Downbeat | Electronica | Leftfield CD 302 Items

‘Colours Revisited’ is a revision of Adam F’s Mobo Award-winning 1997 debut album, showcasing a rebirth of his groundbreaking work. With restored vintage instruments and new collaborations with UK jazz legends, Adam F recreates his classic tracks. This 2cd/3lp release includes reworked versions of hits like "Metropolis" and "Music In My Mind" and features contributions from vocalists like Kirsty Hawkshaw and the late MC Conrad, adding fresh life to the original material. The album seamlessly blends live instrumentation with 80s British electronica and jazz fusion, making it a must-have for drum & bass and electronic music fans. A free download card accompanies the vinyl releases, offering additional remixes and exclusive digital tracks.

Following their 2024 reissue of Hiroshi Yoshimura’s classic album, Surround, Temporal Drift proudly presents the first-ever reissue of Flora, Yoshimura’s underappreciated ambient classic. Flora was originally recorded and completed in 1987, and remained unreleased until 2006, nearly three years after Yoshimura’s passing in 2003. The album is chronologically and stylistically a follow-up to his acclaimed 1986 works Green and Surround, wherein Yoshimura continues to play with the ambience of sound and the sound of ambience, underscoring his mastery in the field of environmental music. Yoshimura’s other recorded works include Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and Pier & Loft (1983), commissioned as accompaniment to a contemporary fashion show. "Flora is an album that is listened to perpetually, Passed on from one listener to another, And the charm of the sound- and music-loving figure known as Hiroshi Yoshimura, Just might come drifting through. Like the scent of a small flower." — Junichi Konuma

Brock Van Wey aka Bvdub has become a core part of the Past Inside The Present label in recent times and now he cements that once more with another superb new album to kick off 2025 on the right foot. It's the perfect CD to go to if you want some calm and pace, some tranquillity and a place to lose yourself in some lush ambient. All of these pieces are perfectly layered up with delicate keys offset by smeared chords, distant drones adding some weight while the beauty comes in the foreground and ever-shifting patterns. It's a rich, involving world of ambient perfection.

Laurent Garnier is joining the ‘fabric presents’ mix series, and details are now out on this bespoke milestone release. The trailblazing DJ and producer is doing not one but four mixes as he embraces an opportunity to go even bigger for the London institution in its 25th groundbreaking year. A full-spectrum and multi-genre release, there’s a UK-focus, house, techno and downtempo mix. In his words, “diversity makes it richer, makes it better.” Eager to pay homage to the vitality of club culture, his vision is to take us through a rapturous weekend at fabric from Friday through to the afters. Making it even more unique, he’s also dropping an original four-track EP - one track per genre.

Garnier: “Clubs have been my second home since the start of my career. Once you’ve witnessed that unique connection you can create in a club with a crowd, once you’ve experienced it from behind the decks, you just know you are where you’re meant to be. This special journey with fabric is of course a tribute to the legendary London club - a place that’s been a home to so many clubbers, DJs and music-lovers for so many years - but most of all, a tribute to all the dancefloors and all the clubs around the world.”

Ploughing through hundreds of records a day, it’s no surprise to hear Garnier describe the track selection process as being “complicated”. His enriching trip through fabric spans over five hours with each mix coming in at 1 hour 20 minutes. Across all four, it’s clear that he’s immersed in the present and future-focussed with a majority of the chosen records dropping only in the last three years.

The House Odyssey mix kicks off with afro house via South African producer Mr. Blasé, and the vibrancy continues through cuts from Cape Verde to Chicago as newer faces Culoe De Song, Neinzer and Tal Fussman meet linchpins DJ Spen, DJ Lady D and Mike Dunn. In techno, his Rhythmic Resonance mix is searing with high impact moments from Red Axes, John Tejada, Electric Rescue, Works of Intent, and himself as three of his own epic productions feature. A UK-focus underpins Garnier’s nod to fabric’s fervent bass devotees with the Into The Low-End session featuring Skrillex, MC GQ, Sami Virji and Martin Badder. On The Way Home sidles up to clubbers for a downtempo dust down with stunning explorations from Daudi Matsiko, Adriano Koch, Richie Culver and Melody Gardot, among others.

His EP further showcases his mastery of genres. Luminous house cut ‘Odyssée Maison’ is in for spirited dancefloor grabs with Dan Diamond on vocals, while ‘Resonances From The D’ is for techno heads, glued together with tumbling rhythms, soaring synths and scattering hi-hats. ‘Playing With The Low-End’ is the bass-doused maze that looms large before ‘On The Way Home’ brings a shower of orbiting synths.

One for collectors, especially as the uniquely-packaged deluxe vinyl and CD are limited editions, it drops as physical-only on 29th November. The deluxe LP includes a bespoke box, Colored Vinyl of the mixes and 12” EP and a picture booklet of Garnier. The CD comes with embossed ‘25 Years of fabric’ aluminium cases and the booklet.

Celebrate this milestone with the exclusive deluxe version, featuring bespoke fabric 25 tins for each CD, a signed postcard from Laurent, and a booklet filled with photos. This stunning package includes Laurent’s mixes in their entirety, presented in a mixed CD format.

James Clements (asc) has been one of the most highly regarded artists in ambient, ambient techno and IDM scene since his evolution into the sound about 15 years ago. His ability to create deep soundscapes over lush beats and atmospheres come from his liquid drum n bass background prior to working with more cinematic tracks. ASC is back with a new release and it finds a home at the Past Inside the Present stable where he had put out a few EPs on the last couple years. This haunting and beautiful release Loss, explores various moods and atmospheres to great success. Tracks like the amazing and spacious 'Sensory Disintegration' to the poignant 'What More Can Be Said' which adds a lush airspace to a stunning piano piece. Some soundscapes are majestic and triumphant while others are minimal and then foreboding. New age and ambient fans will rejoice after hearing this magical album. Available in limited quantities so act quickly! Comes with download code inside.

Due to popular demand, Indigo Soul are releasing a limited edition one-off Vinyl press of Catching Flies' first EP 'The Stars' on Vinyl to mark it's 10 year anniversary. Support for the EP came from the likes of Gilles Peterson, Bonobo, Odesza, Lauren Laverne, iD Magazine, Clash Magazine, Mixmag, NME, The Line of Best Fit and more.
Catching Flies – aka multi-instrumentalist, producer and DJ George King – is the very model of a modern musician. He blurs the boundaries between mainstream and underground, and between electronic and "real" music as easily as the biggest and the best. His music is a bass heavy yet melodic mesh of broody electronics and intricate rhythms, containing shades of everything from hip-hop to house, from soul to jazz.

