Search:woods

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and
salient, these themes echo throughout the fifth album from Midlake, their first since ‘Antiphon’
in 2013.
 From the cover to the title and beyond, a longing to reconnect with that which seems lost and
seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse
Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He
was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I
reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t
take that lightly.”
 A desire to commune with the past and connect with present, lived experience asserts itself
from the opening of the album. ‘Bethel Woods’ sustains and develops that reconnection,
evoking the steadfast and contemplative urgency of ‘The Trials of Van Occupanther’ to back a
lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars
and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where
arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce
themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their
past as a seedbed of possibility.
 Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that
seem fragile. The ELO-esque ‘Meanwhile…’ draws inspiration from what happened when
Midlake paused after ‘Antiphon’, developing universal resonance as a song about the beautiful
growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s
soft-rock stylings for another song searching for hope, its keyboard line reaching out towards
an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the
difficulties of partings.
 On-hand was new collaborator John Congleton, who produced, engineered and mixed the
album, marking Midlake’s first record with an outside producer. “I can’t say enough just how
much his influence brought our music to another sonic place than we would have,” says Pulido.
“I don’t want to record without a producer again. Part of that is the health of the band, because
as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s
going to be this way!’ It’s hard to do that with your friends.”
 The result is a powerful, warming expression of resolve and renewal for Midlake, opening up
new futures for the band and honouring their storied history. Formed in the small town of
Denton, with roots in the University of North Texas College of Music, Midlake delivered an
auspicious debut with 2004’s ‘Bamnan and Slivercork’. For the follow-up, they looked further
afield and deeper within to deliver 2006’s wondrous ‘The Trials of Van Occupanther’, a modern
classic pitched between 1871, 1971 and somewhere out of time: between Henry David
Thoreau and Neil Young’s ‘After the Gold Rush’, between 1970s Laurel Canyon thinking and a
longing for something more mysterious.
 Confidence bolstered by a growing fanbase and a developed sense of their own far-reaching
abilities, Midlake - a band acutely attuned to seasonal shifts - then embraced change. In 2010,
they visited darker psych-folk thickets for ‘The Courage of Others’ and backed John Grant on
his lustrously spiky breakthrough album, ‘Queen of Denmark’. When singer Tim Smith departed
Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory
‘Antiphon’, teasing out singular routes through vintage electric-folk pastures.
 In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result
is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of
intimacy at its heart: an album to break bread and commune with, honour the past and travel
onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On ‘For the Sake of Bethel
Woods’, those seeds are lovingly nurtured, taking rich and spectacular bloom.
 LP pressed on 180g vinyl in a gatefold sleeve printed on matt card and printed inner sleeve
with lyrics and digital download card.

Roy Woods' Exis EP, originally released in 2015. This 6-track EP features the smash singles “Drama” featuring Drake, and “Get You Good”
Exis (stylized as EXIS) is the debut EP by Canadian recording artist Roy Woods. It was originally released on July 31, 2015, by OVO Sound and Warner Bros. Records. The EP's sole guest appearance comes from Canadian rapper and label-mate Drake. The official cover of Exis contains a picture of a white sketched tree with a blue background (representing "night time") and also the yellow moon. The back cover reveals the track list on one side of the moon

‘Waking at Dawn’ was originally released on July 1, 2016, by OVO Sound and Warner Bros. Records, and was Roy Woods’ debut commercial mixtape.

The album earned the #11 spot on Billboard’s Top R&B/Hip Hop Albums chart.

This expanded vinyl release comes on 1st October 2021.

Southern soul singer Z.Z. Hill was Kent/Modern's main artist in the latter half of the 60s. In 1967 the company recorded him on an LP of soul classics and rightly chose Bettye Swann's hit from only a few months before as one of the tracks. The label may have missed a commercial trick as his male-angle on the marvellous song gave it a new dimension and would surely have fared well as a 45. The UK licensors Action Records spotted the song's potential and it was well received, although the much smaller UK soul market of the time could rarely achieve big sales. Since its release more soul fans have become aware of its quality and at last it is available again for discerning collectors.

Peggy Woods' classic Northern Soul stomper was first on 45 in 1988 as a 100 Club anniversary single. With only approximately 400 pressed it was inevitable this and other such singles would become sought-after. Here is Peggy in her original glory singing her Kent/Modern masterpiece.

With no touring in 2020, and possibly this year, Woods
decided to take a deep dive into their archives and put
together the first volume of their much discussed archival
series, Reflections. Featuring rare and unreleased
recordings from 2009 - 2013, including a ghost town desert
jam off the side of the highway, their first live performance
in Big Sur, the first recorded version of “Bend Beyond”
and some shelved diamonds in the rough that were finished
up during quarantine. Their hope is that it plays like a “lost
record” from an extremely strange and fruitful period in
Woods history.

Color Vinyl With no touring in 2020, and possibly this year, Woods
decided to take a deep dive into their archives and put
together the first volume of their much discussed archival
series, Reflections. Featuring rare and unreleased
recordings from 2009 - 2013, including a ghost town desert
jam off the side of the highway, their first live performance
in Big Sur, the first recorded version of “Bend Beyond”
and some shelved diamonds in the rough that were finished
up during quarantine. Their hope is that it plays like a “lost
record” from an extremely strange and fruitful period in
Woods history.

Escort digs back in their catalogue for some classic material, delivered on 7” now for the first time ever!

