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Copy closer to NM. Cover with slightly bumped corner

2017 reissue. Still sealed

Cover and vinyl are close to NM

Vinyl with scuffs and hairlines. Generic label cover

Vinyl with a couple of light scuffs, closer to VG+. 2 Black labels, on some copies one label is written with a marker "Instruments Of Darkness'' (not on this copy).

In 2009, The Bloody Beetroots and Steve Aoki changed the course of dance music forever with "Warp 1.9." Through three minutes and twenty-four seconds of raw, unparalleled punk rock energy, the pair ushered in the next wave of youth culture, inspiring kids to trade in their guitars for Serato and turntables along the way. Aoki's bleeding screams over heavily distorted, compressed instrumentation helped "Warp" become perhaps the definitive song of the late 00's electro era. The official "10 Year Anniversary: 2009-2019" package celebrates the legacy of "Warp," featuring "1.9" alongside versions "1977," "7.7," and the 2016 reboot "2.0."

"Escapism" is the second album produced by Piotr Rajski also known as Pepe.. Once again, he offered us music that is hard to close in one genre and is best described by the artist himself: At the time of creating this album, the world was absolutely dominated by the pandemic turning our lives upside down. Writing new music has became a way to escape from disturbing reality.
According to Paweł Bartnik who also mixed and mastered my first album "Afterimages", the second one is more colourful and vivid. I think he described well the idea I had in mind while recording the new tracks. I wanted them to stay in that dreamy tone which can't be referred to only one genre.
The record was pressed on 180g vinyl.

Limited version was made in 100 copies - each vinyl record has a different splatter color! "Very Limited Surprise Edition"

I found "Escapism" a great opportunity to combine my UK inspirations ("Vanity Fair", "wqrwy") and rap fascinations from Money Sex Records or Tartelet Records ("Realizm Magiczny"). While working on the album my biggest inspirations were i.a. Madlib, D'Angelo, Samiyam, Ras G, Jai Paul and Overmono. I'm extremely happy I could create some of the songs with such talented people as Moo Latte, Kasia Siepka from Byty, Paulina Przybysz, Immortal Onion, Baasch and Wuja HZG. Everyone's unique personality enriched the sound and compositions on the album.
The cover was designed by Beata Śliwińska "Barrakuz" and it's based on the summer photo taken by Kuba Olachowski. It's worth mentioning that it was created using analog collage technique.
And where did the title come from? The songs on the album are for me the way to escape from the pandemic and explore new musical areas. I just wanted to forget about all the laws, quarantines and restrictions. Imagination turned out to be the perfect cure for this.

"We are excited to reissue Kuedo's classic 2011 album 'Severant' on double vinyl for the first time, and with a bonus track 'Work, Live &
Sleep In Collapsing Space'. The cover artwork has been redesigned by Raf Rennie (Who also designed Kuedo's recent album on
Brainfeeder, Infinite Window). In terms of feeling, ‘Severant’ explores the space between the detached world of the imagination and the
real-time world; that feeling of coming out of a daydream, on the edge of the drift from the day-to-day grind. Jamie says of this moment
”As reality shapes imagination and escapism affects your choices in the real world, there is a strange relational loop between the two
and the space in between the two. There’s a bitter sweetness in that gap, it has a certain emotive quality, kind of in between being and
non-being”. Again, musically ‘Severant’ is inspired by related themes. It sounds as if it’s in a sweet spot between the emotive, innately
futurist synth soundtracks of Tangerine Dream and Vangelis, borne from a time when the very idea of futurism was more prevalent, in
combination with musical ideas and inspiration from the emotionally ambivalent, materialist fantasies of ‘coke rap‘ such as The Clipse.
Rhythmically the record is influenced by what Jamie calls ”the two ultra modern musics of modern times”, footwork from Chicago, which
Planet Mu has explored in depth on its recent releases, and again the drum machine grids of coke rap. Jamie says ”I wanted to capture
a really futurist sentiment, kind of melancholy and grand luminescent, so I used the instrument that most evokes that for me - that
sweeping Vangelis brass sound.” And on coke rap he talks about the emotional ‘half being’ of the music, the energetically charged,
detached ambivalence of the MCs, and the admission that the MCs could be ”fantasising without admitting to doing so.”

Das italienische Duo Agents Of Time war in den letzten Jahren unglaublich fleißig, von der Veröffentlichung einer Reihe klassischer Singles - darunter ihre jüngster Beitrag für Afterlife, "The Mirage", der mehr als fünf Millionen Aufrufe auf Instagram erhielt - bis hin zum Remix von The Weeknds "Take My Breath", der auf dessen aktuellen Album “Dawn FM (Alternative World)” erschien. Aber die bahnbrechendeste Neuigkeit ist erst jetzt endlich da - ihr zweites Album "Universo" ist fertig! “Universo" verbindet ihr Markenzeichen, melodischen Techno, mit einer besonderen Pop-Haltung und findet nach der EP "Music Made Paradise 2020" sein ideales Zuhause bei Kompakt. Eine Seelenverwandtschaft, die absolut Sinn macht.

Andrea Di Ceglie und Luigi Tutolo, die beiden Mitglieder von Agents Of Time, nutzten die Zeit während der Pandemie, um an "Universo" zu arbeiten, einem Album, das lose um ihr "persönliches Universum" herum konzipiert ist, eine Manifestation der Welt, die Di Ceglie und Tutolo in und um ihr Studio herum aufgebaut haben. Das macht den besonderen Glanz und die strahlende Helligkeit von "Universo" aus - es strotzt nur so von Persönlichkeit, Elan und Kraft, das Duo experimentiert mit Musik und erkundet auch noch deren entfernteste Ecken. Wer bei "Universo" nur ein weiteres Album mit melodischem Techno erwartet, wird angenehm überrascht sein - hier ist viel mehr los, und alles ist gleichermaßen spannend.

Nach einer poetischen Eröffnungsgeste - dem wirbelnden, synästhetischen, selbstbetitelten Intro-Track - werden mit dem 2-Step-Pop von “Fallin” alle Erwartungen sofort über den Haufen geworfen. Mit sanfter Klarheit von Gastsängerin Audrey Janssens gesungen, ist “Fallin” ein Traum von einem Song, der an die großen Zeiten von UK-Garage in den frühen 00er Jahre erinnert. "Interstellar Cowboy" ist ein selbstbewusstes, geschmeidig über den Laufsteg stolzierender Disco-Track; das sanfte Moll-Klavier von "Liquid Fantasy" entwickelt sich zu einem wunderbar melancholischen Techno-Pop-Epos, mit Vicky Who?’s Stimme voller Sehnsucht . Danach taucht auch Janssens Gesang auf dem Elektro-Wirbel von "Poison" wieder auf; "Dream Vision" greift die Single "The Mirage" auf, sanft und mit schwungvollen Streichern, voller Dramatik; "Part Of Life" dagegen ist ein echter Schaffel-Stomp.