The Stars was followed up by Catching Flies' debut album 'Silver Linings' in July 2019. Containing shades of everything from hip-hop to house, from soul to jazz, it was hailed as 'a soundtrack to Summertime' by the 405 - and was awarded album of the month by Future Music who described it as 'a brilliantly eclectic record… a moving journey that will last long in the memory.' Clash Magazine praised the LP's 'killer beats' and 'artfully orchestrated introspection,' whilst London In Stereo praised it's 'exceptional production.' Other press coverage for the album included The Guardian, Complex, Nowness, iD Magazine, Dazed & Confused, The Line of Best Fit and more. He has received radio support from the likes of Gilles Peterson, Annie Mac, Lauren Laverne, Mary Anne Hobbes & Huw Stephens. Artist support for 'Silver Linings' has come from the likes of Bonobo, Jungle, Loyle Carner, Nils Frahm, George Fitzgerald and Lane 8. He toured the album performing headline Live shows throughout the UK, Europe, Asia and North America, as well as DJ shows at Bonobo's 'outlier' event series in Europe and North America. He was also recently nominated for a Bafta ('Best Music' category) for his soundtrack work on a video game.

Alessandro Cortini's acclaimed 'Forse' series is available for the first time on CD including an exclusive disc of 'Forse' performed live. Packaged in matte coated digipacks housed in a heavy duty tip-on style outer box. 2021 digital master by Stephan Mathieu.

Composed using only an original Buchla Music Easel, an incredibly rare electronic music instrument designed by Don Buchla, the Forse series features long, romantic compositions full of voluminous, bombastic tones and dripping with thick timbre.

15 tracks by Attica Blues, DJ Krush, Unkle, Howie B ...

2CD LIMITED TO 1000 COPIES

The next installment of MFM's popular multi-artist compilation Virtual Dreams: 'Virtual Dreams - Ambient Explorations In The House And Techno Age, Japan 1993-1999'. As with Part One, released in 2020, 'Virtual Dreams II' shines a light on house and techno-adjacent music that helped redefine the definition of ambient music during the 1990s.

The focus of Part One heavily fell on music from techno and house producers in Europe, eagerly exploring new soundtracks for chill-out rooms and re-imagining the potential future of club culture from new perspectives. For Part Two, we narrow the lens to focus on a unique time and place, namely Japan between 1993-1999. Despite missing out on the 'Acid House Fever', club culture was beginning to take shape in Japan during the early '90s. In contrast to the rest of the world, where ambient techno / IDM emerged as a by-product or response to the scene, 'listening techno', as it is known in Japan, was a central pillar of the culture right from the start.

'Virtual Dreams II' aims to shine a light on this unique moment in time where the thread of ambient music weaved its way through the music of an emerging club culture. This period saw the birth of many great Japanese techno labels such as Sublime Records, Transonic Records, Syzygy Records, Frogman Records, and Form@ Records, following in the late '90s. 'Virtual Dreams II' features ambient, chill-out, and intelligent techno from these leading labels alongside other lesser-known but equally influential imprints, as well as ambient deviations from Japanese house producers. Much of the music featured has only ever been released on CD.

'Virtual Dreams II' is compiled by Eiji Taniguchi and Jamie Tiller, who have worked closely together on previous Music From Memory releases such as 'Heisei No Oto' and 'Dream Dolphin - Gaia'. It is also the final project Jamie Tiller worked on before his tragic passing in 2023. Jamie had been researching, planning, and compiling this version of Virtual Dreams even before the first chapter was released, believing that there were many great tracks in Japan that fit the concept of the series. Knowing how much love and energy he put into compiling it gives it an extra special place in our hearts.

Compiled by Jamie Tiller and Eiji Taniguchi with artwork by Kenta Senekt, design by Steele Bonus and liner notes by Itaru W. Mita,

"Northern Michigan Snowstorms" is an auditory journey that captures the serene beauty and introspective magic of stormy winters nights in the countryside. Each track transports listeneres to cozy cottages nesteld in tall pines. Music that mirrors the serene solitude of a snowy evening, where time slows, allowing the listener to be enveloped in a cocoon of sonic wonder. Ambient layers mimic the gentle wishpering of the wind through snow covered branches. Eight tracks of blurry loops, soft pads, and recordings of snowfall in the forest. An immersive experience designed to transport you to the hear of nature's winter wonderland, all white nesteld in the confort of your favorite retreat. Another "monumental" work by Rod Modell.

“Less than a month after one of the most violent fire events in the history of the continent, new shoots had burst through the scorched hardpan, nourished by the still-vital roots of those flayed and blackened trees.” John Vaillant, Fire Weather

Loscil (aka Scott Morgan) returns to Kranky with Lake Fire, a nine-track offering of ash-laden sonics that mine the tension within the cycle of destruction and rejuvenation. Lake Fire is the result of a disjointed creative process. Originally conceived as a suite for electronics and ensemble, most of the original compositions were deserted, save for “Ash Clouds,” featuring James Meager on double bass. The remaining tracks were reshaped and remixed, built anew out of the remnants of the abandoned work. The result is a phoenix, an album burnt to the ground only to be reassembled out of its cinders. Fragments of the original lurk beneath a densely overpainted canvas of sound.

Infused into the resulting rearrangements are impressions from a road trip into the mountains marking a personal half-century milestone, surrounded by the ominous proximity of wildfires and dense smoke; celebrating life while the world burns. The album’s title comes from the striking irony that forest fires are often named after regional lakes—perhaps subconsciously referencing ancient lore. The cover photos were taken from this same trip, while sitting in a rowboat staring into the grey abyss of an opposing mountainside outside of Revelstoke, BC, obfuscated by smoke from a nearby lake fire.