The title track of their 2015 LP 'Animal Nature' graces the A side, a slow-burning groove with throbbing synths, incendiary guitar riffs and soaring vocals. On the flip, Italian editors Tiger&Woods deliver a quintessentially T&W-style cut up and pumping rework of the anthemic 'Barbarians'.

It might come as a surprise, but the „Boot and Heel EP“ might be the first Tiger & Woods product that could be called unashamedly Italo disco. Think Den Harrow and old school CBS radio programming rather than the Italian boogie side of things that used to be the prevalent influence in the Roman’s studio work. Here we go with four tracks that are sharp as knives. Beautifully crafted, perfectly arranged and smitten with the charm of positivity, it’s the perfect soundtrack to the fading summer and next year’s hedonistic club season. Always remember: you gotta change to stay the same.

Debut solo album from Danny Woods – The Chairmen Of The Board singer, during a stretch when the band temporarily disbanded
1972 reissue of this soul classic originally releases on the Holland Dozier Holland’s Invictus label Highlights include the singles ‘Let Me Ride and ‘Roller Coaster’ and ‘Two Can Be As Lonely As
One’, ‘It Didn’t Take Long’. Reissued on 140g black vinyl with original artwork and printed inner sleeve

Woods 786 is back. The alter ego of Roberto Bosco returns with “Exploration 01”, a live jam recording split in two tracks performed with Elektron Analog 4 and Analog RYTM. Last Drop Records and Sonorous Waves' founder has been for years both a producer and a DJ with dates all around the world, now takes another step forward into ambient music. His hypnotic textures invite the listener to travel without moving. Mastered at Mixmastering Studio, the first joint effort between Souterraine.org and Envlp_Imprint, “Exploration 01” is a dreamy continuum of twenty-five minutes or a way to escape from everyday chaotic life. Synthesizers brings you the sound of outer space.

Tani Jones "Meet Me Halfway" and Pearl Woods "Don't Tell It All".
What a fantastic 2 sider, superb RnB/Soul dancers from the early sixties!

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

Unshrouded in mystery: what once started as an anonymous underground project with stamped white labels and a clever take on sampling, has since then unfolded to be one of the longest-running and most successful teams in current dance music. Nurtured by the sounds of the past and blessed with the techniques of today, the music of Tiger & Woods always kept evolving in and around the tropes of disco, house and boogie. Classic dance music, if you will.

Celebrating the 10th anniversary this year, Marco Passarani and Valerio Delphi managed to arrive at album number three. A.O.D. is a pun on A.O.R. (adult oriented rock) and a play on their own sound. Defying the restricting rules electronic music record shop crates, it's a departure and an arrival at the same time. Inspired by the faded buildings and images of discotheques on the Italian countryside, the romantic start and bittersweet endings of summer, beach life and the excitement of travelling through the landscape to get to aforementioned temples of dance and subsequently the morning after.

Except for the 100% sample-free 1:00 am, everything on A.O.D. is based on a quiver of cleared samples from the Roman institution that is Claudio Donato and his Full Time and Goodymusic emporium. In Tiger & Woods hometown Rome, the often very electronic and futuristic sound of Italo Disco had a different twist. Much more boogie-based and influenced by the song-writing styles of New York City's dance scene, it played in a league of its own. Tiger & Woods use these materials to take them apart, out of context and into contrasting areas. Molding something completely new, one gets fooled to recognize Sade songs that aren't, pop music instrumentals and a reprise of memories that never existed. A ride through ones brain in a convertible with an Italian FM radio station playing in the background. Or to use less stiff poetry: a chill out album you can dance to or a dance album you can chill out to. Adult Oriented Dance.

Released on CD by Aurora Borealis back in 2010, we're overjoyed to finally see this on vinyl.
- limited edition of 300 copies - 180g black vinyl - reverse board heavyweight sleeve - includes download code and printed insert - mastered for vinyl by James Plotkin - cut at The Carvery, London
An ode to the Lovecraftian lore of Shub Niggurath, 'Black Goat of the Woods' was conceived as "the soundtrack from some lost low budget horror movie, rediscovered on an old and faded VHS cassette found mouldering in a deserted house in the depths of the woods".
The one man project of J.R Moore, Black Mountain Transmitter has released several albums, all to great critical acclaim, and the quality of his work speaks volumes. The original AB 'Black Goat of The Woods' CD version was the first official release and a reissue of the long sold out and much sought after limited CDr.
On describing the recording, Moore said: "The music was certainly very much influenced by that certain breed of 70s horror films. Things like the soundtrack to the original "Texas Chainsaw Massacre", Giuliano Sorgini's atmospheres in "Living Dead At The Manchester Morgue"; Carl Zittrer's soundscapes in "Deranged", "Children Shouldn't Play With Dead Things" and "Dead Of Night", and of course people like Fabio Frizzi in Italian horror and the BBCs Radiophonic Workshop's electronic sounds in something like "The Stone Tape" and countless creepy old TV productions..."
An excellent, macabre and psychedelic release that spans electronica, soundtracks and experimental genres in its 40 minute playing time, 'Black Goat of the Woods' pays perfect homage to the dark denizen of the nocturnal glades, and is a true paean to backwoods horror.

Alex took his first musical steps by studying piano and guitar at the young age of 6. His fascination for the more outlandish, experimental side of each instrument corrupted his lessons and sent him down a modular synths and tape loop composition wormhole. Years later Alex resurfaced, got himself clean and, through connections made while spending time as a vocal audience member (and sometimes uninvited participant) at Lyman Woodard, Phil Ranelin, and other Tribe- and Motown-linked gigs in Cass Corridor during the mid-1970s, spent time as a session musician for Earth Wind and Fire, Chic, and Prince. It was only toward the mid-90s he found himself enthralled by the techno and house sounds of Detroit and Chicago so he went into the woodshed and came out firing electronic salvos.

