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Acid Bath is the second studio album by English gothic rock icons ALIEN SEX FIEND. Originally released in 1984 and now back on vinyl. Produced by Kevin Armstrong (David Bowie, Iggy Pop), this masterpiece is considered their best album, it’s a must have for any goth, death rock and post punk addict. Label: Restless Empire -
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Channelling goth, ‘positive punk’ and industrial, Alien Sex Fiend are experimental pioneers whose output defies easy categorisation. Formed at London’s goth epicentre, the Batcave, in 1982, the Fiends’ early use of loops, synth sheens and a dub sensibility yielded a deal with Anagram and rapid chart success; this dynamite vinyl compilation, exclusive to Radiation Records, draws from six early singles, including the electrode mix of popular debut ‘Ignore the Machine,’ freaky dirge ‘Lips Can’t Go,’ minimalist stomper ‘Dead And Buried,’ the rocking excess of ‘R.I.P.,’ intergalactic ‘E.S.T.’ and the mutant disco of ‘I’m Doing Time.’ A killer set tracking their early evolution, this is absolutely essential listening for all ASF fans. A Lips Can't Go Drive my Rocket - Up Uranus Ignore the Machine (Electrode Mix) Girl at the End of my Gun Dead and Buried B R.I.P. (Blue Crumb Truck) E.S.T. (Trip To The Moon) Boneshaker Baby I'm Doing Time in a Maximum Security Home In and Out of my Mind (Radiation Records) -
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Let The Blind Lead Those Who Can See But Cannot Feel is the 2007 debut album from Atlas Sound, the solo moniker of Deerhunter frontman Bradford Cox. Citing the “ideas that I can't make work with a rock band,” the record is a beautiful and unparalleled meld of garage rock and ambient electronics. Now included on the album is the 2008 six-track EP, Another Bedroom. (4AD – DAD 2811)
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BEOGRAD (Serbian for Belgrade) was a Serbian electronic four-piece band that was formed in the capital of the former Yugoslavia in 1980. Influenced by acts such as Kraftwerk, Depeche Mode, Ultravox and Human League, they played a pioneering role in the Yugoslav synth-pop scene. Their debut studio album, "Remek Depo," was released in late 1982 on cassette and in early 1983 on LP by the state-run PGP RTB label. It achieved great media success and the public loved it, as it was released at the time of the buzzing Belgrade Alternative scene (BAS) – a vibrant ‘underground’ movement of avantgarde artists and musicians which included seminal bands such as Sarlo Akrobata, Ekatarina Velika, Idoli, Elektricni Orgazam etc. Unfortunately, the band disbanded shortly after the album's release. The original line-up of Beograd consisted of Slobodan Stanić (synthesizer), Ljubodrag Bubalo (bass guitar, synthesizer), Milan Bubalo (rhythm machine, electric drums), and Dejan Stanisavljević (synthesizer, vocals). In 2012, Dejan Stanisavljević and Milan Bubalo reformed Beograd with a group of younger musicians and released the album "Pola/pola" in 2015. Currently, the band is on hiatus, with the latest lineup comprising of Dejan Stanisavljević (synthesizer and vocals), Milan Bubalo (Ableton Live sequencer), and Sana Garić (synthesizer, vocals). Beograd's debut live performance took place at the Belgrade Dadov Theatre where they were joined by an additional member who operated a rhythm machine in the backstage area. For the purpose of subsequent live appearances, the band continued to expand, often including drummer Miloš Obrenović. They primarily performed at Dadov Theatre and the Engineering Students' Club. However, after Slobodan Stanić left the band, Beograd continued as a trio. To compensate for Stanić's absence, they incorporated music samples previously recorded by the band into their live performances. During the spring of 1982, the band released a 7-inch single titled "Sanjaš li u boji" ("Do You Dream In Colour?") backed by "TV" on the B-side. The single, written by Dejan Stanisavljević and arranged by Saša Habić, was released through Jugoton and is now considered a rarity and collector's item due to its limited run of 500 copies. Their debut album was recorded between August and November 1982 at the PGP-RTB Studio V and released shortly after. It