Modal Analysis proudly presents Het Zweet - Archives Volume 1: 1982-1988, a compilation of the Dutch outsider legend painstakingly picked from over 100 hours of unheard tape. An early electronic pioneer who deployed an array of homemade instruments alongside synths and a tape recorder to craft his searching sound, Marien Van Oers occupies a lonely branch on the tree of this music's early efforts, sliding between pounding industrial grooves, ambient fragments, and extended, entrancing compositions bridging this divide. Most closely akin to Muslimgauze, Test Dept. or Fad Gadget, who shared his outsider practice while remaining thoroughly entrenched in contemporary sounds, Het Zweet is striking for his diversity and for its meticulous composition, formed of carefully arranged layers of sonic detritus culled from his collection of homemade devices and electronic distortions. Finally rising to greater exposure since his death in 2013, Modal Analysis passionately continues this mission with our first volume of archives dedicated to the memory of this bold innovator gone before his time.

Wrwtfww Records couldn't be happier to announce the release of Yutaka Hirose’s never-heard before 11-track collection Trace: Sound Design Works 1986-1989, available on double LP and double CD, with liner notes from the artist.

Trace is a collection of 11 unreleased tracks produced by Yutaka Hirose between 1986 and 1989, during the Sound Process Design sessions, right after the release of his classic Soundscape series album Nova. Sound Process Design was Satoshi Ashikawa's label, home of the Wave Notation trilogy (Hiroshi Yoshimura’s Music For Nine Postcards, Satsuki Shibano's Erik Satie 1866-1925 and Satoshi Ashikawa's Still Way). Following Wave Notation, Sound Process Design worked with museums, cafes and bars to create site-specific soundscapes, starting with the sound design of the Kushiro Museum. Yutaka Hirose was called to work on these projects.

Rather than simply providing pre-recorded compositions, Hirose sought to create a "sound scenery". To achieve this, he participated in the conception of the space and paid particular attention to the accidental combination of sounds by placing the speakers, using a multi-sound source, and following the concept of "sculpturing time through sound".

The composer explains: "sculpturing time through sound means that time, the space itself, the sound played in it, and the audience all become one sculpture. It is close to the idea of a Japanese tea ceremony where you use all of your 5 (or 6) senses to taste the tea."

Trace: Sound Design Works 1986-1989 is divided into two parts. The Reflection segment is based on an ambient soundscape. It narrates "a sleep that starts with the sound of water droplets at dawn and slowly disappears into darkness" and feels like a natural and soothing progression of Nova. It was played in entrance halls, at events, in cafes and bars. The Voice from Past Technology segment expresses the dream world born out of that sleep and is based on what Yukata Hirose calls hardcore ambient, environmental music with a noise approach. It was played in museums and science centers.

All in all, Trace is a crucial addition to every Japanese environmental music fan’s collection, alongside Midori Takada’s Through The Looking Glass, Hiroshi Yoshimura’s Green, Satoshi Ashikawa’s Still Way, Motohiko Hamase’s Notes of Forestry, Inoyamaland’s Danzindan-Pojidon, and Yutaka Hirose’s very own Nova.

2022 repress

Hot as lava! Broken English Club delivers the 4th chapter of Jealous God! Comes as usual with a Mix CD.

Music From Memory are excited to present the first compilation of works by British electronic pioneers MLO aka Peter Smith and Jon Tye. Titled ‘Oumuamua’ and second up in the Virtual Dreams series, the compilation is an in-depth artist focused release containing twelve thoughtfully selected tracks that touch on highlights from the duo’s discography as well as newly (re)discovered music drawn from a vast archive of unreleased pieces, sketches and extended jams recorded between 1993-1995.

MLO’s ambient explorations began when Pete and Jon, having first met in rival punk bands during the late ‘70s, found themselves with unlimited access to an incredibly well-equipped studio, having been hired to produce an Icelandic pop star’s record in the early ‘90s. Particularly charmed by the Korg PS 3300 and an Emulator 2, Smith and Tye were also deeply fascinated by outer space and set about developing a musical landscape informed by both this new state of the art musical equipment and what lay beyond the Earth’s limits. Painting with a palette informed by classical minimalism, new age and the works of Cluster & Eno; the duos primary colours were drones, sustained tones, washes, calming tides, gentle temple bells and soft angelic voices with flickering glimpses of percussion and drums that hinted at the possibilities of a dance floor.

‘Oumuamua’ is a collection of music to get lost-in, a wander down the mazed, mirrored corridors of the subconscious. Peaceful, flowing, fresh-water patterns, drawing the listener toward a mediative, inner space. Not strictly ambient, rather the music rests temporarily within the boundaries between drum ‘n’ bass, library music, soundtracks and Techno. Or how Jon Tye himself puts it: “It really feels like music from a different place, a different time, made by different people.”

Artwork by Vica Pacheco, design by Steele Bonus, liner notes by Dr. Rob

New 50-minute opus from Gothenburg Sound Workshop. Imagine a handcuffed Terry Riley driving a ice cream truck down in the Göta Älv. The second disc compiles both Förlag För Fri Musik albums (released in small vinyl editions in 2020 and 2021 respectively). Together the three albums creates a massive trilogy of stripped down, melancholic and introspective synth minimalism. Six-panel digipack, edition of 500 copies. Discreet Music Cd04.

CD Jewel Case With 8 pages Booklet, Pictures , Notes In anticipation of the 35th anniversary next year one of electronic music´s most influential recordings, the legendary E2-E4, from 12.12.1981 does get an official rerelease by Manuel Göttsching on his own Label MG.ART. Carefully overseen by the Master himself

POP – the album that has become widely recognized as the defining moment in which Wolfgang Voigt brought us into a clearing of his deep, psychedelic forest. A landmark release in the GAS odyssey that drew international attention, POP was originally released in 2000 on the iconic Frankfurt imprint MILLE PLATEAUX. POP was heralded by Pitchfork at the time of release as being “an exercise in sonic texture… pure sonic velvet, the layered drone radiating a palpable warmth.”

POP has since been reissued in 2016 as a part of GAS “BOX” (now out of print) and finally now, POP is released on KOMPAKT – for the first time on CD in its original artwork.

Please note: This CD is a single release of the GAS BOX released in 2016.

