|
|
browse New Releases
week of
...new releases are checked in daily throughout each week
|
|
|
viewing 1 To 25 of 130 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
WHYT 075LP
|
Process of Elimination, El Hardwick's sophomore's album, explores sickness as a teacher for anti-capitalist modes of being; a rewilding of the self. Out via AD 93, the record is the product of an attempt to be indestructible; this sickness has an unknown diagnosis. El Hardwick's album follows their experience of becoming chronically ill after years of treating their body like a machine. El explains: "After failing to receive a diagnosis, which is only given via a lengthy process of elimination, I instead turned to autonomous modes of healing rooted in mysticism and herbalism; putting aside the need to be defined. My journey towards accepting my disability is told in parallel to my coming-out as trans. I also see my non-binary identity as a process of elimination: I am neither gender, both, in-between. It is through rewilding myself from capitalism and gender normativity that I learn how to connect to my body and the earth; no longer allowing either's energy to be extracted from. The less I sought answers, language, metrics and analysis, the more peace I found." Silvia Federici's Caliban And The Witch influenced the album in telling how dissident women and gender nonconforming people have been historically labelled as hysterical and heretical when questioning the cartesian dualist mindset that laid the groundwork of capitalism. Donna J Haraway's Staying With The Trouble and Jenny Odell's How To Do Nothing were further inspirations in how humans can rebuild relationships with the earth. The album features a number of London-based musicians and friends: Alex McKenzie (Gentle Stranger, Shovel Dance Collective, Caroline) on clarinet, flute and saxophone, Laura Misch on saxophone, Marysia Osu (Levitation Orchestra) on harp, Memory Play on co-production, double bass and saw, and Sasha Wilde on vocals. El Hardwick is a multidisciplinary artist living in London, UK. Identifying as trans non-binary, their work weaves narratives between queer world making practices and how listeners can heal on a damaged planet.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WHYT 092LP
|
Joanne Robertson follows up on AD 93 with the album Blurrr. Written between painting sessions and also whilst raising a child, Blurrr is a record of loose and playful intuition. Robertson's vocals and guitar drift, murmur and whisper across the record; fostering a deep intimacy as unknown emotions rise up from the well. Robertson's intuitive approach to music making co-exists alongside her improvisatory and collaborative nature. She has collaborated regularly with artists such as Elias Rønnenfelt on Heavy Glory, Dean Blunt on Backstage Raver, and Black Metal, and Sidsel Meineche Hansen on Alien Baby. In Blurrr Robertson turns to previous collaborator and friend: cellist, composer and producer Oliver Coates.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
ASH 104LP
|
"For many bands, having all their gear stolen would be catastrophic. For Third Ear Band, this unfortunate 1968 incident opened a portal to beneficial change. Leader/percussionist Glen Sweeney viewed the heist as a sign to alter Third Ear Band's approach, and they switched to exclusively using acoustic instruments. With electrified psychedelia in full bloom, Sweeney, Paul Minns (oboe, recorder, whistles, flutes) and Richard Coff (violin, viola) struck out on an individualistic path, blending Indian raga with chamber music -- without plugging in. Third Ear Band's 1969 debut album, Alchemy, established them as a solemn, powerful force in the global underground. On Alchemy, Sweeney laid down a steady pulse on hand drums, while Minns and Coff wove in melismatic patterns on oboe, recorder, violin and viola. This approach carried over to Third Ear Band's self-titled sophomore album, often called Elements due to its track titles being named after the four basic components of medieval European alchemists' doctrines. On this 1970 LP, Third Ear Band sounded at once ancient and contemporary, yet they turned on the hippies with their epic, trance-inducing jams that suggested secret knowledge of infinity. Although Third Ear Band flourished during the West's countercultural zenith, they were peculiarly estranged from it on a sonic level. Even outré contemporaries such as Comus and Jan Dukes De Grey sounded like pop groups compared to TEB. Having no traditional front person or electric instruments, Third Ear Band forged a singular path that flowered most vividly on Elements. The long songs here stream forth from their skilled hands, evoking a communal transcendence in sound -- a hypnotic swirl that doesn't swing, but rather wafts and undulates with cloistered beauty. TEB's music exists in an eternal now, a perpetual wow. It is an ouroboros of organic textures, seemingly magicked into the air spontaneously, yet possessing a rigor that suggests long hours in the lab. Without electricity, it somehow burrowed deeper into your consciousness." --Dave Segal
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
APRON 050LP
|