All der Abwechslungsreichtum lässt eher tanzflächenorientierte Tracks wie "Ciao" noch deutlicher hervortreten - sie wirken noch entschlossener, stromlinienförmiger und dennoch reich an Details, pluckernde, Moroder-eske Bässe treffen auf stroboskopisch blitzende Synths, von denen aus die Melodien ins Firmament schießen. “Universo” fühlt sich textlich dicht an, aber es atmet trotzdem, seine Klänge sind so greifbar, dass man sie anfassen möchte, seine Melodien so verführerisch, dass man sie nicht mehr aus dem Kopf bekommt. “Universo” ist ein wunderschönes, mutiges Album, ein perfekter Treffpunkt von Pop-Melodien und stilvollem Techno: Agents Of Time in excelsis.

close to NM. Limited edition

Dame Area's highly anticipated fourth studio album, "Toda la verdad sobre Dame Area" ("The Whole Truth about Dame Area"), a collaboration with the renowned labels Mannequin Records and Humo Records.

Formed in 2017 within the vibrant underground scene of Barcelona's Màgia Roja club, Dame Area comprises the Italian-Catalan duo Silvia Konstance and Viktor Lux Crux. They fuse industrial-tribal polyrhythms with minimalist synth basslines, drawing profound inspiration from avant-garde masters such as Esplendor Geometrico, Throbbing Gristle, Suicide, Einstürzende Neubauten, Can, Coil, Swans, Big Black, and Wolf Eyes.

This record represents a new phase in Dame Area's discography. It's a big step up in terms of sound, composition and ideas. This record it's the perfect representation of what they have been playing live the last three years and what most people know them for. Also it serves as a companion piece to 2022’s Toda la mentira sobre Dame Area ("All The Lies About Dame Area"), which had a stronger focus on melody, while this latest record is more aggressive and industrial-influenced, with a greater emphasis on percussion.

Tracks like the Suicide-influenced "Si no es hoy cuando es" and "Sempre Cambiare" are an onslaught of industrialism and experimentalism—formidable, volatile, and unpredictable avant-garde subversion. Silvia explains, "One of our biggest influences is doing what our influences wouldn't do. We're more into dynamics and structures atypical of electronic music, with changes in time signatures, starts and stops, and dynamics more typical of rock music. We use any musical idea from any genre. Some songs on the album are based on flamenco rhythms, others influenced by '60s experimental pop, heavy metal, or contemporary electronic music."

The confrontational "Vengo dall'aldilà" accelerates with heavy percussion, while "Tu me hiciste creer" builds into a rhythmic, transcendent noise of yelled vocals and hypnotic beats. Viktor adds, "This song took us more time to complete than any other we have recorded. It was a very organic process, evolving slowly from some instrumental percussive stuff we were doing live. Then we started using feedback as a rhythmic element (through a metallic sheet), and this was the first song where we incorporated this element, typical of noise-rock and experimental rock."

Elsewhere, "Esto Es Nuestro Ruido" represents a manic, eclectic form of contemporary industrial music, post-punk, and EBM. Silvia notes, "It's the first album we recorded outside a studio. Although we've been playing live with metallic percussion and floor tom from the very start, in the studio, with some exceptions, it was mostly sample-based until now. On Toda la verdad sobre Dame Area, all drums and almost all metallic percussion have been recorded live."

With a growing reputation as one of the best live bands around since their inception, Dame Area has toured extensively across Europe, performing at renowned festivals like Atonal, CTM, Nuits Sonores, Dour, and Fusion, as well as legendary clubs such as Berghain, Tresor, Apolo, and Spook Factory.

Recorded at Sol de Sants Studios and Estudio Hermetic between August and November 2023

Silvia Konstance: vocals, synths, percussions, electronics, production
Viktor L. Crux: synths, drums, percussions, electronics, production
Mixing and additional production by Guillermo Sánchez Rojo
Mastering by Paul Mac at Hardgroove Mastering
Designed by Leo Sousa
Photography by Fabio Calabretta
Photo concept by Dame Area

Bristol don Nicky Soft Touch makes his eagerly awaited return with the follow up to his last TIN release, Lonely City Sampler. Set for release almost exactly one year on, Lonely City Cuts sees Soft Touch continue in his deft explorations of sampling, chopping and rearranging beats using cuts from helter skelter and sidewinder tapes. Much like his previous release, as well as the self-released projects he's shared in the meantime, the LP is centred around a DIY aesthetic, making intimacy and introspection two of its defining features.

Conceived during a stint living in London, the series is imbued with a sense of place. Delivered via raw production techniques, voice recordings and off-kilter, broken garage beats, this positions the release amongst the moody, urban landscapes which provide the backdrop for Burial and Actress' music. On Volume One, this sounds like narling basslines that ricochet around swung percussion, and plaintive ambience that immerses you in its shadowy worlds. On Volume Two, like hip hop interludes, deep house grooves and hyper referential skits.

Ibrahim Alfa Jnr released techno music since the age of 17. He started to play piano when was six years old and has a master degree in sonic arts. As a Live Act and DJ he is world wide known. His first album on Mille Plateaux is a fine example of Hypercussion, which implies a new rhythmic A-logic when beats split or shoot each other off, or when they overlap and mutate into high-pitched hums and rattlesnake breaks; accelerating, before music again blurs into the grains of noise or calm science fiction landscapes and at the same time builds gigantic sound walls. And such music, as far as its conceptualization is concerned, does not have to submit itself to technology at all, but must understand itself as a form that can be recombined with technology.