featured nine new songs, some with politically provocative lyrics, for example "Kontrolori" ("Controllers"), "Opasne igre" ("Dangerous Games"), and "Mrak" ("Dusk"). All lyrics, except for "Ulice su noćas..." ("Tonight, the Streets Are..."), were written by Dejan Stanisavljević. The record was produced by Saša Habić and is notable for its guest musicians - timpanist Borislav "Bora Longa" Pavićević, avant-garde saxophonist Paul Pignon, and veteran jazz trumpeter Stjepko Gut who contributed to its ‘soul’ feel, creating an unique warm/cold combination. Radio singles "Kontrolori" and "Opasne igre" became major hits and the album reached No.4 on the Dzuboks magazine's Top Ten Yugoslav albums list in March 1983. After the album release Dejan Stanisavljević left the group so they broke up. Following the breakup of Beograd the band members pursued similar musical paths with other groups. Slobodan Stanić joined forces with members of new wave bands Defektno Efektni and Urbana Gerila to form Berlinen Strasse, a band influenced by British post-punk and gothic rock. Ljubodrag Bubalo made guest appearances with Berlinen Strasse and U Škripcu. Ljubodrag and Milan Bubalo formed a synth-pop band Haj'mo, and Milan Bubalo joined Laki Pingvini. Dejan Stanisavljević collaborated with Du Du A and later pursued career in animation. Beograd's music has left a lasting impact and has been recognized and covered by other musicians. In 2011 their debut single was re-released on 7-inch EP, featuring both tracks from the original single as well as instrumental demo versions of songs recorded during the band's demo phase. To celebrate its 40th anniversary of its original release, Matrix Music Arhiv is thrilled to announce the profesionally remastered re-release of this synth-pop/cold wave masterpiece on 180g coloured vinyl. Label: Matrix Barcode: 3830031970587
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Slovenia multimedia, electronic and rock group Borghesia formed back in 1982 from members of an underground theatre group that was known as FV-112/15. They also ran their own alternative club and had an illicit, illegal aesthetic based around anything taboo, banned or prohibited in the country at the time, much like the likes of Front 242 and Nitizer Ebb. Rugged City was an album first released in 1988 and only in Yugoslavia. It collects the best tunes from previous albums Escorts And Models and No Hope No Fear and is a perfect overview of their powerful mutant sound. Clear Vinyl. Label: Matrix Barcode: 3830031970563
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Bukurana”, που σημαίνει όμορφη κοπέλα στα αρβανίτικα, είναι ο εμπνευσμένος τίτλος της πρώτης δισκογραφικής δουλειάς του ΛΕΠΥΡ, που κυκλοφορεί από τη Veego Records ψηφιακά, αλλά και σε 300 διάφανες κόπιες βινυλίου. Τα τραγούδια του δίσκου ακροβατούν ανάμεσα στην παραδοσιακή μουσική και την ηλεκτρονική πανκ. Αυτή είναι μία ιστορία, που ανυπομονούσα να μοιραστώ: έλαβα πριν από τρία χρόνια ένα email με ένα demo, χωρίς κάποια παρουσίαση, εισαγωγή ή χαιρετισμό. Έβαλα λοιπόν να ακούσω τη μουσική του μυστηριώδους αποστολέα, όπως κάνω πάντα όταν λαμβάνω μουσικές νέων καλλιτεχνών. Η μουσική του ΛΕΠΥΡ λοιπόν, ήταν εξαρχής μια ευχάριστη έκπληξη, κάτι νέο με δυναμική. Ήχοι ανεπεξέργαστοι, μίας μάλλον οικιακής ηχογράφησης, πολλά υποσχόμενοι, με κύριο χαρακτηριστικό το πειραγμένο,... Label: Veego https://open.spotify.com/album/0tzouRhOwqaNrokx6CyhYe?go=1&sp_cid=680c48de9475ee73a2cec8019b54569f&utm_source=embed_player_p&utm_medium=desktop&nd=1&dlsi=c69c474777144417
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The circumstances were ordinary: the results, extraordinary. In early 1982 I was having my usual 1 pm breakfast with disk jockey Rodney Bingenheimer at a very ordinary Denny's coffee shop when the visiting German director Uli Edel dropped by with Christiane Felscherinow in L.A. to promote the film Christiane F. (Wir Kinder von Bahnhof Zoo). Edel had intended to tour with the young actress Nadja Brunckhorst but her father had vetoed the trip, so the real Christiane F. went, swearing to keep clean. We found out much later, she didn't. Over pancakes, Rodney mischievously suggested to the still teenaged Christiane that she should make a record. And Posh Boy across the table could make it happen! I made one phone call to then New York based David Javelosa of Posh Boy act Los Microwaves who leapt at the opportunity at producing a high profile release that could be as dada as he liked on a budget of USD l000. Within hours, not days, everything was set up. Robbie Fields, Feb 2022 Tracklist SIDE A Wunderbar (Radio Edit) Heimweh (Homesick) SIDE B Wunderbar (House Edit) Wunderbar (Trash Edit) (Radiation Records)
