heartbreak, but always feeling himself, coming out playful and fundamentally peaceful, satisfied and ready to transcend himself in order to put the rest of the world in the limelight. In fact, Žur isn’t about the party, music, lyrics or its, hands down, beautifully balanced sonics. It’s about Boban and the funk he lived thoroughly. The funk before, but the funk he lived after this album even more so. All the ups and downs that he faced since the moment the first needle dropped on a Žur record to this very day are on this album as the unwritten destiny of that lighthearted character he played.

In short, ŽUR represents the essence of underground club life in Belgrade from the late 70s, when the album was recorded.
The quality of this trust is confirmed by the fact that Boban Petrovic's music is still actively listened to today, not just anywhere, but at the finest club events.
High end production and extremely authentic arrangements outside the mold of classic disco music, and lyrics that literally convey the vibe of his already jet-set lifestyle in Belgrade at the time.

Shortly after his musical career, Boban Petrovic became a businessman of the conscious class. He was living in Spain on his own luxury yacht for years, he had a private airplane, a car park. But all this time living on highest class level he never lost his identity. In all his offices, yacht, airplane and everywhere was playing loud funk music and he was dressed like a musician who just finished or need to start a gig.
Along the way Boban also wrote two books: Rokanje 1 & 2 describing the time when the album ŽUR was created.

The ŽUR album is one of the the holy grails of disco funk music releases on a global level.

"You Got" is the only amen track here, a fast paced tune and one I really enjoyed working on. "Think About It" hits hard and is really fun in the mix. Finally, "Transit" closes out the EP. If you like Reese bass, you won't be disappointed with that one: straight and to the point, powerful tuneage.

Whereas Lewis used his transformative talents to newly illuminate renaissance man George Washington Carver onJesup Wagon, the saxophonist does the same here for gospel- music force of nature Mahalia Jackson. And this time it's personal, because Lewis lived her music growing up, nurtured by a grandmother who had received Mahalia's singing like a bolt from above. Much more than a tribute, this work is"really a three- way conversation between Mahalia, my grandmother and me."

The challenge was to turn these songs into jazz, the 21st century variety. What James and the band (William Parker- bass, Chad Taylor- drums, Kirk Knuffkecornet, Chris Hoffman-cello) conjure with this music is miraculous.

The CD & LP editions also exclusively include the contemporaneous suite, "These Are Soulful Days", JBL's first composition for strings; performed with the Lutoslawski Quartet. It is included as a 2nd disc on CD version & via an exclusive download card with the LP

The Very Polish Cut outs are back with a new release, this time a solo outing by POLOTRONIC - who also happens to be a member of the infamous warsaw duo - Holiday80.
The EP entitled "Marzenia" (translated "Dreams") contains 4 tracks. 2 original productions, one remix and one reowrk and as with all TVPCO releases - its a very diverse affair aimed at the dancefloors. The EP kicks of with a brilliant re-imagination of a polish early 90s hip hop classic "Spalam Si?" ("I'm going down in flames") which the producer transforms into a house anthem with infectious vocal hooks, breaky percussions and lush piano stabs. This one is for sure some peak time material that will make the crowd dancing and asking themselves at the same time - where the hell did that one come from? Moving on is the title track "Marzenia" that might be the water to cool down the fire started by "Spalam Si?". It's a dreamy breakbeat house affair with lush bells and 90s inspired synths and female vocal snippets. It will for sure make you nostalgic. On the flip you will find the mesmerizing electro inspired remix for the track "Pami?tnik Manekina" by Grupa Jot, which was part of the 2022 released "Echo Wielkiej P?yty" compilation with obscure polish electronic music. This one was already available for some time in digital format only but now finally makes the jump to vinyl - as a long-time fan favourite. The EP ends with the jacking acid infused track "Jack" that is a deep mid-tempo heavy hitter for the later hours of the night. Polotronic adds here a male polish vocal sample that repeats the phrase "dyskoteka" ("disco"). The brilliant cover is as always, the work of the labels long time collaborator Bartosz Szymkiewicz.

180 g clear transparent Vinyl

Southern-bred, alternative R&B singer-songwriter Mereba artistically embodies self-understanding on The Breeze Grew a Fire, her grandest work and first release on Secretly Canadian. To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. Surrounded by the gentle Breeze of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture her childlike wonder. Mereba gracefully shines on the follow-up to her bounteous 2019 debut, The Jungle Is the Only Way Out. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba's creative output has always relied on her innermost reflections and ideas on whatever was happening around her; but in motherhood, the singer's perspective widened while her inspiration became more focused, and more individually powerful. "Even though I'm fully an adult, I had to grow up in a way overnight when he my son came," Mereba explains. "The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life." The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album's rich production, which parallels its folk-like warmth. Although Mereba is a true double Earth sign-Virgo and Virgo rising-the development of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album's fluid nature. While nowhere near the end of her musical trek, The Breeze Grew a Fire is a loving, inspiring return to origin, one where Mereba frees a painful past, eases into future possibilities, and goes with life's flow.

Southern-bred, alternative R&B singer-songwriter Mereba artistically embodies self-understanding on The Breeze Grew a Fire, her grandest work and first release on Secretly Canadian. To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. Surrounded by the gentle Breeze of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture her childlike wonder. Mereba gracefully shines on the follow-up to her bounteous 2019 debut, The Jungle Is the Only Way Out. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba's creative output has always relied on her innermost reflections and ideas on whatever was happening around her; but in motherhood, the singer's perspective widened while her inspiration became more focused, and more individually powerful. "Even though I'm fully an adult, I had to grow up in a way overnight when he my son came," Mereba explains. "The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life." The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album's rich production, which parallels its folk-like warmth. Although Mereba is a true double Earth sign-Virgo and Virgo rising-the development of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album's fluid nature. While nowhere near the end of her musical trek, The Breeze Grew a Fire is a loving, inspiring return to origin, one where Mereba frees a painful past, eases into future possibilities, and goes with life's flow.

Transparent Red Vinyl

Produced by Dynazty themselves and mixed by Swedish pioneer Jens Bogren, Game of Faces takes you on a journey exploring the essence of the human mind and existence with lyrical themes such as self-discovery, spiritual death, rebirth and re-invention.
Formed in 2008, Dynazty has over the years evolved from its humble beginnings rooted in the Scandinavian Hard Rock scene into now being a powerhouse and formidable force to be reckoned with on the top shelf of the modern melodic metal scene.
Career milestones include the 2020 chart breaking album The Dark Delight, certified for gold status in the bands home country Sweden and neighbours Finland. With single tracks Heartless Madness reaching platinum status and Presence of Mind featured in DC comics and HBO’s Peacemaker series.
Tours in recent years together with bands like Sabaton, Powerwolf, Battle Beast, Pain and Kissin Dynamite has showcased and established the band on the European continent as one of the most prominent live acts of its generation. Fast forward to August 2024 where Dynazty concluded an extensive run of European summer festivals with releasing a new song, Devilry of Ecstasy as a precursor and first taste of a yet unannounced new album