Music From Memory is delighted to be turning 50 with a special release: Mfm050 - V/A - Virtual Dreams: Ambient Explorations In The House & Techno Age, 1993-1997 (3xLP/2xCD). The first in a series of compilations, alongside more in depth artist-focused releases, Virtual Dreams will delve into music produced during the 1990’s that redefined the boundaries of ‘Ambient’. This was music that explored the possibilities of Ambient music within a new setting, created often by House & Techno music producers for a world beyond dance floors but made very much with the pre and post-clubbing listener in mind. When House and Techno exploded out of America in the mid 1980s a whole generation was redefined not only musically but also culturally and chemically speaking. Peaking, quite literally, with a second ‘Summer of Love’ in 1988, millions of young people across the world would experience the life-changing ups of a brave new world but with it of course came the downs; enter the concept of a ‘Chill-out’ room. Whilst early Chill-out rooms lacked a specific sound and were often soundtracked by music such as reggae and soul, slowly young Techno and House producers themselves would become increasingly interested in developing a futuristic ‘Ambient’ soundtrack to a world beyond the thud of the main room. ‘Ambient’ in this new age now though had sharper teeth than in Brian Eno's key text for ‘Music for Airports’, instead here the sounds were the mode of transport rather than the backdrop. While the melodies were pretty, the soundscape steered away from the pastoral, dreaming of outer-space and technology as opening up exciting new dimensions. Much like in the first Summer Of Love; the musicians were again exploring psychedelic, mind-altering and transcendental possibilities of music. And also much as in the first Summer Of Love, a psychedelic visual language would accompany the music. Though now the tracks could be accompanied by music videos, utilising early CGI techniques, they would look almost entirely to the future: envisioning technology, nature and humanity intertwined in a new Utopian future. Virtual Dreams of a better world. From Ambient and early Chill-out classics, to lesser known one-off projects, as well as Ambient deviations by some of House and Techno’s leading producers, Volume One of Virtual Dreams features tracks by Bedouin Ascent, LA Synthesis, LFO, Marc Hollander, Mark Pritchard & Kirsty Hawkshaw, Richard H. Kirk and more. To celebrate our 50th release the first 1000 copies include a holographic 'Virtual Dreams' sticker plus a special insert poster with artwork by Victoria Pacheco and design by Steele Bonus.

Outro Tempo II: Electronic and Contemporary Music from Brazil, 1984-1996 is the second installment of Music From Memory’s Brazilian series. This volume picks up where the first Outro Tempo left off, shedding light on a new wave of experimentalism that emerged in Brazil in the late 1980s and 1990s. The twenty tracks collected uncover another area of Brazilian music that looked to the future for inspiration. This time it drifts beyond the rainforest and into the pulsating heart of Brazil’s great cities, where it meets a generation of young artists eager to radically change the face of contemporary Brazilian music. In Outro Tempo II the avant garde and pop worlds meld in a haze of percussion and electronics. It presents another uncompromising and magnetic reinterpretation of the limits of Brazilian music. Outro Tempo II is compiled again by John Gómez and features original artwork by Alice Quaresma. The CD version also includes the 2 tracks 'Bruhahá' & 'Eyes' which were released as a separate single on vinyl and were not included in the 2xLP version.

CD Jewel Case. In 1975 I was doing a series of concerts in France with Lutz Ulbrich, where we were presenting "Inventions for Electric Guitar” and other compositions, which we developed together that year. In August, we were invited for two concerts in the South of France, one in the wonderful Roman theater in Arles, the other at the Festival Palace in Cannes.This is where we met the musicians of the German band CAN and the singer Nico, who also played at the festival. After the concerts we stayed together a few days in the beautiful city of Arles. Nico's friend, the French director Philippe Garrel, was working at that time on a film starring Nico, Anita Pallenberg and Dominique Sanda and was looking for music to make you dream. I always recorded most of our concerts, that's how we were able to offer him the piece that we had performed as "encore” in Cannes. It became the main theme of the film. Other parts were recorded during several sessions throughout 1975 in my studio in Berlin. Instruments and electronic devices were relatively simple compared to today's technology: four-track tape recorder, an old Farfisa organ, the beautiful EKO Rhythm Computer (Italian machines controlled by punched cards), the EMS superb guitar-Synthi HiFli and of course, our "usual” guitars. All this combined with the patching, the filtering and echo has produced its own unique sound to "electronic dreams” of the 70s. , Manuel Göttsching 1993 Recorded in 1975 at Studio ROMA, Berlin, with the exception of "Le Berceau de Cristal", recorded during the concert on August 7, 1975 at the Palais du Festival in Cannes.

CD - OP001 - UPC: 827170473867 - Release : 03.09.2013
CD in a 4 pages digipack with silver hotfoil spine.
short info:
Clown & Sunset ended with Angst EP from Valentin Stip. Other People begins with Trust.
Nicolas Jaar's new label releases its first piece: a compilation featuring 12 artists, including 8 exclusive debut releases.
Clown & Sunset is over; it has been replaced by Other People. Other People is a serial label. Like a magazine, we deliver new content each week. Every Sunday, our members receive a new issue.
Other People is based in New York.
Tracklist CD:
1. trust I- will epstein
2. the way i felt today - nikita quasim
3. always back to you - my girl & me
4. qè - quentin pistol
5. kinq - david terranova
6. railroad song - high water
7. gravity - benjha
8. the gap and the grip - acid pauli
9. chronon and echo - triangleline
10. temple - valentin stip
11. break my love - nicolas jaar
12. why didn't you save me - dave harrington remix feat. tamara
13. trust II- will epstein

Into his 25th year as a DJ, Aardvarck comes with his second full length album for Eat Concrete Records. Much in the vein of his Bloom series, but in an album context with songs and lush internoodley bits.. currently on rotation from Thom York.. TIP!
With 'Choice', Aardvarck has created one of his finest selections to date. The 22 tracks go in all directions Aardvarck is known for: from bass-heavy dub to lush soundscapes, broken beats and soul vocals. After a few introducing words by Gaslamp Killer, the beautiful 'Lucky Shot' features vocals by Alexandra. The following cinematic and hypnotising ambient-like pieces are sometimes reminiscent of Boards of Canada and the Aardvarck classic ‘Find the Cow’. From then onward we are treated with songs similar to some of the recent 'Bloom' releases, displaying a taste for heavy bass, beats and dub samples. Yet 'Choice' has more to offer than dj-food alone; the album flows like a mix and keeps a light and fresh vibe along the way with lots of sketches and interludes. Aardvarck also offers some definite classics with 'Heal' and 'Find the Cow Almost', featuring guest vocals on both tracks. Timeless.