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DAF (Deutsch Amerikanische Freundschaft) is an influential German electropunk band from Düsseldorf (Germany). The band claimed not to target anything while writing lyrics, but to surround around Delgado-López's fascination with the sound of particular words. While recording their album Für Immer, the band split up. After four years the band got back together and released 1st Step To Heaven , which was (and still is) their only album in English. DAF received a lot of acclaim after this release. John Peel called them “the Grandfathers of Techno” and House music pioneer Adonis stated that the album was “House before there was House”. 1st Step To Heaven is available as a limited edition of 1000 individually numbered copies on translucent gold coloured vinyl and includes an insert. 180 gram audiophile vinyl Heavyweight sleeve with leather laminate finish Includes insert 1986 album incl. the singles “Voulez Vous Coucher Avec Moi” and “Brothers” a.o. House music pioneer Adonis quotes “1st Step To Heaven was House before there was House“ (Music On Vinyl)
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Dead Finks is the musical output of New Zealand-born duo Joseph Thomas and Erin Violet. Formed in Sydney sometime in the late '10s, it's current incarnation is a four-piece rock band based in Berlin. On The Death & Resurrection Of Jonathon Cowboy the band showcase an incredible knack for writing catchy and unique melodies. They play punk music in the tradition of Wire, Sonic Youth and The Fall (whose "Frightened" is covered here, recorded the night of Mark E. Smith's death) and take cues from contemporaries like Parquet Courts and Iceage in their efforts to manipulate and expand upon what it means to be a punk group in 2021. Written and recorded in Sydney, late 2018 (shortly before the duo moved to Berlin) the LP serves as a strange prediction of the horrible state of the world today. Songs about war, plagues, pissing, police, David Cronenberg’s Videodrome and the climate burning. Its a sea of wiry guitars and thumping bass that plants itself inside your inner ear and doesn’t leave. Thomas’ smart-ass delivery and literary style with odd references abounding, sees a return to something similarly touched upon in his previous group Trust Punks. However, on this LP Dead Finks feel more straight-forward in the best kind of way. Stripped down rock music that knows what it is and smashes you over the head. Vocal harmonies and lush organ sounds. It sounds really good. Divorcing somewhat on this release from the harsh underground sounds of previous iterations of the band. An extremely strange synchronicity. Some will try and say it was planned. It wasn’t. This is art working in mysterious ways. Hopefully for some of you it will help. Personally, these songs transcend this horrible situation we are collectively going through. But they cannot be exempt from being looked at through the gaze of a world stricken by plague. It’s the Death… & RESURRECTION of Johnathon Cowboy; you, me & everyone else. (Erste Theke Tontraeger)
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Depeche Mode's second appearance during KROQ Almost Acoustic Christmas. Their prior appearance was during their 1998 The Singles Tour: 1998-12-12 KROQ Shrine Auditorium, Los Angeles, CA, USA. This was night 2 of KROQ's event. Depeche Mode were the headline act. Other bands on this night included Coldplay, The White Stripes, Jack Johnson, The Bravery, Death Cab For Cutie, Hot Hot Heat and Nada Surf. TRACKLIST Side A Personal Jesus Walking In My Shoes Precious I Want It All A Question Of Lust Side B Sinner In Me John The Revelator Behind The Wheel Enjoy The Silence Shake The Disease Label: Dear Boss - JACK015CV Barcode: 0634438123651