Zopelar has built a distinguished place in the Brazilian electronic music industry. He is known as a complete and versatile DJ and music producer, and is a key figure in São Paulo's underground music scene. With his signature "retro-futuristic-funky-groovy" style, Zopelar has made some celebrated albums and EPs released by labels like Apron Records, Clone Records, Tartelet Records, Soul Clap Records and others. A prolific producer and sound designer, Zopelar's work extends beyond music production into the realm of contemporary art and film scoring. His sound pieces have been showcased in prestigious exhibitions and galleries, including New Museum (NYC) and the Venice Biennale. Zopelar is now back for his third solo release on Apron Records, titled Call it Love. It features Brazilian artist Ashira, who lays her beautiful voice over Zopelar classic R&B production. "Je t'aime" features French born Brazilian based L'Homme Statue plus Amsterdam's Retromigration giving a tropical and very hot Brazilian house for the dance floors. The album also features Virgina Beach's very own MC Hernbean5150. Overall, this LP slams in every way and its very well put together, whether at home, driving, in nature or in the clubs.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
AWOS 001LP
|
Spanish-born, Berlin-based artist JASSS, presents her third LP, Eager Buyers. It's the inaugural release on her own new platform called AWOS, which also encompasses musical, AV and art collaborations, live events, and a radio show. Eager Buyers is an observation of longing, of memory, of attempted connection, of lost innocence, and irreconcilable dreams. It's the sound of broken promises for a bright future, where rose-tinted glasses have lost their clarity, dirtied with disaffection over time. Across this sultry, smoky, cinematic epic, JASSS attempts to process mixed feelings amidst the modern malaise. Alluringly atmospheric and cerebral, but bold and direct, with high-spec sound design, JASSS spaces each element with expert definition. Searing swathes of noise nestle with crisp breakbeats, billowing bass, dark ambience, prepared piano, phosphorescent electronics and calibrated percussion. A sort of anti-nostalgia, the record lives in a contemporary purgatory of oblique moods which hover in the psyche, somewhere between uncertainty, foreboding, and guarded anticipation. The raw metal of bass guitar strings plays a key part too, ranging from ornate melodic phrases, shoegazy drones, and attitude-riven hard twangs. Vocals come from JASSS herself, plus James K and Alias Error on the track "It's A Hole." The heavy, hauntological atmospherics are in part due to the addition of field recordings -- the discreet, but spiritually-loaded incidental sounds of a place which can capture its history, with the acoustics somehow retaining an emotional imprint of lives long gone. If pressed for descriptive reference points, "masterfully-produced-post-punk-post-rockbaroque-gothy-dubby-trip-hop" might be a starting point, but that doesn't do it justice. Equally spectral in their dream-like quality are the musical signposts, where genre elements are familiar, but somehow also unplaceable, untethered from context, and beautifully strange in their new composite. At points there's an air of strangely dazed calm too -- a kind of frazzled cool in the face of desolation, and even tender, lighter moments, which glint through the cracks.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BR 023CD
|
American Dust is an ode to the beauty of the American Southwest, where vast desert landscapes hold stories both stark and tender. Eve Adams' characteristic folk noir weaves a vivid tapestry of love, sacrifice and quiet revelation, conjuring images of dust storms, stray dogs and far off trains. Somewhere out there in that broad and boundless landscape, Eve Adams has been living her own desert life, quietly writing the follow-up to 2021's Metal Bird LP. Where that album sang of liminal space, the dream-like turbulence of Holly-wood's golden age, American Dust is far more rooted in traditional storytelling; a eulogy for the American Dream channeled through that sweeping part of the country that holds such power and mystery. Slipping into different and varied costumes throughout its ten songs, it finds Eve not just observing the people around her but stepping into their shoes and peeling back the layers of their quiet lives. Adams writes from within. Weaving together themes of grit and romance, American Dust holds its focus on the bittersweet poetry of lives lived in solitude, most notably the women who sustain life at the center of it all. Eve is joined on American Dust by Canadian musician Bryce Cloghesy, aka Military Genius of Crack Cloud, who plays throughout and also helped produce the album. Musically bold and vivid, it's an ambitious and detailed stride forward from what's come before, the scope of album's narrative reflected in the radiant sweep of the playing. On top of gentle piano and guitar, gorgeous strings drift through the album, lending the songs a woozy sense of romanticism; a collaboration with Gamaliel Traynor (Cello) and Caroline's Oliver Hamilton (Violin). Musically it's lush and vibrant, intimate and cinematic side by side, and always bursting with warmth. But it's what it holds in its weary bones that elevates it to something truly special, something more than just a collection of songs penned in the heart of the desert. The characters it speaks of, and from, feel shadowed but wholly real, like they're bursting to share their stories that have remained hidden for years and years and they allow Eve Adams to grow as a songwriter.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BR 023LP