The Tiger is back - finally on full length again! The second studio album for Tiger & Woods not only marks a desired return to a specific format, but is also a huge leap forward in their area of expertise: their brand of fun and functional dance music gets broadened by influences from electronica, italo disco and up-tempo house, while keeping a groove that is distinctly linked to what some people refer to as boogie. After travelling the world from left to right and from top to bottom with a live-set to boot and skilful DJ sets that resemble that genre melting approach, "On The Green Again" is the result of spending valuable studio time at the "Tiger's Lair" - a carefully-built new work place that plays its own part in the creative process of one of the most prolific production teams of our days, while simultaneously starting T&W Records for all sorts of adventures that are linked to Tiger & Woods, but not narrowed to a specific sound. See "Unleashed Tapes Vol. 1" for further reference. A double A-sided 12-inch that owes as much to disco as an influence as it pays homage to the funkier and brighter sides of house and techno. Honing a craft that is rooted in edit culture as an ethos, but has since long left that bumpy road dependable on samples and their clearance, T&W make "On The Green Again" work as the second album that defies the difficulty usually attached to such ventures. 10 brand-new tracks (and three previously released bonus tracks on the CD version) make up the course between peak-time prime cuts similar to "RockMeLoveMe" or "Come And Get My Lovin" and an almost heart-aching track like "Endless Affair". Mixed with bits and pieces in-between and neatly placed between a classic intro and outro segment, those tracks are testament

Very cool ep from Skatebard on Vivod ! A mixed bag from the prolific Norwegian producer showing us why he's still at the top of his game. Maskindans kicks things off with some speak & spell funk followed by Hissige Helger, a brooding Chicago style banger sure to tear up some discoteques across the planet.
On the flip are Langbolgen and Gloymde Skogar. The former is an acid style work out, the latter is more of a subtle, hypnotyizing opus. All very strong tracks. Don't sleep on this. They will go fast !

Tensnake's standard In The End (I Want You To Cry) release gets not one, but seven remixes. A nod to the good old remix double pack craze of the nineties, you will find them spread out over two plates. Ranging from a classic Tiger & Woods treatment to Prins Thomas quirkiness via Lone's happiness, two versions by Shan, the timid DJ Oyster as well as Pete Herbert's & Dicky Trisco's respectful re-arrangement, this one has it all: disco, techno, jungle (alomost!), house, cheese & chocolate!

The second of two EPs from talented Californian newcomer, Tyler Friedman, has now arrived. A Night in the Woods EP starts of as a murky rhythmic experiment. When released of its bound, it transforms into a hailstorm of sound that builds in melodic intensity towards a final climax. This is scenic and brave electronic dancemusic that over and over again will capture the focused listener. On the b-side Rivet for sure push Tyler towards Berghain. But now the tool is somewhat different. Rivet transforms the cinematic original into a very dirty and dry party stomper.

Repress!

Simply an iconic track from Swiss brothers Mandrax and Seb K aka Shakedown, ‘At Night’ is one of the most recognisable house tracks of the last two decades. With one of the most-hyped remixes of the year, artist of the moment Peggy Gou delivers with a squelching 7 minute groover, bringing in that iconic synth motif to lift the production and keep it rolling. Stepping up to tackle this masterpiece with a nu-disco dance track, Tiger & Woods use cowbell to accent a B-boy beat, with drum machine breaks bringing it back to the dancefloor. With a sophisticated house remix with a nu-disco edge is Purple Disco Machine, fusing a funk-infused bassline with Terra Deva’s unforgettable vocals. Finally is a brand new version from the Shakedown duo themselves, the Galactic Boogie Mix. With saturated synths and interplanetary breakdowns, Shakedown bring a carefree 80s quality to this iconic track’s irresistible after-dark charm.

Released in 2016, It’s Immaterial found Black Marble refining its coldwave and synth-pop foundations into a warmer, more melodic expression of isolation, longing, and quiet resilience. Guided by Chris Stewart’s unmistakable baritone and a palette of analog synths, pulsing basslines, and minimalist rhythms, the album feels simultaneously nostalgic and forward-leaning. Its songs drift between shadowy introspection and subtle hope, creating a cinematic atmosphere that’s both intimate and hypnotic.
With It’s Immaterial, Black Marble deepened its signature sound, offering a collection that resonates like a faded memory—soft, hazy, and endlessly replayable.

"Melodies twist inward and out of the comfort zone, but never overstep their boundaries or demand extra attention they don’t deserve. The fragments that have been found, from beginning to end, click and fall into place almost effortlessly. It’s surprising how nothing feels forced." - Drowned in Sound

This is extremely special. Expansion have taken a 80s soul classic and released it for the first time as a single together with a brand new version. Its part of an exciting series of 10 singles combining two versions of an established soul and jazz tune.
The Tom Browne version was recorded in 1983, produced by Dave Grusin & Larry Rosen for GRP/Arista Records and features a sensational vocal by Carol Woods.
The never before issued brand new version by Diplomats Of Soul takes the song back to how it may have sounded if first recorded in the 70s with live bass and full rhythm section with horns. Incognito feature as musicians with a special guest vocal performance by the brilliant Imaani

"The dazzling symphonic album he always threatened to produce" UNCUT 5/5
"A soulful symphonic masterpiece" ROLLING STONE

Originally released in Japan only on CD in 2002, Plush's Fed lives up to the cult-like adulation it has garnered ever since. A stunning symphony of Bacharach-inspired pop, Toussaint-swing andMelody Nelson-era-Gainsbourg, it's an album bound together by Liam Hayes' maverick genius, an uncompromising Brian Wilson-esque quest for sonic perfection. Positively indulgent in every way, this sumptuous record has long deserved to be treated to a deluxe vinyl edition. Lovingly overseen by Hayes and recent collaborator Pat Sansone (Wilco/The Autumn Defense), it will finally be available on the format it should've always been, this Record Store Day 2018. Remastered and presented as a double LP - cut specially at 45rpm - it comes housed in a beautiful gatefold jacket with expanded artwork throughout.