After composing for cinema, theater, multi-platinum French rap singles and French Chanson albums, Gabriel Legeleux, aka Superpoze, continues his journey with electronic and instrumental music. He expands his intimate and singular work with a third dense and extensive album, where strings, flutes and choirs join his trusty synthesizers, pianos and percussions. "Nova Cardinale is an album conceived as a world rather than a story. A place made of sounds in which one can find a path, get lost or stay still and observe the surroundings. An album in which the tracks live on a grand scale, ranging from intimacy to emphasis. An album with perspective and vanishing points. It was an intimate and sensitive writing work, and also a real technical work of sound and production. Listening to the album, these two aspects seem to me indissociable today." Superpoze

The new Cristian Vogel album "1Zhuayo" sounds as if non-musicology & ultra-blackness is not an end or a destination to be arrived at, but as if it is the point of departure, much like tomorrow relates to the day after tomorrow. As if we have left the space of certainties and are moving instead into one of manifold possibilities. They are anticipated in the micro-structures of sound, which is the process of playing with and against the software. Beyond genre delimitation and fragmentation, it is non-music in the post, without itself immediately becoming a cliché, like deconstructed club music or hyperpop. Without being superficially conceptual, the musical material alone succeeds in creating a different, coherent, sonically possible world.

We are happy and honored to present you very soon some the labels best releases back on vinyl/cd! Starting with "Time Modem - Transforming Tune". A modern classic from 1992!

DeForrest Brown Jr., the writer and producer behind Speaker Music, describes Techxodus as "abstracting Blackness through information overload". On the album he explores the intersection of tech, Blackness and resistance via music taken from his archived live shows, which are then edited, ordered and reassembled in the studio. The main line of inquiry that feeds into Techxodus is Drexciya, whose myths have informed much recent afrofuturist creativity. DeForrest researches and reimagines the artifacts and stories of Drexciya with new maps, ideas and music, particularly reflecting on the 'Seven Storms', seven albums that came out in quick succession around the death of Drexciya member James Stinson, which seemed to herald Drexciyans in the attack mode. The artwork by Abu Qadim Haqq, who also created artwork for Drexciya, links the work too, with Deforrest re-orienting charts and timelines familiar from Drexciyan mythology, working up clues to all possible environments where Drexciyans could survive, from the depths of the Atlantic, to oceanic islands or even outer space. Like Sun-Ra, another touchstone of Afrofuturist music, it might be that the Drexciyans wanted to leave the planet they hated. With these elements, DeForrest creates a soundtrack for an alternate history, a sort of sci-fi sonic fiction which threads together the sonic warfare and mythos of the Drexciyan records with ideas and references to Ishmael Reed's 'Mumbo Jumbo', which tracks the story of 'Jes Grew', an audio virus, back to the coastal black cities of Alabama and the American South. Musically the album is as intense as its inspirations. DeForrest skilfully hand-plays rhythms which amalgamate trap and jazz drumming, but feel at times like orca-song as they pulse through the thick waves of digital sound. Equally the music evokes the ocean, with deep cold drones, or as if it's floating through time like in 'Holosonic Rebellion' which mixes in recordings of African Warriors. Sometimes there is an energetic turbulence as on 'Jes Grew', where punched-in passages of jazz brass bounce against DeForrest's drums to create a weird disassembled jazz. Towards the end the album begins to feel like a spaceship taking off, the rushes of ascending noise and distortion, distant Southern Gospel Vocals feel like music that's leaving earth. Listen to it without the references or feed your imagination; this is a powerful and immersive original work from one of electronic music's most unique creators

RP Boo's essential first album, 2013's ‘Legacy’ caused a storm of acclaim worldwide as people finally started to piece together his true place in Footwork and the powerful legacy of his work as an innovator. In parallel with productions, his always on-point DJ sets have lit up festivals and clubs worldwide and continue to do so to this day, notably leading to him being named one of the ‘100 World’s Best DJs’ in a recent book by DJ Mag. Now on its 10th anniversary ‘Legacy Vol.2’ continues his story. Featuring tracks created between 2002 and 2007, this is a wonderous selection of material, some known, some unknown. The album kicks off with the dark and epic ‘Eraser’ created in September 2007, during a time RP was going to underground Footwork club War Zone on the west side of Chicago. The track was inspired by, and created to fuel, the “taunting words of intimidation” between dancers.” And now it makes for one intense album opener. Some cuts are inspired by everyday life – take for example 2005's ‘Pop Machine’, which was inspired by the time he was working at Speedway Oil Change who had a temperamental soda/pop machine. One day, a customer put money in the machine and nothing came out, so he continued to press the button, and for some reason RP found this funny so he went over to the machine and started pressing the buttons himself and everyone he touched started saying “Work!.” Inspired once he was back home in his studio he made ‘Pop Machine’ in tribute to the defunct machinery. When he came back to work the next day and played the track for all this co-workers it blew their minds and they also laughed with at how creative RP could get using things from his everyday life as inspiration. ‘Pop Machine’ also illustrates how RP’s Footwork uses repetition and minimalism as fuel. Years later RP Boo is still inspired by Foot Work – the art of dancing and working for dancers. He continues to shake up clubs and isn’t afraid to get out from behind the decks and drop some Foot himself. We’ll let the man himself have the final word - “What inspires me to keep going is seeing the people having an awesome time moving on the dance floor, as well as playing music that is a recognizable part of my life. I’m one with it.”

When forty, I was still wearing miniskirts, extravagant patterns, pink, fluorescent colours, star shaped earrings. I walked around with my leopardskin hat, my fluffy bag, my floral outfit, until the gaze of others made me feel like it was not age appropriate anymore. Although I am still the same person I was at 16. It's the others I see changing." There's no better way to describe ageing than through the gap that arises and continues to grow between physical reality and the specular image of the self : one deteriorates over time, exposed to the cruel laws of gravity and oxydation, while the other never ages, remaining intact and unaltered… frozen in a moment of blissfulness. The more time goes by the more the gap becomes a separate entity (ou “world” pour etre plus prosaïque). It can become so painful that many try to escape it, using and abusing every trickery. “Youth looks so good on you” is a sonic ballad which bizarrely explores the world that lies between reality and self-fantasy, a world where the aesthetic cult of youth becomes sovereign to the people. This piece was produced in 2022 as part of the Festival « Les Heures Sauvages - Nef des Marges dans l'ombre des certitudes », at the Centre Wallonie-Bruxelles in Paris. After "A Story of a Global Disease" in 2022, "Youth looks so good on you" is the second piece of music by Naomie Klaus released on moli del tro records.