Shards is a collection of pieces originally written for various film and TV soundtracks Tim Hecker has scored over the last half decade. These compositions were originally written for scoring projects including Infinity Pool, The North Water, Luzifer, and La Tour.

As part of maintaining The Black Dog's back catalogue, Dust Science has now re-issued the 2010 album, "Further Vexations". It's a real successor to Radio Scarecrow, moving forward with the dark tone and concepts.

Further Vexations picks up from what was started in Radio Scarecrow, moving beyond the world of open secrets and the bemusing transmissions of number stations, to exploring the dark cynicism of Orwellian practices carried out by our Govern- ments, institutions and corporations.

Martin Dust from tBd explained, “Our main concern was and still is the amount of personal freedoms being surrendered under the banner of "for your own safety" – Cctv, Biometrics and the World Wide Databases being the latest inventions to save us from ourselves. What is it going to take for people to wake up? How much further can the people that we’ve put into power go before something finally snaps? We've had enough now! We believe that people have become lazy and accepting of "beige" political parties who have realised if they stand for nothing, people will fall for anything.”

10 years on, the references to George Orwell's 1984 appear to be a little naive and wholly inadequate. From billion-dollar corporate entities openly mishandling our data for profit to highly-targeted and manipulative political propaganda campaigns, the misuse of our data and communications is far more sophisticated and devious than originally envisaged.

The stark omens of Further Vexations are now more prophetic than ever.

Inhmost is an alias of UK-based Simon Huxtable and Future Research Journal Entries: Part I marks his debut album for the peerless US ambient label Past Inside the Present, after albums for stables as illustrious as re:st, Huinali, Tonight's Dream and Spatial. It fits right in with the imprint's vast canon as it's an immersive work described as "a time capsule from a forgotten generation of space travellers." The album follows his collaboration with ASC on The Moons of Saturn and has similarly cosmically-minded themes. Opener 'Visualization of Forever' features calming drones and soft synths, 'Surface of an Untouched Moon' is awash with tranquillity and 'Gravitational Correction' and 'Haunting Silence' capture the fragile boundaries between life and the void. The closing piece, 'Sunrise On A New World' is a final dynamic odyssey that will leave you wanting to start the whole trip again.

Agartha, Personal Meditation Music is a 7CD box set, originally released on cassette in 1986, at the height of New Age, as an aid for meditation and alignment. Bringing to mind 20th century composers like Eliane Radigue, La Monte Young or even Brian Eno's Shutov Assembly, the time-stopping, enveloping, electronic music contained in this series sounds eerily modern, mysterious and moving. Characterized by deep analog drones, rising overtones, floating frequencies surfing on sine-waves and intervals with mystic modulation, this is truly moving, vibrational music.

In Agartha, the individual notes of each Harmonic Triad proceed in a fashion that is neither improvisational nor chance-based, nor is it generative. Instead the music flows outward as if being transmitted— or channeled — from a place outside human consciousness. There is a profound sense of cosmic depth expanding ever outward as the music fills the listener with waves of emotion, and a palpable somatic response is felt, although there are subtle differences with each unique Triad.

Each disc is individually packaged in original replica sleeves and housed in a heavy duty cardboard clamshell box. Digitized and remastered by Jessica Thompson. Liner notes include extensive instructions for use from the original text and an essay by library music scholar David Hollander.

The original edition of Agartha, Personal Meditation Music, featured one 30 minute track per tape repeated on both sides. Subsequent editions had unique Side B tracks on all but two of the 7 volumes. We have included all tracks in this boxed set.

Riyl: Eliane Radigue, Pauline Oliveros, Eleh, Duane Pitre, La Monte Young, Eno, Larajji, Iasos

Marvellous showcase of new wave UK techno talent. This is what's really going on ... stacked CD!

"While playing Dear Ghod you will encounter themes of death, selfishness, erotic obsession, and predation. Your character may be injured, victimised, trapped, or killed. Your character will murder and victimise people of all sorts, possibly including children, animals, loved ones, marginalised people, or themselves. Characters might engage in self-harm or drug abuse. Illness, debilitation, and body horror may come into play. Your character may have their memories altered, they will certainly forget important things. Some of this will emerge from the prompts, some will emerge from the choices you make."https://objectstore.true.nl/rushhourrecords:files/styles/cover_large/storage-api-public/a4201530673_10.jpg?itok=D-TjV12g

Something special for the lovers of Chillsynth and dreamy vocals. Coleurs is here. Listen and enjoy his NRW debut.

Producer Pieter Kock, active also as a DJ under his DJ Peacock guise, is known for being one of the people behind the legendary O Tannenbaum bar and club, a haven of sorts in Berlin nightlife for years, and the newly opened second O Tannenbaum called Schankwirtschafft O Tannenbaum. He has released some of his own music on labels such as Musikii, RIO, Full Body Massage, Fantasy Fiction Records, Moonwalk X, and Invisible Inc, and has extensively collaborated with people and projects such as Meeuw and De Fabriek.

His new Bright Bars From The Stars album on Meakusma is a dizzying amalgam of moods and influences. From ghostly and contemplative tracks to spaced-out and dubbed-out dark dancefloor psychedelia infused with melodics, phrasing, and percussive patterns reminiscent of pop and avant-garde alike, Bright Bars From The Stars features a full album on vinyl, with an extra CD included. Kock is a versatile chronicler of the night, capturing the beauty, loneliness, and endless possibilities of wide avenues pining for neon lights, futuristic descents into past moods and modes, and all.

14 tracks in total, Bright Bars From The Stars is a cosmic, at times gentle, at times confrontational affair that brims with ideas and influences. Combining sounds, rhythms, melodies, and textures from a wide variety of sources and meanings, Pieter Kock brings all of his influences together, intent on finding new paths of thinking and feeling. His pictures printed in the CD booklet give some kind of indication of his artistic process, without ever wanting to push things in any kind of direction. Cocktail bars of a dystopian future, unite! Bright Bars From The Stars is the soundtrack to a very encompassing and transformative night out.