|
LP version. American Dust is an ode to the beauty of the American Southwest, where vast desert landscapes hold stories both stark and tender. Eve Adams' characteristic folk noir weaves a vivid tapestry of love, sacrifice and quiet revelation, conjuring images of dust storms, stray dogs and far off trains. Somewhere out there in that broad and boundless landscape, Eve Adams has been living her own desert life, quietly writing the follow-up to 2021's Metal Bird LP. Where that album sang of liminal space, the dream-like turbulence of Holly-wood's golden age, American Dust is far more rooted in traditional storytelling; a eulogy for the American Dream channeled through that sweeping part of the country that holds such power and mystery. Slipping into different and varied costumes throughout its ten songs, it finds Eve not just observing the people around her but stepping into their shoes and peeling back the layers of their quiet lives. Adams writes from within. Weaving together themes of grit and romance, American Dust holds its focus on the bittersweet poetry of lives lived in solitude, most notably the women who sustain life at the center of it all. Eve is joined on American Dust by Canadian musician Bryce Cloghesy, aka Military Genius of Crack Cloud, who plays throughout and also helped produce the album. Musically bold and vivid, it's an ambitious and detailed stride forward from what's come before, the scope of album's narrative reflected in the radiant sweep of the playing. On top of gentle piano and guitar, gorgeous strings drift through the album, lending the songs a woozy sense of romanticism; a collaboration with Gamaliel Traynor (Cello) and Caroline's Oliver Hamilton (Violin). Musically it's lush and vibrant, intimate and cinematic side by side, and always bursting with warmth. But it's what it holds in its weary bones that elevates it to something truly special, something more than just a collection of songs penned in the heart of the desert. The characters it speaks of, and from, feel shadowed but wholly real, like they're bursting to share their stories that have remained hidden for years and years and they allow Eve Adams to grow as a songwriter.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BTR 125LP
|
Psychedelic dub, Afro-Latin rhythms and cosmic grooves come together on La Chooma's self-titled debut for Batov Records. Drawing on Moroccan Gnawa, Colombian cumbia, Afrobeat, Jamaica dub and roots, and cosmic jazz, the six-piece ensemble create deep, hypnotic music rooted in global traditions and shaped for contemporary. Having already captivated local audiences with their hypnotic, organic live performances, La Chooma -- now a six-piece ensemble -- have been steadily building an international following. Initial singles "Magic Plant" and "Huachuma" earned support from tastemakers including BBC Radio 6 Music's Deb Grant and Tom Ravenscroft. "Magic Plant" distills the band's signature blend of hypnotic grooves, lush percussion and woozy synths, like Jimi Tenor lost in the Colombian Amazon. A dreamlike, dub-infused trip driven by organic rhythm and cosmic textures. "Huachuma" picks up the thread, fusing Afrobeat percussion, swirling basslines and psychedelic flourishes into a hallucinogenic jam made for a tropical dancefloor. "High Grow" conjures images of The X-Files set in Addis Ababa, with Ethiojazz-style synths dancing and tripping across a relentless Mulatu-inspired bassline and Afrobeat drums, all drenched in foreboding dub delay. Perfect for dark, smoke-filled rooms in the small hours. Like the lost child of Idris Ackamoor & The Pyramids and The Comet Is Coming, "Lonely" hits like a sledgehammer of cosmic synth funk and intense Afrorock drums, riding an acoustic bassline that breaks into a frenetic solo after a minute. The drums constantly threaten to overwhelm, but open up for the spiraling synths to peak half way through the track. "Cozumel" follows seamlessly, moving to a slightly slower groove built on a deep electric bassline and irresistible four-to-the-floor Afro-Latin rhythms. Synths rise in harmony with the haunting call of the hand-carved Egyptian kawala flute as the energy builds in the third minute before the tension finally releases. There's something in the music's spiritual core and soulful presence that recalls the groundbreaking work of Jamaican legends Count Ossie and Cedric Brooks, who fused jazz with Rastafari drumming. La Chooma draw dotted lines across time and space, finding hidden connections and shared frequencies, pulling threads together into a sound that hypnotizes the mind and moves the body.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7"
|
|
BTR 126EP
|