A download code is included. Danish composer, musician and producer Trentemøller announces his new studio album ‘Memoria’ which is set for release in early 2022 on his own label In My Room alongside the first single ‘In The Gloaming’ which is released September 10th 2021. Anders Trentemøller’s sixth studio album, Memoria, seems to exist at the confluence of inspiration, coincidence, and maybe even a little bit of the supernatural. A recent, unanticipated drop of four songs, in the form of two singles (No One Quite Like You, and Golden Sun), might leave one surprised to find that a full album’s worth of material was also waiting in the wings. As with most Trentemøller releases, it’s a body of songs that are thematically linked by many melodic threads. The first single from the upcoming album, ‘In The Gloaming’, which is released in September 2021, implies the arc of the album might have actually begun late in the day, giving the sensation of waking in the evening. Nocturne’s dawning. Stars emerge in the form of percussive arpeggios. 2019’s Trentemøller album ‘Obverse’ was an exercise in what could be done if the prospect of performing the songs onstage wasn’t a factor. It opened up some doors, and signaled a new chapter. Memoria, even considering its resplendence, almost feels like it demands to be presented live as well.

Nondi_ is the alias of Tatiana Triplin, a US producer based in Johnstown, Pennsylvania, who also runs the net label HRR, releasing the music of friends and herself under various aliases. Her brother is the up and coming MC, Eem Triplin. The music Nondi_ makes is informed by footwork, breakcore and Detroit techno. However, as she's only experienced them via the internet, she has has filled the gaps with her imagination and consequently the music is rendered from a dreamlike solitude that feels adjacent to other internet genres such as vaporwave. Her tracks are gauzy and abstract, smeared with gentle melody, rusty tones and occasional shafts of sunlight, sometimes set to a distant pulse, sometimes collapsing as if the music itself is falling apart. Of the album she says: "Flood City Trax is music that captures the mood of living in a town like Johnstown, and more broadly the isolation of poverty. That's the environment these tracks came out of, after all. Johnstown is a very poor isolated small factory town in Western Pennsylvania which has a dark history of deadly floods, the most well known being the 1889 flood which was like something out of a horror story and the 1977 flood which the Triplin family survived. Johnstown has never moved past its floods, hence the nickname "Flood City". There's very little to do and every year the town shrinks more, and more buildings are knocked down or condemned. Everything is old but simultaneously the past seems like it has just disappeared."

‘Inflatable Gravestone’ is the debut album by Mun Sing (aka Giant Swan’s Harry Wright). The motivating force of the album is the sudden loss of Harry’s father in 2020. Their father struggled with substance addiction and the album explores ideas of 'spirituality' and the ‘higher self’ in relation to addiction and its parallels with the coping mechanisms of grief. It also aims to highlight the importance of humour and distraction when coping with loss. Serving as a narrative for their own experiences, the album is largely built around club-centred tracks (such as ‘Spider’ and ’Squabble’) broken up by moments of yearning and reflection in tracks like ’The Poison Garden’ and ‘Helhest (Azrael Smirks)’ and moments of dark anguish like 'Inheritor' with its heavy slab-like chords and pensive piano. Flirting with awkward and suggestive rhythms, Wright deliberately suspends moments of resolution and groove in favour of drama and jerky, unexpected cartoonish humour, taking as much influence from the likes of the Art Of Noise as Kyary Pamyu Pamyu. Wright rewards the listener with moments of clarity and introspection like flags on the journey, recruiting vocalist MX World to deliver lyrics and melodic ideas created by them and their father. Their father’s journals in rehab helped inform most of the lyrics. Some take whole sentences as a way to physically ‘give life’ to his words for the first time. The lyrics describe feelings, revelations and apocalyptic hallucinations. MX World's clear, direct tone suggests folk music and the timelessness of the human condition.The album concludes with the title track ‘Inflatable Gravestone’ which features a chorus of giddy manipulated laughter from Wright’s friends and family to a truly maddening effect. This is then resolved by bright and clear piano chords and the sound of Wright’s father breathing in his sleep. A deeply affecting and personal record with corkscrew twists and turns and a healthy dose of absurdism.

Melody Tomb is the first album in a new collaboration between Tokyo artist Teruyuki Kurihara and London drone pop band The Leaf Library. The nine tracks here have in common a metallic hum and a minimal, austere kind of beauty that recalls Teru's work on his 2020 Frozen Dust album (Mille Plateaux). Machine tones mix with static, noise and warm drones, whilst in other places the lineage of classic mangled Warp hardware is visible. In March 2020 The Leaf Library sent their friend Teru a batch of synth drones to play with in the hope a new collaboration would be born. "From the first time we heard Teru's music we knew we wanted to make something with him," say the band. "It has been such a pleasure seeing him take our minimal synth parts and turn them into something really strange and beautiful." The track Kite Beach was the first to arrive, featuring on The Leaf Library-curated Object Ten compilation on Objects Forever in 2021, with the rest of the album slowly appearing over the last year. The artists hope to continue the collaboration with another album in the near future.

Still shrink wrapped but opened.
Records are slightly warped but still enjoyable.

One mere year after their previous pitch-black sounding album Krypt, LA outfit Male Tears is back with a new full-length and – oh boy – everything is changed. The used-to-be duo is now a four piece with James Edward as the sole founding member remaining and apparently this new line-up helped the original vocalist to shapeshift again. Remember their very first debut album from 2021 and those dark synthpop sounds? With their upcoming fourth album (in only three years), this American electronic-pop act from Southern California doubles the stakes once again and where Krypt was all about being goth and gloomy and disturbingly paroxysmal, Paradisco is somehow quite the opposite. Eight new tracks of pure italo disco, hi-NRG and freestyle bliss that pick up where the band left off three years ago to pursue much darker realms. Now that the quest for darkness is done, it is time to polish our nails and dress up for the night-out cause there’s more in life than feeling sorry for yourself. Yes you will need to cut out the deadwood but there is no change in stillness. So join Male Tears and their new arsenal of bangers and floor fillers with assertive titles such as Out of my Life, Regret 4 Nothing and Leave it Alone. Get yourself wrapped up in one warm cover of delicate nostalgia and reborn romanticism, driven by sounds that pay homage equally to Miko Mission and Ken Laszlo, Lisa Lisa and Exposé and, well yeah, even The Smiths because say what you wanna say but you simply cannot not love The Smiths. Embrace the vintage vibes that organically propagate from this new record’s grooves and get in the mood for this new course in full-on 1980’s Pop.