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Live in Paris, at Les Bains Douches September 29th, 1981 Tracklist: 1 Any Second Now 2 Photographic 3 No Disco 4 New Life 5 Puppets 6 Ice Machine 7 Big Muff 8 I Sometimes Wish I Was Dead 9 Tora! Tora! Tora! 10 Just Can't Get Enough 11 Boys Say Go! 12 What's Your Name 13 Television Set Label: Mousse V
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Depeche Mode - Live at the Hammersmith Odeon in London November 3, 1984 - BBC. A1 London BBC Richard Skinner Intro Presenter [Intro] – Richard Skinner A2 Something To Do A3 Puppets A4 If You Want To A5 People Are People A6 Leave In Silence A7 Somebody B1 Ice Machine B2 Lie To Me B3 Master And Servant B4 Photographic B5 Everything Counts B6 See You (DBQP – DBQP57/Unofficial Release)
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Though famous for other things (including doing the synths on GARY NUMAN’s iconic “Pleasure Principal” album and co-writing VISAGE’s massive hit, “Fade To Grey”), Chris Payne brought THE ELECTRONIC CIRCUS to life in 1981. At the time, poised to become his next major project, the initial single “Direct Lines” gained little traction and quickly found its way to quiet obscurity. There it remained until some genius made a video using footage from Swedish film “Summer With Monika” that so perfectly fit the surging melancholy of youth’s temporary romances that the song garnered a million views and a new cult of rabid fans (me included! -Jensen). Once this synth-pop perfection enters you it will find permanent purchase and continue to be a joyous wellspring for years to come, truly a gift that keeps giving. This fully licensed official reissue comes on 150 on red and 350 on black 75gr vinyl housed in a reverse board custom die-cut glue pocket sleeve. Originally recorded in 1981 at Pebble Beach Studios in Sussex UK (also where THE ADVERTS recorded the excellent "Gary Gilmore's Eyes/Bored Teenagers single!) by Tony Harris. Remastered in 2021 by John Golden. Art and packaging based on the original 1981 design. (Iron Lung Records)
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Do you go through life too successfully? Is your mood always too cheerful? No matter what you tackle, everything always works out perfectly? Then you need the Flop Machine! Flop Machine declares war on monotony and fires the whole arsenal of pleasure-seeking missiles straight into the ice-cold hearts of the masses. After numerous party track singles and a tape full of aggressive 80s euphoria, here comes the very first vinyl release from the dystopian electro-synth punkers from Bergen, Norway. Bønny says the record sounds like a pure slab of petroleum laced ecstasy and dirty as fuck. I couldn't have described it better.... Having already shared the stage with CUIR, we are very happy and proud to welcome FLOP MACHINE on our label. Synth-Punk FTW! Label: Rockstar Records
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Runhild Gammelsæter and Lasse Marhaug are two Norwegian musicians/sound artists. Both started in the early 1990s music underground and have worked in many constellations with a wide range of collaborators. Despite knowing each other for a long time, Gammelsæter and Marhaug’s first collaborative work was the “Quantum Entanglement” LP in 2014. The album ignited a collective spark that both wanted to pursue further. Still, other commitments got in the way, and the project lay dormant until Stephen O’Malley, and Greg Anderson invited them to open for Sunn O))) for a special gig in the St. James Church of Culture in Oslo in the autumn of 2019. The two gathered for a long series of rehearsals, and after the successful performance, it was clear that it was time to start working on new compositions and recordings. That process initiated in late 2019 and continued to early 2021, encompassing before and after the world went through the lockdown. The result of this long development to be heard accumulated upon their new album “Higgs Boson” on Ideologic Organ Music. Throughout the profound process of creating “Higgs Boson”, Gammelsæter and Marhaug drew inspiration from various subjects and artists. For Marhaug, it was concepts informed by the structuralist experimental cinema of Japanese directors Takashi Ito and Toshio Matsumoto, futurist worlds of French comic book artists Philippe Druillet and Jean