Its expansive, singular vision infamously took years to realise, involving Earth Wind & Fire's horn arranger (the legendary Tom Tom MMLXXXIV) amongst other elite personnel. Recorded with five different engineers (including Steve Albini and John McEntire), Hayes meticulously extracted every ounce of pop from each note. A long list of renowned studio ringers (including soul drummer Morris Jennings) and Chicago regulars (McEntire, Rizzo, Parker) among many others provide playing of demonstrably professional precision. As such, Hayes' complex, meandering melodies are rendered far more coherent and satisfying than they otherwise might have appeared, bringing his epic, anguished pop to a rarely seen level of perfection and depth. This unstinting dedication to the overarching vision was rewarded handsomely - artistically, at least.

However, as might have been expected, his deluxe approach resulted in a bill too steep for any American or European label to ultimately support. It has since seemed unlikely that it would see the light of day on either side of the Atlantic. Yet we were determined not to allow Hayes' lifetime achievement to go unnoticed or let music fans across the world miss out on one of the finest albums of this century.

A wide-eyed opus of stunning intensity, Fed oozes Hayes' impeccable influences without ever becoming overwhelmed by them. Incredibly, it touches upon Blaxploitation soul, Boz Scaggs-soft-rock, hints of jazz and blues, timeless baroque and skewed pop. In one long minute, the stabbing, soulful "So Blind" moves through five different melodic segments, horns shift easily from haunting backdrop to explosive forefront, smoothly giving way to strings as Hayes' voice casts its bewitching spell. The ambitious soul of "Having It All" has been described as the diffident cousin of Marvin Gaye's "Save The Children" whilst the breezy "Greyhound Bus Station" is pure 70s AM Gold, evoking the easy warmth of Jimmy Webb's beloved Land's End period. The sublime resignation of "No Education", a beautifully slow number that begins, "Never read a book in my life/ But I feel just fine" is post-rock ballad heaven. Arriving towards the end, the title track arrives as a majestic suite, moving from a horn-and-guitar-led instrumental via shifting melodies to Hayes' compelling vocal bursts.

An album of such brilliance, Fed can comfortably sit alongside such staggering statement pieces as David Bowie's Young Americans, Randy Newman's 12 Songs or Harry Nilsson's Nilsson Schmilsson. Indeed, for all the sprawling elements that went in - lengthy guitar builds, exploding horn sections, solemn strings, female backup chorus - it is a deeply personal and original record. Employing a distinct "more is more" aesthetic, he demonstrates remarkable restraint in producing an album of such intimacy. "My creation has drowned me," he memorably sings on languid opener "Whose Blues", yet he navigates the shifting styles and ideas with enviable ease.

Taylor Swift, seven-time GRAMMY award winner, and the
youngest recipient in history of the music industry's highest
honor, the GRAMMY Award for Album of the Year. She is the
#1 digital music artist of all-time and is the first artist since the
Beatles (and the only female artist in history) to log six or more
weeks at #1 with three consecutive studio albums. Taylor has
an album on Rolling Stone's prestigious The 50 Greatest
Albums of All Time (by women) list, Time magazine has named
her one the of the100 Most Influential People in the world, and
she is Billboard's youngest-ever Woman of the Year. Taylor
has career record sales in excess of 30 million albums and 75
million song downloads worldwide, and has had singles top both
the pop and country radio charts around the globe.
LONDON, 18th August 2014 - Taylor Swift, announced her new
album 1989 and it is available immediately for pre-buy on
TaylorSwiftand iTunes. In addition, Taylor released Shake
It Off, the first single and video from her fifth studio album.
1989 is a touchstone - Taylor's songwriting and sonic evolution
surprises us more than ever before. Heavily keyboard and beat
driven, the pop sensibilities that have always been the hallmark
of Taylor's music now move front and centre on 1989. "I spent
two years making 1989. Two years gives you enough time to
grow and change and let things inspire you. I was listening to a
lot of late 80's pop music and how bold those songs were and
how that time period was a time of limitless possibilities. In
thinking about that, this album is a rebirth for me. This is my
very first documented, official pop album. 1989 is the most
sonically cohesive album I have ever made and my favourite
album I have ever made," said Taylor.

Les Points Pay A Twisted Homage To The Early Foundations Of Electronic Music Where Hard To Get Tapes, Dystopia And The Sound Of The Wretched Worker Where Present In Genres Like Post-punk, Industrial, Minimal Synth, New Beat And Wave.

It's changing, the worker searched for post-leftist solutions and got lost.
Nine circles applauded the proletariat and imagined how a community
could be congregated, while screams of violence would be filtered by boiling blood.
Exploiters of labor either find themselves rotting away in a never ending icy rain or are dragging their selfish accumulations on their chests for eternity - while the worker slowly identifies himself as a counter-commodity. Algorhythms (fraud) always mislead - once the worker gets past them only Dis will be awaiting her/him.