Beautifully drunken it hums, the piano in “pianopiano”, the last tune of “how to spread lies”, the first ep by roman flügel for the hamburg based label dial from the year 2010. Or take “strich”, a peculiar electrical slow-motion grinder, out on his “mutter” ep for klang electronic in 2006. for a long time, the renowned dj and producer from frankfurt is investigating in spheres beyond the dance, the groove, the ecstasy. zones, where the molecules harmonize, the senses relieve, and the soul quietens. All his last albums, “all the right noises” (dial), “themes i-xiii” (esp institue), “eating darkness” (running back) have moments of tension and relaxation in a deep harmonious connection. Now “balmy evenings”, a sundown record for sunup’s. eleven notions in journey music, embracing the freedom of structure, blurring the musical pulse into harmonic meditation and mysteriously grooving zones, leaving all unnecessary accessories behind. A quality, that many of roman flügel’s solo and project productions in his more than 30 year lasting career comprise. still, most of them squint on the dance floor, where jack is king Not so “balmy evenings”, where real dancefloor bangers are omitted. there are moving tunes like the slow kraftwerk-melody-leaning funkateer “duftschulter”, or the artificially jacking “greenhouse”, where nervous synth patterns ball along soft breaks and decreet kicks. likewise, “super sonne”, an odd, seemingly improvised synth conversation might ask some souls out for a dance. But all others, like “atmosphere”, “frei”, “dolphins”, “goth”, or “ambienteuse”, rather seek for the tranquil in each one’s spirit. Listeners must be ready for surprises. ready for impulsive ideas, linked to a harmonious flow, always ready to grow in an analogue vs digital sound scope. an album full of si-lence, utterly loud, displaying a playful, adventurous artistic facet of a celebrated club music producer, to whom atoms dance in manifold ways.

In the gutter lie sun dried leaves, scraps of paper, burnt matches and cigarette butts. It is early morning; the sun rises with warm grace. you've come to the right party... you see, the body of a young man sitting by a pool, nobody important, really. Just a movie writer with a couple of "b" pictures to his credit. He always wanted a pool. Well, in the end he got himself a pool, but let's go back some time and find the day when it all started in “Hollywood,” the place where they pay a thousand dollars for a kiss and fifty cents for your soul.

Three years after he celebrated “Sketch of Japan” EP, Superpitcher returns to Mule Musiq, bringing an epic super-pitched 40 minutes trip named “Hollywood”, that perfectly works as the score for the above remixed opening scene of a famous movie on the trances of Hollywood, the cage, that catch our dreams. It’s a slow grower, incorporating some of core elements of the city of celluloid dreams: action, drama, romance - all epic noir and yet so flooded by light. As ever the producer and DJ from Paris garnished his long building up and going down voyage with se-ducing melodies, glamorous pop, and psychic rhythms, creating the hippy dance ambiences he is famed for. Even though the twelve inch comes in accustomed a/b chapters, “Hollywood” should be perceived in one go to feel the depth of Superpitcher’s tropical leaning story arc, that stretches the idea of a track into a dream of satin teardrops on flickering velvet lights. It paints sonic celluloid pictures of ghostly creatures, while a female/male voice is the music’s constant melodic companion, injection Janus-faced longing dream pop spheres on the overall tripping house melancholy. A heroic electronic drama, elegant as Tamara de Lempicka painting. It asks for endless rides on the Hollywood freeways. in the back the sun – a big orange ball – sinking slowly below the horizon.

You've come to the right party... you see, the body of a young man sitting by a pool, in the back a long, graceful bar, bathed in soft light, filled with elegant customers. There's nothing else, just us and the music and those wonderful people out there in the dark, ready for a divine dance in closeup.

Hailing from Barcelona, Silvia Konstance and Viktor L.Crux (a collaborator of Nurse With Wound and J.Arbeit from Einstürzende Neubauten) developed during the last years a unique music style recognized as "Tribal Wave". Mixing synth bassline arpeggios and live percussions, noises and congas, industrialism and tribalism, Italian and Spanish, Dame Area are running across the same path and breathing the same air of the EBM/Industrial driven Diseño Corbusier or the drum compositions of Roberto De Simone. Starting to play live and releasing their music in 2018 for their own label and venue Maja Roja (with the support of fans like Julian Cope and Yamatsuka Eye), their incessant touring schedule has already seen them play all over Europe in the past couple of years. Since 2019 they also play live as a trio with Jesse Webb from Gnod/Anthroprophh at the drums/percussion. For fans of: Diseño Corbusier, Esplendor Geometrico, group A, Kris Baha

Mule Musiq's sub label studio mule has formed a group of shifting members and are now releasing a debut album with 8 tracks of reworked obscure japanese gems. The album contains the three singles the group released so far, featuring miyako koda of the ex-perimental pop band dip in the pool, whose "on retinae" was reissued by music from memory to great acclaim, on vocals and mule musiq staple kuniyuki on production with direction by label head Toshiya Kawasaki.

DJ Girl is a DJ and producer who was raised in Detroit, but since the pandemic has been based in Austin, Texas. She's the co-founder of the up and coming Eat Dis Records and her recent releases have been generating excitement in all the right places. In some ways, 'Hellworld' feels like a direct relation to a lot of early 2000s Planet Mu releases. It could sit neatly alongside Hellfish or Neil Landstrumm, with a similar anything-goes, gleeful attitude, but instead DJ Girl mashes together a driving sound that is founded upon Detroit techno and electro, Chicago juke and Miami bass, with an old school/new school production style that's finessed with distortion and sparse IDM production. It's a midwest USA style that takes a leaf from DJs and producers such as the wild-style hard techno of Lenny Dee, the tough midwest acid of Woody McBride and the system wrecking electro of Dynamix II, with a joyful, take-no-prisoners bounce. 'Hellworld' kicks off with the industrial juke of 'Get Down', followed by the powerful electro of 'Opp Pack Hittin' (the first of two tracks to feature MC Malik McFly). 'Technician' is a chirpy old school electro track that gets crazier as it progresses, while 'Lucky' mashes together samples and rough beats like an electro version of breakcore. 'Gallery' again features Malick McFly and switches between footwork beats, pumping techno and electro. 'So Hot' is hard 8-bar electro while 'When U Touch Me featuring Irish producer Lighght feels like a very manic take on hyperpop. The album ends with the tough, spiralling acid of 'Groover' which wouldn't be out of place on a late nineties Jeff Mills mix. The fun is infectious on this one.