Moebius Giraud, landscape photography of Fay Godwin, Kåre Kivijärvi, and Tamiko Nishimura, amongst others. It became a metaphysical juxtaposition involving Gammelsaeter’s research and lyrical ideas based on several seemingly unrelated principles. A process of association inspired by “the Glass Bead Game” by Herman Hesse. The discovery of the Higgs Boson as a confirmation of the physical universe. The work of Ernst Schrödinger on the uncertainty principle. The four forces of physics. The Force. Helplessness under armed forces – as the war sailors in World War II. The influence of magic as expressed in tarot. Gammelsæter experiments with a boundary involving the thresholds amongst various states of focus and legibility by forensic experimentation with techniques such as exclusive expression of consonants, syllabic repetition, retrograde text vocalisations and multi-lingual layering. Her vocal inspirational sources include Sidsel Endresen, Diamanda Galas, Natacha Atlas, the choral works of Rachmaninov, and the bands Carcass and Grave. Two worlds coming together, making the music special. Mixing hard facts with science fiction helps create a kaleidoscopic cross point between the complex realities of the past and a possible future. “Quantum Entanglement” featured two long-form pieces centred around a prepared piano and layered voice, while “Higgs Boson” developed a much more elaborate and ambitious compositional work. Across eight parts, the two artists brought a broad palette of instrumentation and sound. Electronic and acoustic, objects and field recordings, and pipe organ define the structures of which the centre is Gammelsæter’s magnificent voice. She has become known for her legendary voice, with her vast and unique range of inflective techniques and affective colour through her 30 years creating music. In the mix, Lasse approached the instrumental elements like landscapes, then Runhild’s vocals as characters that inhabit those worlds. Often, Gammelsæter multiple characters fused with the landscape. Make them occupy space, sometimes blend into it, sometimes dominate it. Constructing and setting visual guidelines helps set focus and open possibilities. As an album, “Higgs Boson” is direct and focused, drawing on song structures. Within these tracks are vast strata of sound, an immersive multi-dimensional depth of music. Creating a feeling of depth while working with a flat two-channel stereo format – and how dimensions of texture and distortion can help develop the illusion of a space. The album structure is a storylike arc, a malleable subjective path, set as the album traverses oblique and suggestive areas, opening the concepts for the listener to unpack as they like. (Southern Lord Records)
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Repress of the first solo full length by the mighty Mr. Anzalone, better known as Danzig. This record is very far from punk rock, indeed the music is sort of ambient/electronic/avantgard rock. (Plan 9 Records/Unofficial Release)
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Vinyl LP pressing. 2013 release, the seventh full length album from the Irish Post-Rock band. Origins is their first as a five-piece and cements their place as one of the world's most intense, musically and visually inventive bands. Renowned for their searing live shows in which the music is married with provocative projected imagery, GIAA consider each of their albums to be a sonic 'photograph or snapshot of who we are in that moment of time' and Origins is perhaps their most saturated, striking snapshot to date. (Rocket Girl/2013)
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WRWTFWW Records is very happy to reissue Swiss cult band Grauzone’s self-titled album in an expanded 40 Years Anniversary Edition packed with the original 1981 album plus 9 extra songs, as well as extensive liner notes by Swiss music historian Lurker Grand. The 19-track album is available as a double LP vinyl in heavy 350gsm sleeve and a digipack CD, both sourced from the original reels and put together under the supervision of band member and all around legend Stephan Eicher. The pioneering band from Bern (Switzerland) had a short-lived but highly-regarded career which birthed a cult discography that still fascinates and resonates