All compositions by Pieter Kock except Bright Bars From The Stars by Pieter Kock and Dominik Peacho Noé Mastering & Cut by Rashad Becker Art by Pieter Kock and Meeuw

With Lucifer, Kompakt presents an album of rare beauty from two masters of modern music. A family affair, it’s a collaboration between the Italian father-and-son duo of Luciano Michelini and Lorenzo Dada, whose combined histories bring to Lucifer a depth of experience alongside clarity of vision and a finely tuned, neatly developed combined compositional voice. A lovely, beguiling suite of music that combines the electronic and the acoustic, the urban and the pastoral, its gorgeous night-eye vision and tender melancholy sits neatly within the Kompakt universe, while offering the curious listener some rich new perspectives.

There is already plenty to know both artists by. Lorenzo Dada creates across multiple fields – a techno producer and DJ who has already worked with the likes of Jay Haze, Fete, Leo Benassi, and Der, he’s released a small clutch of stylish, smartly designed EPs, and a solo album, Second Life (2018). His complementary background in classical music and composition informs his ensemble project, Tears Of Blue (who appear on Lucifer), where Dada paints with neo-classical tones for a quartet of violin, viola, cello and grand piano, supplemented by electronics for live performance.

Luciano Michelini’s history is yet richer. He may be best known, to many, for his piece “Frolic”, the theme to Larry David’s Curb Your Enthusiasm series; it was also sampled by Snoop Dogg for 2022’s “Crip Ya Enthusiasm”. But there’s much more to Michelini’s story. A successful soundtrack composer, Michelini both studied and taught at the Conservatoro di Santa Cecilia, and worked for RCA from the sixties to the eighties; his soundtracks from this period are gorgeous examples of the form, particularly his work for Il Decamerone Nero (1972), L’Isola Degli Uomini Pesce (1979), and the devastatingly gorgeous Dimensione Donna (1977).

In the eighties, Michelini and his wife Anna Gutling founded the Electronic Music Division studio and academy in Rome, which is where the majority of Lucifer was recorded. Dada reflects on the experience: “We never worked together before, so it was all new for both of us,” with Michelini adding, “I truly love this experience with my son. He’s a talented pianist and composer. I am not very familiar with electronic music nowadays, but we did it fluently.” There’s certainly a familial energy at play through Lucifer, and you can hear how Dada and Michelini, through exploration and experiment, find a shared language, balancing Dada’s tendency toward minimalism, and Michelini’s composerly voice.

Lucifer flows as a suite that interweaves electronic music with acoustic instruments: the lonely sigh of saxophone; Michelini’s lush, verdant piano; the weeping strings of Tears Of Blue (recorded at the studio of Michelini’s friend, the late Maestro, Ennio Morricone). These multiple voices are located within the electronic sighs and swarms from Dada’s kit; there are moments of propulsion, and passages of lambent drift, where the album revels in its tonal sweetness. If it flows so effortlessly, that’s because Lucifer was designed that way, as a suite or a sonata of sorts.

And the title? Dada reflects, “Lucifer was an angel who decided not to be one anymore. The miracle of life is that we can decide what we want to be, even if we are born as angels or vice versa.” This feels somehow apposite: there’s certainly something of the transformative, and the transportive, in Lucifer, a unique family collaboration of rare poetry and sensitivity, where two generations meet in the modern crucible that is the electronic music studio.

Ash Ra Tempel is the eponymous debut studio album by the Krautrock band Ash Ra Tempel.
It features guitarist Manuel Göttsching with drummer Klaus Schulze and bassist Hartmut Enke.
Engineered by Conny Plank it was recorded in March 1971 and released in June 1971 on Ohr Records.

Much has been written about the record and band.

Having finished a first musical chapter with their Steeple Chase Bluesband and still at very young age of only 17 and 18 years old Manuel Göttsching and Hartmut Enke met Klaus Schulze. Together they started to write and and compose what, to many,
became one the holy grails of Psychedelic Rock and early Electronic Music -
the German variant which was later also named "Krautrock":

Ash Ra Tempel´s self-titled first album "Ash Ra Tempel".

"The trio of Klaus Schulze, Manuel Göttsching and Hartmut Enke decided to abandon conventional composition and song writing, in favour of free-form improvising and developing a new musical language. As such, they became notorious for jams that could exceed 30 minutes." Says Discogs. "Some of these recordings can be found on Manuel Göttsching´s "The Private Tapes" releases", which will be re-released on MG.ART as well, following this edition.

"Krautrocksampler" author Julian Cope mentioned it to be "… one of the greatest rock 'n' roll LPs ever made." (Julian Cope Presents Head Heritage | Unsung | Reviews | Ash Ra Tempel - Ash Ra Tempel". 15 March 2000.)

AllMusic called the album "both astonishingly prescient and just flat out good, a logical extension of the space-jam-freakout ethos into rarified realms."

Here we would like the Band to be heard, for what can easily be said as the first time in 50+ years, with the exception of some early Journalists for whom the young Manuel Göttsching wrote a statement of intent (the original text can be found inside this edition) as following:

"Our musical concept is based on a combination of blues rock and delicate collages of electronic sound. These two elements should remain inseparable. And in their complex unity, the different musical philosophies of each musician find a common sweet spot. Our music is a permanently impulsive experience left to develop as it will, starting from a common fixed point of departure. This is where the difficulty of the music begins: No standardized formulation of our music can and should be possible. Only the constant reaction within the band can determine the musical result. And this requires constant listening with full concentration on the part of the creators. The idea of a particular musician will be - if flexible enough - absorbed by the others, transposed to their own instrument, and reflected back into the music as an individual contribution. This reciprocity within the band is then transferred over to the audience. And this process means that their reaction is not only a contribution to the end result; it actually makes them jointly responsible for the creation of the final musical product.
…
On our album, the track "Amboss" represents the first layer. Conventional instruments communicate familiar music which is in part expanded through electronic means. In the second track of the album - "Traummaschine" - the actual basic sound approach is dissolved into an electronic Nirvana which no longer allows the concrete identification of actual instruments. Innocent, virgin listening, free from any and every association, can finally begin - and the music can be absorbed and processed free from the limitations of categorization. That is the purpose of our music: To convey freedom without any predetermined criteria or traditions.

Thank you for your attention."
(Taken from the original A-R-T Bio 1970)

Hartmut Enke, Manuel Göttsching and Klaus Schulze aka. Ash Ra Tempel travelled to Hamburg in March 1971 to record their debut, with assistance of another Icon, legendary engineer Conny Plank.
The rest is history.