Mehdi M brings newfound expression to his debut eclectic album, folding richly harmonic elements into his cryptic palette of electronic sounds. The album is at its core a collection of influences through out the years exploring the artists journey after his international departure from Egypt. His work taps into an expressive dimension most importantly focusing on intimacy and uniqueness.

Japanese living legend electronic producer Takayuki Shiraishi; this is a collection of his unreleased materials in late 80’s. He has started the career as his unit “BGM” on most reevaluated japanese experimental label “Vanity Records”. one&only the album “Back Ground Music” have been one of the most demanded japanese new wave record. the album is unique mixture of dark new wave, post punk,kraut rock and experimental electronic music. the first reissue of “BGM/Back Ground Music” is coming this autumn.

Single Sided. Vinyl with a couple of light scuffs. Still in shrink, but opened, copy 496/500

HHV and Too Good are happy to present this exclusive color run of 1000 red copies of Tommy Guerreros 2014 album "No Mans Land". Back in print for the first time. Only at HHV. As a special treat you can pick up the poster with the artwork of this album in our bonus section.

Two years and one pandemic after his previous release, the Italian, London-based solo project M!R!M is back with a new full- length album. Inspired by the synth pop classics, as well as from cold and dark waves, multi-instrumentalist Jack Milwaukee has been releasing material on labels such as Fabrika and Manic Depression until his first record on Avant! ”The Visionary” back in 2020. On April 22 his fourth LP ”Time Traitor” will be released and we’re excited to say this is Milwaukee’s most personal job to date. If you are familiar with his work, you know the DIY/lo-fi approach of his first recordings was already gone with his previous LP but these new ten recordings dig even deeper, drawing the outlines of a fantasy world lost within the foggy memories of a collective childhood. Possibly locked in his bedroom for the necessary time, Milwaukee has been able to recreate an imaginative realm of 80’s FM suggestions, scattering a number of acoustic clues from different parts of this parallel, yet so familiar dimension. It’s almost like M!R!M is sending us a message in a bottle with each of these new tracks and each message tells a different story. Post Fight has a punchy pop-punk riff drove by solid synthwave beats, Faultless Pitch hosts a mellow, funky bass line over a solemn drum gate, Desert Love screams italo like nothing else and it was indeed composed four-handed with fellow artists Nuovo Testamento, Say Nothing features SDH singer Andrea Pérez’s backing vocals to invoke a dream-like scenario. There is even a Turquoise Days’ Grey Skies cover that is just one more perfect example of Milwaukee’s ability to take a single item from the suitcase of the past and make it extremely current in a handful of minutes. All this is adorned by semi-instrumental postcards with suggestive names such as Moody Moon, Peninsula and Goodnight Galaxie that will guide you through this journey across M!R!M sound-&-memory experience.

Sealed copy.
Cover corners slightly dented.

Finally, our debut album is out. It is based on a well-calibrated selection of tracks chosen from intense live performances since our project's inception in 2018.

Dream Dome is a small window in our studio that looks out into the sky - a symbol of the musical vision of two opposites whose style and DAWless music-making skills have created 13 tracks, carefully calibrated by us on the dance floor.

Dream Dome is a blend of musical styles closest to leftfield house and techno. It is characterized by warm analog timbres, polyrhythmic structures, and the self-expression of our individuals.

Dream Dome is available on limited 180g vinyl with 8 tracks + download code for full extended 13 tracks.

Made in Valencia with love.

A download code is included. Trentemøller returns with his fifth studio album 'Obverse' in September 2019! Anders Trentemøller is a well-known multi-instrumentalist, but perhaps the one he’s most adept at is the studio itself. 'Obverse' is the result of him expanding that skill even further. 'Obverse' often feels like an instrumental album because it started life as one, the driving philosophy being “what if the pressure of having to perform these songs live is removed entirely?” Granting yourself the freedom to chase down every idea a studio offers comes with privileges. What happens when you reverse a synth part mid-verse? Why not send an entire track through a faulty distortion pedal? Inspiration reveals itself in a variety of forms and, before long, a simple chord progression contorts into something entirely new. It’s a work method that yielded great results for the legendary German Kosmiche/Motorik experimentalists of the 1970’s. Intentional or not, 'Obverse' embodies more than a little of that spirit without even a hint of pastiche.

Brilliant comet of the Italian New Wave scene. Real deal. TIP!

Atelier du Mal were formed in Florence in 1983 by Lapo Pistelli (synths, electronic drums), Iacopo Ficai Veltroni (bass, synth) and Ignazio Matteini
(drum programming, percussions). Recorded in 1984, 'Noblesse Oblige' was the first and subsequently the only demo tape by the group, self-released using classic gear like Korg Ms-20, Roland Tr-606, Roland Tr-808, Roland Juno 60, Roland TB-303.

For years, Dome of Doom has provided artists with a platform to flourish. The man behind the brand, Wylie Cable, has his heart in all the right places, further proved through his passion for his label, artists, and the scene. One thing is for sure: Dome of Doom can always sniff out the newest and hottest fresh sounds with a deep track record of quality compilations and solo releases. Now, the label is causing a stir once again with the Dome of Doom Summer Compilation. This compilation offers an unreal amount of talent across its 18 excitingly different tracks that morph into a playlist fit for any electronic enthusiast. Artists on the roster that might make some ears perk up include Dabow, A Hundred Drums, ZOF, Neumonic, jordnmoody, and that’s just barely scratching the surface. Dome of Doom Summer Compilation works best if you press play and let it guide you from track one to the end.

Two numbers referring to the year 1972. And in two numbers, everything is said. The project is simple and ambitious, it is the soundtrack of life passing by, of our lives, of theirs: those of two boys who became two men, both born the same year. 1972. And contrary to its commercial destination, the “tm” sometimes af fixed to these two letters appears here rather like a real mental tattoo, if not a purely aes thetic gesture, as if to tell us: these sounds, these feelings, these immaterial emotions, were deposited in the dark recesses of these two brains, these two minds, before passing through their bodies, passing through their fingers, then through the keyboards, the ins truments, to transform themselves, to turn into sounds, which, themselves, through the alchemy of creation, become music. And this music is the soundtrack to these two lives: Benjamin Cohen. Ulysse Genet. And these two lives which at one point crossed, met. And from this crossing was born 72. From these two experiences, from these memories, from the memories of the two artists, music is revealed. Four tracks for the moment, instrumental, mixing the reminiscences of hip hop, the echoes of the ‘ambient’ created by Brian Eno, the techno vo lutes of Detroit, and more particularly those of Carl Craig. Without forgetting the roots of what has been called the French Touch… this unique musical adventure revealing France abroad in a singular way, in which Benjamin Cohen has actively participated.