Sababa 5 return with another essential 45 for Batov Records' Middle Eastern Groove series. This time, they team up with two very different artists on two distinct tracks built from the same hypnotic groove: soulful Turkish alt-pop sensation Canay Doğan and reed flute specialist Itzhak Ventura. After four albums and a strong run of 45s and EPs, plus support from tastemakers like Gilles Peterson, Cerys Matthews, Gideon Coe, and Jeremy Sole, Sababa 5 lay down a cinematic, slow-burning groove built for hazy summer days. Raz Man's crisp drumming locks in with Amir Sadot's psych-soul bassline. Though they share the same root groove, "Gaip" and "Seher" explore different moods and textures -- two individual pieces that complement each other while standing firmly on their own.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BEWITH 051LP
|
2025 restock. Alan Hawkshaw (piano/Hammond) and Shadow's drummer Brian Bennett are responsible for some of the slickest, funkiest and most sought-after library records ever made in the UK, particularly ones recorded on the legendary KPM label. Their work has now become the go-to place for sampling in music today. Artists such as Dilla, Nas, and the xx, right through to the billion-selling Kanye and Drake have taken Hawkshaw's and Bennett's immaculate beat-driven soundscapes for their own usage. Their new album, Full Circle, in a full, iconic KPM cover, is a return to the laidback jazz-funk that helped Alan and Brian demonstrate their library chops. The album is classic Hawkshaw/Bennett. It swings, it grooves, moves, and thrills with a flair these two have perfected over years. Standout tracks such as "Hole In One", "In The Clouds", "Interchange", "Oasis", "On The Nile" and "Corcovado" are no mere excursions in nostalgia, for they carry lots of deft studio work for which many a producer would give their right arm. Hawkshaw's arrangements allow the drums, guitar, bass, strings, Hammond, flute and brass to swirl elegantly around the 12 original tracks; a masterclass in recording. Cut by Pete Norman, housed in a beautifully designed Richard Robinson sleeve and pressed by Record Industry in Holland, this release has been afforded the care and attention it rightly deserves. Essential. 180 gram vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BEWITH 101LP
|
2025 repress. Innercity Griots, the second album from Freestyle Fellowship, is perhaps the essential West Coast left-field rap album of the early '90s. Released in 1993 on 4th & Broadway, it's a towering, progressive hip-hop masterpiece that expanded rap's boundaries through lyrical elevation and production innovation. Their talent was ahead of everybody else by light years. This is pure b-boy jazz. Be With reissue includes "Pure Thought" from the CD version of the album. Freestyle Fellowship were some of the earliest technically dazzling rappers to come out of California. Mikah 9, P.E.A.C.E., Aceyalone and Self Jupiter -- along with DJ Kiilu -- forged their famed lyrical dexterity in the ultra-competitive crucible of the Good Life Cafe. Founded in Leimert Park, South Central LA in December 1989, this earthy health-food store and cafe was where the city's finest microphone fiends would gather to showcase their freestyle skills at the Thursday night open-mic. Innercity Griots has been described as the Rosetta Stone for rap styles. The group's dense, vibrant wordplay and enviable interplay quickly earned the attention and respect of the city's hip-hop underground. Frenetically trading acrobatic rhymes with agility and grace, the Fellowship used their voices as instruments like true virtuosos, spraying improvised raps like a Coltrane sax solo. With the bulk of the album's production handled by The Earthquake Brothers, and Bambawar, Daddy-O, and Edman taking over for some of the tracks, Innercity Griots dances between organic and programmed music, largely forgoing sampling and instead built around live jazz jams. The likes of Freddie Hubbard's "Red Clay" and Miles Davis's "Black Comedy" were used more as templates for house band The Underground Railroad Band to spiral out from. As Pitchfork noted in their recent 9.0 review of this classic album, "Freestyle Fellowship embodied the style and spirit of jazz on a molecular level. They shared the effortless cool and tough countenance of the great bebop players from the '50s without verging into jazz-rap parody." The unusual approach to the music was matched by the Fellowship's lyrics. Eschewing the tired rap tropes of the time, this multifaceted album instead explores their ruminations on greed and homelessness, weed, sex, survival, insecurity and tribalism. Remastered by Simon Francis, cut by Pete Norman.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BAR 031LP
|