today. Consisting of core members Martin Eicher, Stephan Eicher, and Marco Repetto, and on-and-off participants Christian GT Trüssel, Claudine Chirac, and Ingrid Berney, the elusive group broke new grounds in the early 80s, experimenting with punk and industrial music, early techno sounds, minimalism, new wave, pop, and various electronics. With an innovative and polished approach to design, visuals, performance, and all around style and philosophy on top of their superb music, the constantly transforming unit developed a whole experience - the Grauzone experience: wild and unpredictable, yet sophisticated and cohesive, or as Swiss music historian Lurker Grand would call it, "an Art band with a Punk attitude". Completely rejecting the music industry rules and refusing to play the game of promotion, touring, release schedules, and TV appearances even though they had a multi-platinum international hit with the song "Eisbär", the band quickly disintegrated in full convention-defying glory, leaving behind an inspiring music legacy for the world to discover and discover again, one generation after the other. This extended version of their debut (and only) album beautifully crystallizes the Grauzone miracle/accident - where pop and youthful experimentation meet at (new/cold/no) wave and industrial crossroads, and where classic hits ("Eisbär", "FILM 2", "Raum", "Träume Mit Mir", "Der Weg Zu Zweit"…) flawlessly mesh with unconventional deep cuts ("In Der Nacht", "Film 1", "Maikäfer Flieg"…). Very simply put: GOOD timeless music with an edge. Stephan Eicher went on to be, arguably, the most successful Swiss musician ever, with an international career extending from pop chanson to experimental escapades and collaborations with Moondog, artists Sophie Calle and Sylvie Fleury, and author Martin Suter among many other luminaries. Marco Repetto flourished as a techno and ambient producer, releasing multiple projects including releases on Aphex Twin’s Rephlex label. (WRWTFWW Records)
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Voices, flutes and dark, pulsating electronics create a dystopian soundscape where an even more dark, spoken word, narration develops. Texts by Paul Virilio, Byung-Chul Han and Charles Baudelaire. yorgos: voice, flutes iason: synths, loops, effects released February 10, 2023 recorded at athens, 2022. mastered by: Kostas Karamitas cover layout: Sotiris Gekas Label: 1000+1 TiLt
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Ike Yard remain a legendary band of early '80s New York City – at once immensely influential, yet obscured by a far-too-brief initial phase. Their debut EP, the dark and absorbing Night After Night, sounds almost like a different group, so rapidly would Ike Yard evolve towards the calmly menacing electro throb of their self-titled LP. Originally released on Factory in 1982, the album put Ike Yard's indelible mark on the synth-driven experimental rock scene then emerging all over the planet. While historical analogues would be Cabaret Voltaire's Red Mecca or Front 242's Geography, opening track "M. Kurtz" makes starkly clear that Ike Yard is a far heavier proposition. With a thick porridge of bass, ringing guitar and strangled/stunted layers of voice, these six pieces are densely packed and perversely danceable. "Loss" sounds like a minimal techno track that could have been made last week, while "Kino" combines Soviet-era imagery with sparse soundscapes à la African Head Charge's Environmental Studies. Ike Yard somehow pull off the toughest trick in modern music: making repetition hypnotically compelling through subtle variation. The effect of Ike Yard's first LP can be heard in many genres – from industrial dance labels like Wax Trax to electro-punk bands and innumerable European groups (Lucrate Milk, Red Lorry Yellow Lorry, etc.). The fact that the cover artwork does not include any photos of the band, but rather features the original catalogue number (FACT A SECOND) only further illustrates the release's importance and Ike Yard's timeless mystique. (Superior Viaduct Records)