In 2019, the World is shaking... our man Too Smooth Christ, prolific & sensitive composer invite to expand your body and mind beyond with its new release Emogreen Thoughts EP. Bringing you a good dose of Acid on one side, featuring two bangers flirting generously with Chicago House vibes and Detroit Electro gems, keeping the floor filled and your senses in orbit on the other side with two trippy, cosmic ambient sound scapes, perfect for creative excursions. The FUEGO 004 will come in a limited number of 300 copies, watch out!

Limited Lenticular 10y Anniversary Edition w/ heavyweight vinyl, printed inner sleeve + digital companion album of unreleased demoes and outtakes from the album

Late of the Pier announce a special 10th anniversary edition of their cult debut album Fantasy Black Channel, produced by Erol Alkan and released in 2008 to great acclaim. Fittingly, the reissue - released on a limited lenticular sleeve, pressed on to heavyweight vinyl and accompanied by a digital companion album of unreleased demoes and outtakes from the album recording sessions. It's set for release through Alkan's Phantasy Sound label, landing in stores on January 18th, 2019.

LOTP (Sam Eastgate, Andrew Faley, Ross Dawson and Sam Potter) were a band of inter-dimensional musicians who landed in the late noughts, whose wild journey took them from the quiet North West Leicestershire countryside to the stages of Coachella, Tokyo and beyond, touring with the likes of Soulwax and Justice. Their music was a mutant take on pop that described the chaos of being a teenager by looking forwards and backwards over and over again until the present moment started to make sense. Following the release of Fantasy Black Channel they put out singles 'Blueberry' and 'Best In The Class' in 2010, picking up fans from Mike Skinner to Dave Grohl along the way. Talking in a 2014 interview, Grohl exclaimed, 'They blew my fucking mind. They're called Late of the Pier. They made one record and disappeared. They use crazy computers and then they rock and it sounds like dubstep for one minute, then it's a crazy prog thing, and it's like, 'Wow'.'

Part two of the Masterworks Vol 3. vinyl sampler kicks off with the ethereal 'Lying To My Lie' where Lup Ino laces a magical, soul laden vocal behind a funked up backing beat, soring strings and glammed up guitar. Hands in the air business, hugs all round!

Woodhead steps up next for a cosmic disco trip complete with rapturous female vocal, a horn section sent straight from Mars and a squelching synth line doused in celestial sparkle.

On the B side Lux Experience goes full throttle funk, coupling a low-slung bassline and feisty male harmonies with a punchy kick and crisp hats. Last up, Mike Woods takes the scalpel to a series of strutting guitars, layering them behind a feel-good groove that captures the glory days of disco but with a fresh new spin. That enchantingly evocative vocal adds a touch of spice to proceedings, primed and ready to cause a stir.

The Limiñanas are a couple and a band. They have produced records in their own garage in Cabestany located in the south of France for about ten years. They played in Australia, the US and toured Europe regularly. United Kingdom included. The first opus of the now series 'I have trouble in mind' was released on the initiative of Bill and Lisa Roe (iconic label 'trouble in mind") in the US in 2014. It combines all the 45t , unreleased songs recorded by the couple for 'Mojo magazine", tribute to Beach Boys, fanzines, micro labels. All the titles which were difficult to find and that fans were looking for. And now, here it is: I ve got trouble in mind vol 2. The Limiñanas now work mainly with the European label 'Because music". Thanks to their common forces, 3 albums were released. «Traité de guitarre Triolectique» with Pascal Comelade, 'Malamore", which was a tribute to Dino Risi and in 2018 'Shadow People' in the company of the American psychedelic pope Anton Newcombe. Marie and Lio work a lot, they record all the time and love 45t, maxi's and still collaborate with small labels from around the world for specific projects like the traditional song of Christmas 'Convenanza 'from Andrew Weatherall. In this second opus some covers of their favorite titles will be available. The lords of the new church 'Russia"n roulette", 'two sisters' from the Kinks which is the first song recorded with Anton and remixed by the American producer of the first White Stripes album Jim Diamond. 'Live will Tell' from Polnareff, a tribute to 'Suicide' recorded in Australia from the live version of the band and many others. The artwork was designed by Elric Duffau, as for the first volume. Small bonus: the two album covers placed side by side complement each other for a single piece.

lovely Mystical Electronics!' (richard Dorfmeister / Tosca / Kruder & Dorfmeister)

Ah! Kosmos - Das Ist Ein Beständiges Wunder, In Dem Wir Hier Mittendrin Stecken. Beim Hören Ihrer Tracks Bleibt Immer Wieder Nur Stauen. Den Soundtrack Zu Love & Awe Spielt Seit Einem Halben Jahrzehnt Basak Günak, Sound-designerin, Produzentin Und Multi- Instrumentalistin Aus Istanbul.

Auch Auf Ihrem Zweiten Album - beautiful Swamp Verbindet Sie Elastische Bis Hart Knisternde Percussions Mit Melodischen Soundlandschaften. Dabei Gehören Der Universalismus Der Musik Und Persönlicher Freiheit Untrennbar Zusammen: Tief Im Gewebe Ihrer Tracks Aus Downbeat Und Deep House, Aus Türkischen Klangtraditionen Und Exotischen Revieren Stecken Auch Ängste, Glück Und Düsternis: Günaks Musik Fängt Auf, Was Sie In Ihrem Leben Zwischen Istanbul Und Berlin Verarbeitet Und Überwindet. Den Hörenden Bleiben So Nicht Nur Soundscapes Zu Erkunden, Sondern Vielschichtige, Emotionale Kosmen, Die Mit Jeder Neuen Klangschicht Ihre Widerhaken Ins Hirn Schlagen.