"Ethan Daniel Davidson's thirteenth studio album finds the veteran singer-songwriter exploring new creative territory while continuing down the beguiling and wondrous road that his discography has charted thus far. Cordelia is as lush and deeply felt as Davidson's music has ever been, with countrified balladry and unvarnished blues accompanying this journeyman's philosophical explorations and ruminations on his past, present, and future. Cordelia follows 2022's Stranger, which marked both a conclusion and a new beginning after a decade-plus of fruitful creative collaboration with Warren Defever of experimental rock legends His Name Is Alive. Davidson headed down south to link up with the North Mississippi Allstars frontman to shape the seven songs that became Cordelia -- a collection that takes a left-turn from the darkly shaded textures of Stranger and was sonically inspired by Davidson's love for the raw blues records that storied label Fat Possum were releasing in the 1090s. Joining Davidson and Dickinson on Cordelia: bassist and Emmylou Harris collaborator Byron House, drummer Marco Giovino (Robert Plant, John Cale), and multi-instrumentalist Rayfield 'Ray Ray' Holloman, who contributed pedal steel and piano across the record. Cordelia sounds robust and thoroughly lived-in, so the average listener might find it surprising to learn that Davidson and the band put these songs to tape within the span of three days total. As with Davidson's estimable catalogue, his lyricism is front and center across Cordelia, expressing his own specific worldview in a way that's informed by his Jewish faith as well as the tenets of Buddhism. The album's namesake is inspired by the titular daughter featured in Shakespeare's classic tragedy King Lear, who Davidson finds a sense of personal kinship with. The refrain of Cordelia's swooning penultimate track 'Along in the Wind and the Rain' borrows from the song that the play's fool sings, and within this mirroring Davidson reflects on his own travels as a human being amidst his life's experiences."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BJR 10Y-CD
|
Since 2015, Les Disques Bongo Joe have been exploring musical margins with passion and precision -- from rare reissues to bold local projects and international collaborations. To celebrate its 10th anniversary, the Geneva-based label releases 10 Years of Sonic Explorations, a compilation that captures a decade of handcrafted work, collective vision, and sonic adventures. It's not a "best of," but a vivid snapshot of what drives the label: from forgotten archives to emerging scenes, from Geneva to Bogotá, Istanbul or Lilongwe -- through lo-fi grooves, offbeat percussion, raw vocals and unclassifiable sounds. Spanning the label's earliest releases to its most recent ones, this selection highlights the range of aesthetics Bongo Joe has championed over the years -- always resisting trends, always embracing singularity. A deep dive into a freeform catalogue built on one belief: that music is a force for expression, transmission, and connection. Featuring Alain Peters, Altin Gün, Mauskovic Dance Band, Esplendor Geometrico, Hyperculte, Madalitso Band, Meridian Brothers, Derya Yıldırım & Grup Şimşek, Nordine Staifi, Cyril Cyril, África Negra, Yīn Yīn, Les Abranis, Orchestre Tout Puissant Marcel Duchamp, Coco Maria, AMAMI, Lalalar, Nusantara Beat, Yalla Miku, Chouk Bwa & The Ångströmers, Sami Galbi, Baby Berserk, and Dressed Up Animal.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BJR 10Y-LP
|
2LP version. Since 2015, Les Disques Bongo Joe have been exploring musical margins with passion and precision -- from rare reissues to bold local projects and international collaborations. To celebrate its 10th anniversary, the Geneva-based label releases 10 Years of Sonic Explorations, a compilation that captures a decade of handcrafted work, collective vision, and sonic adventures. It's not a "best of," but a vivid snapshot of what drives the label: from forgotten archives to emerging scenes, from Geneva to Bogotá, Istanbul or Lilongwe -- through lo-fi grooves, offbeat percussion, raw vocals and unclassifiable sounds. Spanning the label's earliest releases to its most recent ones, this selection highlights the range of aesthetics Bongo Joe has championed over the years -- always resisting trends, always embracing singularity. A deep dive into a freeform catalogue built on one belief: that music is a force for expression, transmission, and connection. Featuring Alain Peters, Altin Gün, Mauskovic Dance Band, Esplendor Geometrico, Hyperculte, Madalitso Band, Meridian Brothers, Derya Yıldırım & Grup Şimşek, Nordine Staifi, Cyril Cyril, África Negra, Yīn Yīn, Les Abranis, Orchestre Tout Puissant Marcel Duchamp, Coco Maria, AMAMI, Lalalar, Nusantara Beat, Yalla Miku, Chouk Bwa & The Ångströmers, Sami Galbi, Baby Berserk, and Dressed Up Animal.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
BRD 009LP
|
Sexverbot is a punk band from Berlin. Fast guitars, direct lyrics, unmistakable character. Whether it's fever dreams of capitalism ('Ich bin verliebt'), social coldness and concrete bleakness ('Täglich grüßt die Monarchie'), self-destruction as the only way out ('Der Antagonist'), or a middle finger to New Age followers ('Mystic Shit') -- Sexverbot delivers short, punchy, and uncompromising songs. Much like the pioneers of decades past, the album reflects the sense of hopelessness and anger felt by a generation. The self-titled debut was produced by Lorenz Szukal (Die Verlierer).
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
BB 482CD
|
Electronic pioneers Propaganda follow up their acclaimed 2024 comeback with Remix Encounters, a broad and brilliant remix album featuring Moby, Tangerine Dream, Rhys Fulber, Schiller, and more. Released on Bureau B, this remix collection reflects the enthusiasm Propaganda's return after three decades of silence has ignited among contemporary artists, who approached the project with fresh energy and creative freedom.