A download code is included. Danish composer, musician and producer Trentemøller announces his new studio album ‘Memoria’ which is set for release in early 2022 on his own label In My Room alongside the first single ‘In The Gloaming’ which is released September 10th 2021. Anders Trentemøller’s sixth studio album, Memoria, seems to exist at the confluence of inspiration, coincidence, and maybe even a little bit of the supernatural. A recent, unanticipated drop of four songs, in the form of two singles (No One Quite Like You, and Golden Sun), might leave one surprised to find that a full album’s worth of material was also waiting in the wings. As with most Trentemøller releases, it’s a body of songs that are thematically linked by many melodic threads. The first single from the upcoming album, ‘In The Gloaming’, which is released in September 2021, implies the arc of the album might have actually begun late in the day, giving the sensation of waking in the evening. Nocturne’s dawning. Stars emerge in the form of percussive arpeggios. 2019’s Trentemøller album ‘Obverse’ was an exercise in what could be done if the prospect of performing the songs onstage wasn’t a factor. It opened up some doors, and signaled a new chapter. Memoria, even considering its resplendence, almost feels like it demands to be presented live as well.

An interesting insight into some of the diverse dancefloor oriented sounds going on in Canada during the 80s sitting somewhere between electro, italo disco and proto house. A-side starts off on a slow paced 80 bpm pop/rock italo-disco crossover track featuring lyrics in english with an unidentifiable accent, very much reminiscent of Italian local neighbourhood private press ventures featuring someone's sister on the vocal. 3 versions later, on the B side, things step up a notch coming in at 130 bpm with "Heat In Africa's" drum machine propelled rhythmic mayhem pulling out all the latest studio bells and whistles of the time. Big electric guitar solo build up on the "Dance Mix" and additional Bonus Beats mix by Castro. Remastered and officially re-released almost 4 decades later.

Bottin is back with LP an unusual album: an instrumental album of faux "Library Music" aptly titled Quality Time. Searching for a virginal sound rolling back to the zero degree in contemporary music, Quality Time explores the sonic range of 1980s era Casiotone portable synthesizer as is, with no filters or additional timbres modifying its sound aesthetics. An exercise in composition where the reduced plasticity of sound makes us imagine music as building bricks, rather than a commentary of the times. Quality Time is Library Music made out of sheer intellectual honesty, as opposed to the anonimity of producing music as a commodity. The Casiotone alphabet allows Bottin to assemble seductive instrumental tracks marked by alpha-numeric acronyms and interspersed with sourced fragments of dialogues recalling the contemporary existential alienation and postmodern idleness.

Trick or Treat was composed like a game, made up of samples and personal musical stories, twisted in all directions, and spat out monstrously in the imaginary world of Halloween. A trip into a world where the familiar becomes strange.
Trick or Treat' is available in two versions, with two different covers.. A turquoise EP limited to 100 copies and a black EP limited to 400 copies.

(Emotional) Especial looks to the emergent producer that is Chez De Milo for a new EP that collides the energy of Glastonbury, historic echoes of the free party scene and the psychedelic electronics of Bristol and the West Country into four fresh new cuts here. 'Et Al' is a mystic late-night house cut with crisp hits and spooky synths keeping you on edge, while 'Gieser' is dark and paranoid as the churning beats and snaking leads tempt you into the shadows. 'Kremer' keeps you locked in a synth-heavy and transcendental suspense at the heart of the dancefloor with Egyptian folk samples and ethnic grooves and 'Thus One' is a razor-sharp electro closer.

Record has some hairlines and a few superficial scratches.

Vinyl LP comes with printed innersleeve and digital download voucher. Based in Munich, Germany, the producer, part-time DJ and Permanent Vacation label co-head Tom Bioly aka TB delivers new romantics, inspired by influences like The Cure’s „The Holy Hour“, Boards of Canada’s late 90s electronica, Miami Vice tropic percussion and Angelo Badalamenti’s Twin Peaks. Acid drops, string distortions, lushed melody bits, hushed robo vox and washed space guitars are being layered and sprinkled over machine beats and disco drums.

Red Vinyl.

Record is close to NM.
Upper edge with beginning seamsplit, otherwise VG+.

Delsin turns its attention to the archives of one of the great early pioneers of Dutch techno - Eevo Lute Muzique. The label was founded in 1991 by Wladimir Manshanden and Stefan Robbers (who was already recording seminal early techno records as Terrace for Djax-Up-Beats). Channeling the inspiration of the Detroit originators and mixing it up with their own synth pop and new wave influences, Manshanden and Robbers (adopting the Florence alias) forged a bold aesthetic with Eevo Lute, both musically and visually. This was an early iteration of techno as listening music, with an emphasis on expression and narrative over dancefloor functionality, helped in no small part by Manshanden's striking poetry. This double set of remastered, reissued tracks gathers together the earliest Florence and Wladimir M. material, largely recorded between 1991 and 1994, across five discs - the definitive document of a treasured piece of Dutch techno history. Comes with inlay and liner notes by Oliver Warwick.

Still in shrink, but opened, with hype sticker

L/f/d/m, aka Richard Smith, makes his debut on Osàre, exploring the more delicate side of his intoxicatingly abrasive sound. Gold Like Glass is razor-sharp and elemental, with each track cast from long passages of synth dissected into heavy edits. According to Smith, this composition process is akin to printmaking, where the ink on a series of images deviates from the original stencil, becoming looser, softer and increasingly ghostly. ‘After Whitney’ is haunted by peak time rave energy; the drums are disembowelled, leaving a rolling climatic melody, utterly euphoric and disorientating. The track is followed by ‘Blood Byze Leech,’ a thunderously jagged affair, and ‘Delicate Push’ that fizzles like an electrified spinning-top, its frozen melodies accompanied by a lolloping beat. Turning over to the B-side, ‘Plute’ winds its way into dark psychedelia while ‘m-two nine’ descends into the realm of mutant de-accelerated bleep techno. Combing the ciphers of hardcore, its cruxes and suspense, with the serrated edge of minimal synth EBM, Gold Like Glass presents an
alchemical fusion of deeply danceable and cerebral noise.