Schon Mit Ihrer Ersten Lp bastards' Bewies Sich Günak Als Grenzüberschreiterin, Oszillierte Zwischen Dem Mut Zum Glückseligen Flow Und Avantgardistischem, Düsteren Post-rock. Mit Ihrem Neuen Album beautiful Swamp', Das 2017 In Berlin Und Istanbul Entstanden Ist, Be- Wegt Sich Ah! Kosmos Weiter Jenseits Aller Genre-grenzen: Günak Baut Aus Polyrhythmen Und Folktronischem Instrumentarium Eine Mystische Klangwelt, In Die Man Hineinsinken, In Die Man Sich Forttragen Lassen Kann. Für Ihre Organischen Klang-cluster Hat Sie Auf Diesem Album Ihre Eigene Stimme Als Material Entdeckt, Wird Als Person Greifbarer.

Ihre Musik Ist Körperlich, Trägt Würdevoll Spuren Von Auseinandersetzungen. Die Transzendenz Von - beautiful Swamp Ist Eine Flucht, Ja, Aber Eine Nach Vorne. Der Titelgebende Sumpf Vielleicht Auch Eine Ursuppe, Aus Der Immer Neue Klangwesen Schießen. Mit Dem Druck Gelebten Lebens Und... Es Sind Überirdisch Schöne, Allesamt.

Ah! Kosmos Arbeitet In Erster Linie Allein. Wenn Günak Sich Auf Musikalische Begegnungen Einlässt, Dann Auf Besonders Intime Und Intensive. Wie Die Mit Der Jazzsängerin Elif Çaglar, Die Im Song - beyond Dreams Zu Hören Ist, Oder Mit Dem Gitarristen Özgür Yilmaz, Zu Hören Auf Dem Track - wide . Selen Ansen, Eine Der Wichtigsten Türkischen Intellektuellen Ihrer Generation, Hat Für Günaks Neues Werk Ein Gedicht Verfasst, Mit Dem Passenden Titel in The Dark Woods'.

Ihr Wichtigster Partner Aber: Das Publikum. Ah! Kosmos, Das Ist Genauso Sehr Ein Live-projekt - Und Eines, Bei Dem Die Musik Unmittelbar Auf Die Stimmung Im Floor Reagiert. Bei Jedem Ihrer Auftritte Nehmen Ihre Klanglandschaften Eine Neue Gestalt An. Sie Performt Solo Oder Begleitet Von Einem Gitarristen, War Bereits Support Für Acts Wie Sigur Rós Und Jonny Greenwood's Junun Project (barbican Hall) Und Spielte Auf Wichtigen Festivals Jenseits Aller Schubladen, U.a. Auf Dem Sónar Festival Barcelona Und Dem Venice Electro Festival, Dem Tokyo Electronic Music Of Arts Festival, Dem, Prague Quadrennial Und Dem Arena Theater Festival Nürnberg.

Zudem Komponiert Sie Für Zeitgenössische Tanz- Und Theaterproduktionen, Kurzfilme Und Perfomances. Im Frühjahr 2018 Nahm Sie An Dem Projekt sonár Calling Gj273b' Teil Und Schickte Eine Elektronisch Verfremdete Version Ihres Songs i Don't Belong Here' Ins All. Wahrscheinlich Fühlt Man Sich Ihrem Sound Sehr Verbunden, Dort Draußen.

Pyramids. Jagged Teeth Pushing Through Immaculate Skies. The Ever-changing Light. The Expansive Sense Of Freedom. The Wide Open Spaces. The Textured Landscape Seen From Above. Mountains. Watchful And Immobile For Thousands Of Years, Weathering Seasons, Transcending Change.
It's December 2016. I've Left The London Madness To Hit The Reset Button And Compose New Music In A Tiny Village In The Swiss Alps. I'm Over 10,000 Feet High, It's Minus 15 Degrees And The Snow Is Scintillating Under A Rich Blue Sky. I Turn Around And Suddenly This Gigantic Pyramid-shaped Peak Is Towering Over Me, Staring Me In The Face. Mind Blown. Senses Overwhelmed. Perspective. Lightbulb Moment. I Have My Album Concept.
I Wanted To Put Into Sound My Cathartic Experiences Of The Mountains. Every Track Title Was Chosen Before Composing. The Title Would Be A Catalyst For Visual Memories, Narrative And Overall Vibes. I Continued Developing The Tracks On Occasional Trips To Switzerland, But Mainly Back In The Gritty Habitat Of London's Hackney Wick. The Urban-nature Contrast Had An Impact On The Music Too.
I Use A Lot Of Found Sound, Stuff I Have Collected Over The Years, And A Lot Of Resampled Guitar Sounds And Textures. I Love Imperfections In Sound. Detuned Synths. Distortions And Glitches. Rhythmic Flutters And Percussive Frenzy. 'manual' Cut-ups. I Love Moving To House And Disco And Getting Lost In The More Melodic Side Of Techno. I Love Polyrhythms And Melodic Counterpoints. I Love The Energy And Rawness Of A Live Rock Band. I Channel All This To Create My Own Sonic Palette.