"Since breaking new ground with their seminal 1985 debut A Secret Wish and its pioneering remix companion Wishful Thinking, Propaganda have thrived on transformation. Yet rather than revisiting the past, Remix Encounters looks forward, building on the vitality of last year's album and celebrating its widespread critical and fan acclaim. What began as a remix request from Finnish electronic maestro Jori Hulkkonen, returning the favor after Ralf Dörper's contribution to his last album, quickly blossomed into an international collaboration, drawing in luminaries such as Moby, Tangerine Dream, Rhys Fulber (Front Line Assembly, Delerium), and Schiller. Embracing openness, Propaganda spent the fourth quarter of 2024 encouraging the wide range of musicians inspired by their triumphant return to offer their own interpretations. Each brought their distinctive voice to the material, resulting in a thrilling journey through electronic subgenres, from EBM and industrial to rave, ambient, house, and beyond. Rhys Fulber opens the album with a brooding, machine-funk reinvention of 'They Call Me Nocebo,' evolving from a sleek, sinuous introduction into a relentless pneumatic stomp. Next, Schiller offers a powerful remix of 'Distant' that balances raw electro-house and techno energy with the emotional depth of EBM, before Moby transforms 'Purveyor of Pleasure' into a furious early-'90s rave anthem, fusing breakbeats and rolling basslines that pulse with nostalgic urgency yet feel unmistakably modern. Elsewhere, Finnish polymath Jimi Tenor infuses 'Vicious Circle' with cosmic jazz and dub textures, while Pyrolator, a key figure in Düsseldorf's avant-garde scene, delivers a shadowy reinterpretation of 'LoveCraft.' Cult With No Name also contribute a brooding electro-ballad version of the same track. Propaganda's own Michael Mertens teams up with longtime collaborator Hans Steingen to re-envision 'Dystopian Waltz,' shifting its time signature to a gripping 4/4 and intensifying its ominous mood for darker dance floors. The range of remixers speaks volumes: from industrial punks Gewalt and synth purists Metroland to ambient pioneers Tangerine Dream, Remix Encounters unites an eclectic group of electronic artists bound by a shared reverence for innovation and Propaganda's distinctive voice." --Patrick Ryder
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
BB 482LP
|
Double LP version. Electronic pioneers Propaganda follow up their acclaimed 2024 comeback with Remix Encounters, a broad and brilliant remix album featuring Moby, Tangerine Dream, Rhys Fulber, Schiller, and more. Released on Bureau B, this remix collection reflects the enthusiasm Propaganda's return after three decades of silence has ignited among contemporary artists, who approached the project with fresh energy and creative freedom.
"Since breaking new ground with their seminal 1985 debut A Secret Wish and its pioneering remix companion Wishful Thinking, Propaganda have thrived on transformation. Yet rather than revisiting the past, Remix Encounters looks forward, building on the vitality of last year's album and celebrating its widespread critical and fan acclaim. What began as a remix request from Finnish electronic maestro Jori Hulkkonen, returning the favor after Ralf Dörper's contribution to his last album, quickly blossomed into an international collaboration, drawing in luminaries such as Moby, Tangerine Dream, Rhys Fulber (Front Line Assembly, Delerium), and Schiller. Embracing openness, Propaganda spent the fourth quarter of 2024 encouraging the wide range of musicians inspired by their triumphant return to offer their own interpretations. Each brought their distinctive voice to the material, resulting in a thrilling journey through electronic subgenres, from EBM and industrial to rave, ambient, house, and beyond. Rhys Fulber opens the album with a brooding, machine-funk reinvention of 'They Call Me Nocebo,' evolving from a sleek, sinuous introduction into a relentless pneumatic stomp. Next, Schiller offers a powerful remix of 'Distant' that balances raw electro-house and techno energy with the emotional depth of EBM, before Moby transforms 'Purveyor of Pleasure' into a furious early-'90s rave anthem, fusing breakbeats and rolling basslines that pulse with nostalgic urgency yet feel unmistakably modern. Elsewhere, Finnish polymath Jimi Tenor infuses 'Vicious Circle' with cosmic jazz and dub textures, while Pyrolator, a key figure in Düsseldorf's avant-garde scene, delivers a shadowy reinterpretation of 'LoveCraft.' Cult With No Name also contribute a brooding electro-ballad version of the same track. Propaganda's own Michael Mertens teams up with longtime collaborator Hans Steingen to re-envision 'Dystopian Waltz,' shifting its time signature to a gripping 4/4 and intensifying its ominous mood for darker dance floors. The range of remixers speaks volumes: from industrial punks Gewalt and synth purists Metroland to ambient pioneers Tangerine Dream, Remix Encounters unites an eclectic group of electronic artists bound by a shared reverence for innovation and Propaganda's distinctive voice." --Patrick Ryder
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CIS 128LP
|