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Johnny Notebook is back. In tow the 28th Century Mates. Having emerged from the remnants of the bands Dean Dirg, Toyotas, Metric Eyes and Tetallica, the synth-punk duo Johnny Notebook, rooted in Düsseldorf, Wuppertal and Madrid, releases all their pent-up energy onto society after almost three years. The result is the energetic, driving sound of the new long player Johnny Notebook and the 28th Century Mates. It is played with the proven mixture of the danceable beats of the Roland TR505 drum composer, the catchy cadences of the PolyKorg800 synthesizer, recurring hooklines and a ruthlessly nasal, but no less melodious voice. Influences from genre gods like Devo, Screamers and Aviador Dro are still the unmistakable foundation of Johnny Notebook. 28th Century Mates is also enriched by repeated Italo-Disco elements, for example in the form of overlaying synthesizer melodies through to shorter keyboard solos, which makes the sound a bit more positive and light-lived than on previous Johnny Notebook releases. Lyrically, many of the songs address the sometimes absurd interactions between digital and analog reality and oscillate between nostalgia, sarcasm and fatalism, without sounding even remotely melancholy (Sound of Subterrania)
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Soul Jazz Records are releasing a collection of lost recordings by French mutant experimental synth group Kas Product, all originally recorded in the period 1980 – 83. Kas Product formed in 1980 in Nancy, France, as an electronic duo comprising ex-psychiatric nurse Spatsz on electronics and rhythm machines and Mona Soyoc on vocals and guitars. Kas Product feature on Soul Jazz Records’ recent 'Punk 45 – Les Punks: The French Connection'. Mainly recorded on early tape, synth and drum machines Kas Product’s mixture of Spatsz’ hypnotic, electronic and angular hard-edged beats matched to the spiky vocals and guitar work of Soyoc led to comparisons with Suicide, Liliput/Kleenex, Cabaret Voltaire as well as to the group being forerunners of the cold wave/ synth wave movement. Perhaps closer still is the Industrial sound of bands such as Throbbing Gristle and Einsturzende Neubaten. At the start of the decade Kas Product's 'So Young But So Cold' was also the title track of a defining collection of rare underground electronic French coldwave/synthwave bands on the Tigersushi label. The recordings here are taken from their early releases on the local Punk label from Nancy, France at the start of the 1980s, mostly recorded on a 2-track recorder in their bedroom, which led to them signing to RCA in 1982. These songs were first put together on CD by the French Fan Club label in 1990. Essentially the group split-up in 1988 but Kas Product still come together to perform live today most recently in Paris, New York and Los Angeles. In 2012 their major label debut album was re-released in France. Soul Jazz Records are releasing this album on limited-edition 1000-copies worldwide vinyl LP (with download), CD and worldwide digital. (Soul Jazz Records)
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In tandem with their first release of original material in over half a decade, Killing Joke deliver a compilation of dub remixes of some of their most famous tracks. The band have been heavily influenced by dub throughout their whole career, so the offerings on ‘In Dub Rewind (Vol One)’ - including deconstructions of ‘Requiem’, ‘Pandemonium’ and ‘Love Like Blood’ - feel like natural extensions of the group's ideas. Edition of 1000. Record 1 yellow translucent while record 2 is green translucent. The yellow vinyl is a bit more transparent than the green one. Gatefold cover. (Cadiz Entertainment – CADIZLP209)
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‘Pandemonium’ – originally released in 1984 and partially recorded inside the Great Pyramid of Giza, this is KJ’s biggest-selling album to date. The Re-issued double LP version – featuring new cover artwork from designer Mike Coles – stays true to the original track-listing, with both of the celebrated Cybersank Re-mixes for ‘Pandemonium’ & ‘Millennium’ included. (Spinefarm Records)
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3-D The Catalogue (German: 3-D Der Katalog) is the second official live album and most recent release by German electronic music band Kraftwerk. It was released on 26 May 2017. Gatefold sleeve. (Parlophone – 0190295924942, Kling Klang – 0190295924942)