We proudly announce the CD REmaster Editionof the 1972 Original release , one of the most important German
Krautrock albums - Remastered by Manuel Göttsching himself.
As for the info we refer to Julian Cope´s review in his “Krautrocksampler” Book,
Publisher : Head Heritage (1 Oct. 1995) :
“Beware of Schwingungen!” That should be the large sticker on the front of all copies of this record. For it is dangerous to be casually
introduced to something that is life-changing, as I found out to my cost when first listening to this record.
It all starts fairly simply and without any cause for alarm - “Look at Your Sun” begins with a Doorsy lone groover guitar begins a pedestrian
blues, beautiful. Then the most crushed voice, a cross between Johnny Rotten and Tiny Tim, preaches its way into the proceeds. God, it
is beautiful - John L. repeats over and over, “We are all one, we are all one”, until a howling fuzztone solo guitar blows the whole onechord “Signed D.C.” ringing-cymbals torture to an end. And then the most far out track of all begins. This is called “Flower Must Die” and
it is a free-rock giant that transcends everything else in its field (there are no contenders.) As I've written before, PIL sounds like this. John
L. was John Lydon in a previous incarnation. After a slow weird build, a frantic streamlined one-chord mantra kicks in and it’s like the
Stooges’ Funhouse period but in a Righteous Vision Zone that fucks them right off. Phasing tears at the whole tracks as this Holy Racket
crosses into Hyper-space and everything gets all hyphenated just-for-the-sake-of-it. “Flowers Must Die”, man, it’s fucked up. Over on Side
2, the title-track (“Vibrations”) begins poetically enough with Wolfgang Muller’s epic and hugely reverbed vibraphone. Organ fades in and
FX guitars, and time passes by. Finally, tom-toms roll and the developing pace is built upon until that great eternal chord sequence finally
materialises — this is the one that Göttsching and Enke believed was the sound of heaven.
They may have been right. And Schwingungen was a gift from the Gods.“

“Seven Up” is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with
American Ph.D. in psychology, Dr. Timothy Leary. The Coverart for “Seven Up” was designed by famous
Swiss Artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed
September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik - the
first release on the new sub-label "Kosmische Kuriere", Kat-Nr. KK 58001.
We release “Seven Up” in a Re-Cut carefully overseen by Manuel Göttsching himself, on September 9th
2022, also being Manuel Göttsching´s 70th Birthday. Our Edition features the full original text for the “7 levels
of consciousness” by Timothy Leary in English, i.e. “Instruction Manual for Pleasure Panel” plus a previously
unreleased glimpse view of the original scripts incl. notes and mark ups as well as partly unreleased photos
from the recording session. ->continued on page 2->continued on page 2
As for the music itself we again refer to Julian Cope´s review and remarks from his book “Krautrocksampler”
(published by Head Heritage, 1st ed. 1995):
“When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards...
7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic
group, but even weirder that he chose to sing a wild yelping freaked out blues !
Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the
mid-'60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it
all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer
weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality.
The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it. Hartmut
Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as
the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would
have sounded psychedelic.
7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous
sounds have been allowed to stay, to drift and to dance around the performers.
The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk Technicolour yawn in the
grandest of traditions.
In typical Ash Ra Tempel style, the record is divided into two pieces, “Space” and "Time”. Within this, though,
Timothy Leary’s ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all
segued together. The highlight of Side 1 is “Power Drive”, a West Coast burn-up that transcends any W.
Coast music I ever did hear. Leary and Barritt present the greatest twin-vocal of all time, coming on like
Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away.
In chaos it was conceived and in chaos it was recorded. Yet Dieter Dierks, the great Aural Architect of the
Cosmic Couriers, turned 7Up into a personal triumph and a Kosmische dream.”

Ash Ra Tempel – “Seven Up”
TIMOTHY LEARY - voice
BRIAN BARRITT - voice
MICKY DUWE - voice & flute
LIZ ELLIOTT - voice
BETTINA HOHLS - voice
PORTIA NKOMO - voice
HARTMUT "HAWK" ENKE - bass, guitar & electronics
MANUEL GÖTTSCHING - guitar & electronics
STEVE A. - organ & electronics
DIETMAR BURMEISTER - drums
TOMMY ENGEL - drums
DIETER DIERKS - synthesizer & Radio Downtown

REINHOLD FRIEDL (piano) meets RADIAN member MARTIN SIEWERT (guitar, electronics): Three spontaneous sonic explorations - subtle and explosive ! With over a dozen releases on Karlrecords, and a total output of more than 100 albums in general, Reinhold Friedl doesn’t need much of an introduction to anyone interested in contemporary music / avantgarde: his ensemble zeitkratzer is as respected as it is feared for its radical approach on music, and it seems redundant to mention all collaborators and projects. Friedl is known for his unique piano sound, his advanced techniques, and his musical intensity paired with precise exuberant sound constructions and consistent compositional thinking. He cooperated with musicans from P hil Niblock to L ou Reed , Mario Bertoncini ( Gruppo di Improvvisazione Nuova Consonanza ) to Whitehouse, Laurie Anderson to R ashad Becker and works as guest professor at various universities across Europe. The “multi-talented renaissance man” (as Naut Human turned it) is also known as a specialist for Iannis Xenakis, and curates the Perihel series on Karlrecords. „Lichtung“ is the collaboration of Friedl and no other than Vienna-based Martin Siewert, himself a highly prolific and reputated innovative guitar player and producer in groups like Radian or Trapist. Martin Siewert played with the who is who in experimental and improvised music and celebrated his strong musical identity in international collaborations with Otomo Yoshihide to Oren Ambarchi, Meg Stuart to Christian Fennesz, Sainkho Namtchylak to The Necks. Siewerts guitar play at the intersection of acoustic / electronic generated sounds is unique, evoking echoes of krautrock and musique concrete to electronic jazz and avantgarde. “Lichtung” was recorded in Vienna: Several studio meetings condensed to three intense tracks, a statement and musical adventure between noise and silence, subtle and explosive! Two musicians, who couldn’t be more diverse, here – in every sense – they act in concert