Originally released June 28, 2024. With 2021's Mystery Fields, Phil Heeks delivered a stunning homage to 1970s library LPs and soundtrack compilations, in his debut record as The British Stereo Collective. The long-awaited sequel Iniquitous brings together two-decades-worth of TV music from an alternate reality. Says Phil: "I feel that Volume 2 nails the concept of the TV themes compilation much more successfully, being more varied and more expansive, and with greater authenticity." Once again, this volume of the "Sound Library" is a heart-felt homage to a beloved era of classic themes and channel idents, inspired by the combined influences of Vangelis, Jeff Wayne, Peter Howell, Mike Oldfield, Jean-Michel Jarre, Tangerine Dream, Barry Gray, Francis Monkman, Paddy Kingsland, and countless others. Pressed up on beautiful "green leaves" vinyl and featuring a TV Times referencing insert, the album works as a complete and aesthetically gorgeous time capsule for those who are perennially nostalgic for the golden age of TV. Melodic, eclectic, part-electronic, part-traditional, Iniquitous sits comfortably among your Geoff Love and BBC Themes albums and adds to the ever expanding and impressive body of work that Phil is building.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CIS 152LP
|
Released November 3, 2023. A special Submerge 12" featuring a bunch of reworks of this pivotal track from Apta's album The Pool. Kicking things off, Apta's own rework of the original sees the shadowy textures and droning wall-of-sound backdrop turned into a static-strewn dreamland of a piece, underpinned by a flickering guitar riff, cracked snare drums and fuzzed-out Odyssey strokes before launching into the euphoric half-time vocal refrain. The follow-up sees Clay Pipe boss, illustrator and musician step into her Hardy Tree guise for a beautifully hypnotic waft of wistful folk-tinged electronics and shimmering ambient textures. It's warmly nostalgic, and packed full of all the feel of a lovely Clay Pipe release. Following on from that, modular wizard Polypores takes pieces of the original and stretches them into an organic swell of texture and movement, warping the low basses and flickering modular plinks (and/or plonks) into a beautiful, undulating wall. Flip over and it's none other than the brilliant Pye Corner Audio, providing an organically blooming suite of saturated percussion and woozy drifting oscillators, in peak PCA fashion. There are few artists that can do as much as with little as Martin Jenkins can, and hearing his audio sunshine underpinning the vocal line is breathtaking. It's good to get the ears nice and soothed too before the aural assault and hypnotic spirit-cleansing heft of the legendary Gnod. Dubby throbbing bass and cavernous reverb tear the original into shards and piece it together as a churning, industrial powerhouse before shooting the rest into the endless reaches of space. Closing things out on a space theme is the ideal way to do things too, with Field Lines Cartographer's remix taking things waaay into the outer reaches. Grounding bass churns and stellar synth sweeps float below the modulated vocal line, resulting in a perfectly crafted drone, rich in melody but untethered to the earth.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
PLEXUS 001LP
|
Double LP version. Hailing from the suburbs of Glasgow, this five-piece are best known for their three starry-eyed albums on the renowned Sarah Records -- this being an expanded version of their first (an eight-track 10" at the time). By the tail end of the 1980s the independent music scene in the UK was turning its back on the polish and over-indulgence of the mid-'80s with its gated drums and wallpaper production. And those who weren't stretching the boundaries of sonic innovation had tuned back to the post-punk ethos of ramshackle charm and zealous melody, even dousing the spirit with some political fervor once more. Influences were more likely to be Television and the Television Personalities than MTV. The Orchids and The Sea Urchins were the first two bands to release 7" singles on the Sarah label having previously begun their recording existence on a shared flexi disc in 1987 (The Sea Urchins went on to become Delta, whose classic album Slippin' Out from 2000 will be the second release on Circuitry). The Scottish five-piece released I've Got a Habit and Underneath the Window, Underneath the Sink as EPs before really finding their feet with Lyceum; the tracks, remastered from the original Toad Hall tapes are included on this reissue as are the three songs from the "What Will We Do Next?" 7" (this collection closes with the frazzled stretch that is "Yawn"). Lyceum was originally released in August 1989. The album opens with "It's Only Obvious" and its gloriously youthful chorus of "who needs tomorrow when all I need, all I needed was you." James Hackett somehow appears both forthright and rejected, something that one of their musical heroes The Go-Betweens also had down to a fine art. It barely takes a breath until midway through side two where "Hold On" (sounding suspiciously like an unlikely objective) descends into the intro of "Blue Light," the counted-in "1, 2, 3, 4" whispered like the most hopelessly dejected rally. If that sounds depressing it isn't. This record by The Orchids was a spirited source of comfort for an 18-year-old at the time and still shudders with the best type of melancholy, one that's spirited not indulgent. If you're not familiar with the band's charm, this is where you should begin.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DADA 005X-LP
|