Chicago based DJ/producer Andrew Joseph drops his 2nd EP under his PTO alias (following the “DRINKS/CASUAL FRIDAY” 12" released in 2018). The record is a celebration of the 808 and its renowned ability to get the party started. The 4 track house EP feats an electro remix of the title track from living legend Egyptian Lover! Italian producer Nico Lahs of Adeen Records fame gives it a smooth but dark and moody deep house remix followed by the electro jam "way Out".

M Parent's penchant for texture is laid bare on this searing and arresting new EP for Zement. It opens with 'Gravel Pit' which sounds like an audio diary from a car-wrecking plant. Twisted metal, fizzing battery acid, and crushed glass all feature over a distorted baseline and broken rhythm. Those same scuzzy sounds define the rest of the EP from the acid-laced 'Ideal Future' to the coruscated funk of 'Acid Thirst' via the caustic intensity of closer Climb These Walls'. An impressively unique offering that very much has its own singularly sound palette.

Das italienische Duo Agents Of Time war in den letzten Jahren unglaublich fleißig, von der Veröffentlichung einer Reihe klassischer Singles - darunter ihre jüngster Beitrag für Afterlife, "The Mirage", der mehr als fünf Millionen Aufrufe auf Instagram erhielt - bis hin zum Remix von The Weeknds "Take My Breath", der auf dessen aktuellen Album “Dawn FM (Alternative World)” erschien. Aber die bahnbrechendeste Neuigkeit ist erst jetzt endlich da - ihr zweites Album "Universo" ist fertig! “Universo" verbindet ihr Markenzeichen, melodischen Techno, mit einer besonderen Pop-Haltung und findet nach der EP "Music Made Paradise 2020" sein ideales Zuhause bei Kompakt. Eine Seelenverwandtschaft, die absolut Sinn macht.

Andrea Di Ceglie und Luigi Tutolo, die beiden Mitglieder von Agents Of Time, nutzten die Zeit während der Pandemie, um an "Universo" zu arbeiten, einem Album, das lose um ihr "persönliches Universum" herum konzipiert ist, eine Manifestation der Welt, die Di Ceglie und Tutolo in und um ihr Studio herum aufgebaut haben. Das macht den besonderen Glanz und die strahlende Helligkeit von "Universo" aus - es strotzt nur so von Persönlichkeit, Elan und Kraft, das Duo experimentiert mit Musik und erkundet auch noch deren entfernteste Ecken. Wer bei "Universo" nur ein weiteres Album mit melodischem Techno erwartet, wird angenehm überrascht sein - hier ist viel mehr los, und alles ist gleichermaßen spannend.

Nach einer poetischen Eröffnungsgeste - dem wirbelnden, synästhetischen, selbstbetitelten Intro-Track - werden mit dem 2-Step-Pop von “Fallin” alle Erwartungen sofort über den Haufen geworfen. Mit sanfter Klarheit von Gastsängerin Audrey Janssens gesungen, ist “Fallin” ein Traum von einem Song, der an die großen Zeiten von UK-Garage in den frühen 00er Jahre erinnert. "Interstellar Cowboy" ist ein selbstbewusstes, geschmeidig über den Laufsteg stolzierender Disco-Track; das sanfte Moll-Klavier von "Liquid Fantasy" entwickelt sich zu einem wunderbar melancholischen Techno-Pop-Epos, mit Vicky Who?’s Stimme voller Sehnsucht . Danach taucht auch Janssens Gesang auf dem Elektro-Wirbel von "Poison" wieder auf; "Dream Vision" greift die Single "The Mirage" auf, sanft und mit schwungvollen Streichern, voller Dramatik; "Part Of Life" dagegen ist ein echter Schaffel-Stomp.

All der Abwechslungsreichtum lässt eher tanzflächenorientierte Tracks wie "Ciao" noch deutlicher hervortreten - sie wirken noch entschlossener, stromlinienförmiger und dennoch reich an Details, pluckernde, Moroder-eske Bässe treffen auf stroboskopisch blitzende Synths, von denen aus die Melodien ins Firmament schießen. “Universo” fühlt sich textlich dicht an, aber es atmet trotzdem, seine Klänge sind so greifbar, dass man sie anfassen möchte, seine Melodien so verführerisch, dass man sie nicht mehr aus dem Kopf bekommt. “Universo” ist ein wunderschönes, mutiges Album, ein perfekter Treffpunkt von Pop-Melodien und stilvollem Techno: Agents Of Time in excelsis.

Yung Dumb Records and Model Future present Wade Galaxy. A collaboration between Toronto-based Azari, Butr, and vocalist Jeremy Glenn. The trifecta comes forward with an EP that will bring you through a modular soundscape of love, lust, and distrust inside the hypercube. The A-Side is a hazy fusion of R&B and slowed electro, accompanied by Jeremy Glenn's ethereal vocals. The B-Side provides a room shaking cerebral 2-step remix of 'Phaze' by James Bangura of Black Rave Culture via Washington, DC

Chris Hanna has been at the forefront of Irish electronic music for over eight years, first through his work under Unknown with fellow Irish artist Gemma Dunleavy and now as the formidable Carlton Doom. The Belfast based producer has built a reputation as one of the most forward thinking, genre-merging artists on the island, combining his love for techno, breaks and garage into a growing palette of sonic decompression. Now the Belfast hit-man steps up with another exploration of deconstructed techno, screw-face bass and otherwise unknown substances not fit for human consumption.

Opener ‘Binmen Of The Apocalypse’ features a heavy drum-work perfect for peak-time and the type of bassline that lights a fire under any dance-floor; while ‘E-Machine’ adds swing with it’s killer low-end, bouncing between tenacious beats and choppy vocoder samples. Wrapping up the A-side is ‘I Am the Creator’ a signature Carlton Doom track with it’s weighty kick-drums and uncompromising structure, bulldozing it’s way through your speakers.

On the flip ‘Insects and Jelly’ and ‘Scatterbrain’ share the same DNA; both seeping with personality and a total disregard for the rules; as the EP then comes to a close with a high-velocity ‘I Am The Creator’ remix by one of Manchester’s finest - Interplanetary Criminal.

Rawax proudly welcomes Mr. Gerald Mitchell aka M5 aka Los Hermanos to the Family! We are happy to present you in near future his own series on the Motor City Edition! This will include new releases and classic re-issues. Starting with M5 - Celestial Highways from 1999. Originally released on Metroplex. Don't sleep on this gem & watch out for more!