Artwork By Jimmy Turrell, Graphic Artist And Video Director Who Combines A Love Of Handmade Collage, Drawing, Screen Printing And Painting Alongside Digital Techniques. He Has Worked For Universal Music, Nike, Lexus, Levis, Mtv, The New Yorker, Intro, Capitol Records, The New York Times, Green Peace, Beck, The Prodigy/xl Recordings, Channel 4, The Guardian, Gq, The Times, La Times, Newsweek, Getty Images, Adidas, Sony Music, New York Magazine, Wired, Glastonbury Festival, And Vanity Fair Amongst Others.

The Debut Album 'pyramids' Comes Out Worldwide On Limited Double, Green Vinyl (including Download Code).

Brand new release on Mondo Groove with a Remix double pack of selected tracks from Daniele Baldelli classic 'Cosmic Temple' six chapters that were out on the italian label from 2015 to 2017. You can find everything for everyone in these new versions. DJ Tennis and In Flagranti tributing pure Cosmic sound with their interpretations of - Gandharva' and - Afelio', DJ Ralf transforming - Kosmaro' into a house stomper, Tiger & Woods adding their subtle boogie touch and edit science to - Vhanessa', Clap!Clap! going deep and percussive on - Isotropo Funk', Alkalino tripping italo-disco with - Inner Light', Club Paradiso in an afro-balearic clash on - Joka Joka', Eric Duncan working a deep-techy groove on - Diffrazione', and Dionigi, often production partner of Baldelli, finishing in glory with a brilliant funky take on - Taxon'. You can't sleep on this.

Rebirth return for the second in their LTD series. Argy opens up the e.p. with an atmospheric arp laden stomper enriched by the magical vocals of Blue Jay. Acid Pauli then take on remixing Modular Project's 'Leaving', coupling glitchy vocal loops and pulsating synths together with a hypnotic groove to create a trippy minimal roller. Closing out the e.p. Tiger & Woods add their trademark touch to Lele Sacchi's 'Dreaming Won't Do', focusing the track around the exuberant piano melodies whilst manipulating the vocal sample into a percussive snare element to give a distinctive feel to the remix. Killer work as always from the Rebirth crew.

"After a deceptively quite 2017, Especial picks up the pace pace by welcoming back the peroxide, youth filled Fairplay (re)version and a 2nd EP of old-skool-meets-the-new-school flavoured House and Breaks to lock, jock and spin.

After the criminally overlooked 'How Do You Like Me Now' EP - how is Classic Version not a...classic...version - Junior gets back on the (lino) floor. The EP starts with a look north to the 'other city of 7 hills' that birthed a Warp'd British retake on House in his bleep-dub ode, End Of Love. The autobiographical title belies a forward approach with his trademark echobox kick'n'hats underpinning uplifting keys and nodding bleep finger solo.

Who to join the party then, than another man of mystery, Roy Of The Ravers. After his debut EP on sister label Emotional Response became a most played from Aphex et al, it is only right bring him to E'Special. His brooding, hoover rush Remix 1 heightens the vibes with a heads down bleeping half-steppa. Righteous!

The flip is given over to Junior's roots, bringing the hip-hopper back with the anthemic The Shazsquatch Goes Back Into The Woods. No shoc(k) horror here, just more upwardly mobile breakbeat meets UK techno licks. You can hear Fairplay at one with man and machine, pushing a sound that looks back but most definitely goes forward with 'Sunrise' on the mind.

To close is the swagger of EP title cut, Faxes From The Future. Hair of the (black) dog fuses a swinging break with proto-dub-meets-Giallo stylings to rework the senses and say, now is (still) the time!

A return to making the noise while keeping tongue planted firmly in cheek. What are u like Top. Buzz."

After great success of 2 previous releases, 'Sound Of Vast ' is now about to hit 3rd release. The producer of this deep monster is one of the most respectful Japanese artist, and Womb's resident Dj 'The People In Fog (aka DJ Sodeyama).'
Even though DJ Sodeyama is more known as techno producer, The reason that Sodeyama used the other nickname was, As you could guess from poetic sentence, to express his music in more deeper and emotional ways, he even choose EP name as 'Deep', also, all the track's titles contains the word 'Deep', funny but straight forward way of thinking, if you want to deliver right moods on the dance
floor, by not only sold beat but also unusual emotions that come from organic percussion, this whole EP will give you the answer.
As usual of SOV policy, this EP contain one each of exclusive digital, and vinyl only tracks, this time, 'Deep
Woods Remix' chosen as vinyl only exclusive, the remixer 'Elbee Bad' is the legend of US House, as known as 'The Prince Of Dance Music', if you are fan of Rush Hour Records you should be heard about his name, as he is one of the be loved, and featured artist from the label. His remix of 'Deep Wood' is indeed funky and sexy, one more reason to have this vinyl in your collection.
Lastly, this EP will pressed 500 copies only with out repressing, quicker people will have a benefit as usual.

Compilation of 4 of the ebst tunes from the Digital label.

Hochwertiges Digi-Pack des Debut-Album !!!