Limited-edition of 500 worldwide on white vinyl. The first in a series of archival releases from Cranes, the band's John Peel Sessions are collected for the first time. Artwork by feted 4AD/v23 sleeve designer Chris Bigg (Cocteau Twins, Pixies etc). Formed in mid-1980s Portsmouth by the brother and sister duo of Jim Shaw (drummer, keyboardist, guitarist, programmer) and Alison Shaw (vocalist, guitarist, bassist), Cranes first appeared in 1986 with Fuse, a self-released and now highly sought-after cassette of demos. Their debut album Self-Non-Self followed in 1989, catching the attention of legendary DJ John Peel, who invited them to record two sessions for his show in 1989 and 1990, the second seeing Mark Francombe (guitarist, keyboardist, bassist) and Matt Cope (guitarist) join ranks to form the line-up who would go on to record multiple albums for Dedicated including the much-loved album, Forever. Cranes now present John Peel Sessions (1989-1990) on their own Dadaphonic label.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DADA 006X-LP
|
Limited-edition of 500 worldwide on magenta vinyl. The Fuse album was remastered at Abbey Road in 2023. The album includes an extra unheard track from the period called New Liberty. Artwork is by Chris Bigg of V23. The second in a series of archive releases by Cranes, Fuse was recorded in Portsmouth, their home town by siblings Alison and Jim Shaw. It originally appeared as a cassette album in 1986 on the Bite Back! label. With an initial run of only 200 copies, over the years this album, with its distinctive purple cover has been highly sought after amongst fans, often exchanging hands for more than £100. Fuse showcases a sparser, darker and more industrial, post punk sound. From the hypnotic allure and rhythmic intensity of the title track to the ferocious and challenging beats of Wrench, the songs are just as mesmerizing as Cranes' later, critically acclaimed releases. Recorded in a garage on a 4-track porta-studio, the band spent many months experimenting and became obsessed with the recording process. Jim Shaw used a very early sampling pedal to create the drum sounds, which were all individually triggered. The only and first "industry" person to hear anything by Cranes at this time was Martin Hannett (legendary producer of Joy Division and New Order). He was looking for unsigned bands to appear on a new music TV show in Manchester and so Ian Binnington from Bite Back! sent him a compilation tape of many Portsmouth bands. Hannett picked out "Fuse (Original Version)" by Cranes and told Ian that the track was "fucking great."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
DE 335LP
|
"Gina X makes her way to Dark Entries for Greatest Fits, a compilation of gems and jams from the eccentric new wave icon. Gina X Performance was formed in Cologne in 1978 when art history student and chanteuse Gina Kikoine teamed up with synth wizard Zeus B. Held. Inspired by Patti Smith and Lou Reed, Kikoine aimed to create 'the absolute union of music, poetry and travesty,' a lofty goal that she most certainly would achieve. 1979 saw the release of the classic first LP, Nice Mover, which put Held's lush electronic production in dialogue with Gina X's deadpan delivery. Songs explore androgyny, decadence, and avant-garde art in a fashion that is stylish, sexy, and more than a touch transgressive. Nice Mover quickly became a cult favorite thanks to tracks like the euphoric 'Nice Mover' and the dancefloor bomb 'No G.D.M.,' dedicated to queer icon Quentin Crisp. Three more LPs followed in the coming years: X-Traordinaire in 1980; Voyeur in 1981; and Yinglish in 1984. The duo continued their genre deviance throughout, exploring uptempo space disco on 'Strip Tease,' punk-laced New Wave on 'Babylon Generation,' and icy electro-pop on 'French Lift.' Greatest Fits is the first-ever double LP compilation of Gina X material. The 17 tracks on Greatest Fits were selected by Kikoine and Held, reflecting the duo's most cherished moments from their wide-ranging catalog. The record comes housed in a gatefold sleeve designed by Eloise Shir-Juen Leigh featuring press clippings and photographs, and includes an insert with lyrics and memories about each song from Kikoine and Held."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7CD BOX
|
|
DPRMCDBX 076CD
|
3,900 years ago, in 2010, David Tibet and Andrew Liles decided to ReDream and ReName the first six and two-halves Current 93 albums on Steve Pittis' dirty Dirter label. Now, 3,900 years later, to mark The Death Of The Age, Or Æon, Or Arse, Of Aquarius, they have returned with a CD box-set, consisting of the original vinyl albums in the box-set remastered by Master Monster Liles, and an extra CD featuring C93's album Who Is The Sufferer. The box-set has been taken from the original artwork by Saint Rob Hopeye, and also includes five color cards, and one color poster, painted by David Tibet. Limited to 1,000 copies. The material on these albums and single and postcard, that has now been dreamt and redrawn by Andrew Liles, was originally performed and released by Current 93 on her earlier UnVeiled, Rising, MalD'Aurorian, MoonBled, DayBreaking, Faustian, Suffering, and BlackBird albums and singles. Now Dirter Promotions offers to you all: Nature Revealed, Dogs Blood Ascending, The End Of Red Dreams, Dead At Bar Maldoror, Dusk, Haunt Invocation (Apadno), Who Is The Sufferer. The box-set also includes a 7" single in full-color sleeve, featuring "There's No Hiding From The BlackBird."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DIS 044LP
|
2025 repress; blue vinyl. "This is Fugazi's first full-length record, released in 1990. This 12" LP was re-cut and re-issued In April 2009."
|
viewing 1 To 25 of 130 items
Next >>
|
|