Prolific Georgian sound artist and composer Natalie Beridze (fka TBA) returns to Room40 with an elegant set
of uncanny vocal treatments, smudging artificial cries into endless, frozen echoes.
When we last spotted her on Room40, Beridze collected up 14 years of unreleased tracks on the brilliant
‘Of Which One Knows’, showing her understanding of ambient chamber music. ‘If We Could Hear’ is a more
recent suite that centers its energy around vocals, but those voices are probably not real. And for an artist
so notorious for her command of song forms, it’s a bold move to take such a different approach. Honestly, it’s
hard to tell that the vocals are synthesized, even; the first time we played ‘If We Could Hear’, we would have
sworn it was Beridze singing. But focus a little closer and the cracks appear. On the extended ‘Who hears it
all’, the sound artist rubberizes a virtual choir, prodding it and pulling it to accentuate the uncanny qualities.
Freezing phrases in time and granulating them so they become gusty pads, Beridze provides an unstable,
anxious ambience, and when she disrupts the relative calm with tape-saturated screams, it’s genuinely
unnerving.
‘Who wakes the dawn’ is a little less bone-rattling, but no less enigmatic. This time an operatic solo voice
leads, sometimes sounding painfully human, before Beridze uses discreet tells to remind us we’re listening
to a synthesizer. Each track uses a similar sonic palette but appears to approach a different musical form:
‘Who whispers to hysteria’ sounds like AI church music, and ‘Who dwells in possibility’ is a Michael Nyman
opera conducted by robots. It’s disquieting material that provides us with plenty of food for thought. Certainly
worth a look if you’ve exhausted Lee Gamble’s ‘Models’ already.

iDEAL mainstay and PAN alum Sewer Election peers at noise thru a vaseline smeared lens on 'Sweet Distractions', chopping and screwing noirish oversaturated instrumental loops into a zoned-out concrète symphony - peak listening for fans of The Caretaker, Aaron Dilloway, Basinski, Robert Turman or Lussuria.

For almost a quarter century now, Johansson has been skirting the edges of harsh noise; sure, albums like 2009's 'Vidöppna Sår' coughed black metal phlegm over misanthropic power electronix and 2022's 'horse Utopie' made Merzbow sound mild mannered, but 2017's ace 'Malign' slopped ferric environmental recordings with metallic clattering and Jandek-like guitar vamps, and last year's 'Psychic Panorama II' came off like a fanged redux of psychedelic synth music - icy and minimal but rusted to fuck. 'Sweet Distractions' embarks on another stylistic side-quest, seemingly following the blueprint laid out on 'Malign' highlight 'Dream Bizarre' and building it out to album length, using busted reel-to-reel machines to texturize gunky big band loops, off-center piano phrases and deranged orchestral whines.

Johansson doesn't need much here; the 37-minute track begins with a sputter of moderated tape noise, and springy, stretched-out chimes gingerly emerge from the clouds of tape hiss. Not processed, reverb-sogged and drowned within an inch of its life, the material sounds like raw tape being spooled around reels on the fly - the percussive crackles generated from the malfunctioning equipment are just as important as the diegetic elements. Johansson creates a loping rhythm from his twists of tape, not noticeably at first, but as the oscillating moans and pops begin to take shape, there's a tidal momentum that washes thru the sounds. Muffled voices, strings and brass moans appear in the fuzz, and Johansson progressively dusts off more and more of the muck until a perceptible slowed-down loop stutters into the foreground.

Like Basinski's timeless 'Disintegration Loops' cycle, 'Sweet Distractions' takes the emphasis away from the loops themselves and towards the artifacts and oddities they belch out as they circle across the busted tape heads. Fragments fall away at seemingly random intervals and vinyl crackle almost overtakes the fluttering instrumental lamentations - on some level it's still noise, but Johansson is able to wander towards the aesthetic and avoid jarring cacophony, instead honing in on repetition, grain and murkiness. It's brilliant stuff, skillfully performed and scorched in the best possible way.

Box set featuring remixes of the song “Innocence”

Finally, it's here: the new Kettel! And we certainly know we're on the Kettel estate: the delicate melodies, complex orchestrations, and the crisp sound design offer familiar musicality. The new Kettel hasn't skimped on ideas and details, and each track opens a courtyard that rewards surrender and attention--we want to linger there. One thing is clear from Dubio: if you thought you'd heard all of Kettel by now, you're mistaken. In the new Kettel, doubt (dubio in Latin) and dissonance have also become part of the beauty--and in doing so, it breathes more character and liveliness than ever.

Kali Malone's The Sacrificial Code is the 2019 breakthrough album of the acclaimed composer's pipe organ pieces. Her temporally informed studies of harmonics and intonation breathed life into a suite of compositions which leaves the heart moved and mind still. This 2025 edition was mastered by Rashad Becker and features a new track Sacrificial Code III. Pitchfork praised the album for its "time-stretching properties" and "clean minimalism." Resident Advisor described the album as an "exercise in concentration, restraint, and focus." Tiny Mix Tapes emphasized the "intensity and intimacy" of the album, pointing out how Malone's close miking technique brings out every textural detail of the organ, creating a highly focused and immersive listening experience.

Stiroll s Sofia marks their return to Greyscale with a full-length album capturing the rhythm of a day in suburban life. From the serene dawn to the reflective night, each track paints a vivid sonic picture of awakening, activity, and rest. This introspective yet expansive album weaves everyday moments into a rich, atmospheric journey.

"Pickled Eggs and Sherbet is the sole album by English electronic group All Seeing I - the production trio of Dean Honer, Jason Buckle and Richard Barrett (aka DJ Parrot).

"Part of the late nineties big beat / trip hop scene, it brought together many disparate threads of the Sheffield's music scene past (and then) present including contributions from the likes of cabaret crooner Tony Christie, Human League frontman Phil Oakey and Pulp's Jarvis Cocker.

"Lead single "The Beat Goes On" which had a huge viral moment on TikTok and social media in 2022, becoming one of the most widely used 'Sounds' in recent years accruing 2.4 billion views and 162k creations.

"The follow up 'Walk Like A Panther' peaked at #10 in the UK Singles Chart. Featuring vocals from Tony Christie, it became his first hit single in 25 years.

"London Records have remastered & re-issued the cult-classic album :
1.for the very first time on vinyl ! As collector Red & Yellow Double LP.
2.with an expanded and remastered 2CD edition to boot, including rare b-sides from lost CD singles, new mixes from DJ Parrot and more.