A solitary shed by a lake. Surrounded by woods coated in ice. It's the deepest winter and the Pentatones quartet finds itself in the deserted nature of the Mecklenburg-Vorpommern County. They are searching for sounds pulsating beyond instruments and machines. Inaudible Music this is, made sound by them only. By night the four move over the frosted lake, play the clarinet and put themselves in a chilly trance. Months later they will remember dimly these moments in the woods and cast them atmospherically into their album debut 'The Devil's Hand' with icy romance. Highly attentive to details, they have worked on it for 3 years. Since 2006 the Pentatones tinker with their tessellate electroacoustic sound, in whose center the voice of singer Delhia de France is floating. To friends of club music she might be known from her collabs with techno producers such as Marlow, Douglas Greed or Robag Whrume. With the Pentatones she combines her emotional timbre in various forms with the raw basslines by Hannes Waldschütz and the analog and electronic beats and samples by Julian Hetztel a.k.a. Le Schnigg. Albrecht Ziepert creates melodic moods on the keys, whose appeal one can hardly elude. Their kaleidoscopic arrangements dance between susceptibility and experi­ment. Enticing pop structures melt with crackling analog electronics - a mixture laid out to make dance at times, at times to chill. The ambiance of her compositions is gloomy, yet light-flooded in a certain way. It is most notably Delhias voice, which outshines everything, never standing still, meandering and spinning, opening up a new emotional space with every bre­ath. The computer with its infinite production possibilities is used in its function as another instrument. Together with the sampler it forms the center of action, processing everything, from voice to keys, which needs an artistic distancing effect. A contrabass is setting the pace at times, then again the brass accelerates the tracks highly emotively. In stylistic regards their compositions are never predictable. A touch of organic jazz here, a subtle hip-hop allusion there, accompanied by a moving club rhythm structure and Delhias captivating voice, which sings, then talks, and whispers in the next moment.
It's not only the infinite world of sound, which inspires them to their adventurously twisted compositions. For all members being equally active in the visual field, art plays an impor­tant role in the act of creating and in the overall concept of the Pentatones. This is being reflected in their life shows, acknowledged with much applause on festivals like 'Sonne, Mond und Sterne', the 'Fusion Festival' or 'Ars Electronica'. When they sample themselves during their concerts, modify their sound in real time and vividly interpret their songs, Delhia dances audaciously in extravagant, self-designed costumes in haughty reserve and effuses eccentric pop magic. Sometimes she takes the megaphone and by hereby altering her voice, she infuses her music with another exotic tone. With their self-produced videos the Leipzig residents by choice create an artistic universe, which stages the dramatic lyrics of the lead singer in a sublime way. After all they see themselves as an artificial band, operating beyond the conventional patterns of presentation, bypassing intuitively and creatively common pop stereotypes. Twisted-Pop which gets straight under your skin, without ever grooving stream­lined. You can dance to it, lose yourself in it or step into new worlds. There is only one thing difficult to deal with after you enjoyed 'The Devil's Hand' and that's to release yourself from its overwhelming emotional impact.

In 2026, Vreid will release The Skies Turn Black, their first studio album in five years and a powerful statement from one of Norway's most enduring metal bands. The album marks a renewed creative chapter, shaped through a challenging but ultimately transformative process in which the band reconnected with the essence of their Sognametal roots while exploring new dimensions of their sound. Throughout the album's eleven tracks, Vreid merges fragments of their past with a revitalized artistic drive. The early breakthrough came with From These Woods, written during a late-night session in a remote mountain cabin. The song captured the emotional core of the album and helped steer the band back toward the heart of their identity. The title track The Skies Turn Black also holds a central place on the album. Written by bassist and songwriter Jarle Kvåle as a tribute to Ozzy Osbourne and the music that has shaped his life, the song carries a deeply personal foundation. Kvåle's experience attending Black Sabbath's farewell concert in Birmingham, after previously helping to organize the band's final Norwegian shows along with Ozzy's, left a profound mark and sparked the creative energy that shaped the song's weight and atmosphere.

The Nu’rons were a family group consisting of two sets of brothers and cousins, the four young men in question being brothers Daryl Howard and Raymond Gibson (Daryl’s mother registered him under his father’s surname of Howard and Raymond under her maiden name of Gibson) together with Otho Bateman and Charles Bateman. They were all born and raised in Salem, New Jersey and from the age of ten and eleven began singing with a fifth member and Gibson brother Rudolph as a group called The Gospel 5. They eventually decided to crossover to secular music and as a group known for their energetic dance routines they came up with the new performing name of ‘The Nu’rons’ (taken from the word ‘Neuron’ which is a cell that transmits nerve impulses). However Rudolph was soon to leave the group due to physical illness. Also Daryl Howard and Charles Bateman had also been part of a working group known as The Devotions prior to becoming The Nu-Ron’s.Following hours of practice The Nu’rons eventually felt confident enough to put their own shows together and began to perform at local dances and parties around New Jersey and Philadelphia, often being used as a non-paid warm up act for bigger named artists. They moved between several different managers including Jimmy Bishop (Duo Dynamic Productions) until they came under the tutelage of WDAS radio DJ Georgie Woods (his wife Gilda, being the owner of the Philadelphia Gil, Dion and Top & Bottom record Labels). It was Georgie who introduced them to Manny Campbell who in turn invited them to an audition at his and partner Charles Bowen’s Emandolynn Music studio in Chester P.A. The song The Nu’rons chose to audition with was the self penned “I’m A Loner”, the audition went well, as during late January/early February of 1970 Manny and Charles took The Nu’rons into the Sigma Sound Studio’s with Tom Bell and the TSOP musicians to record “I’m A Loner” and “All My Life” which was released on the Nu-Ron label in April of the same year. The two studio takes presente don this release came short after the band moved on from the collaboration with producer Emanuel Campbell to take music matters in their own hands. Beside recording "Disco Hustle" to be part of the disco boom in Philly of the times, they recorded also “You Came Thru”, a rough yet beautiful heavy bassline driven soul funk recording, and the just amazing “Hurry Up Tomorrow”, here presented in one of the original Studio takes.