Emotional Rescue presents the music of esteemed New York producer and sound engineer, Eric Calvi, coming together with friends, including the legendary Steve D’Acquisto, for the one-off electronic disco project Exo Fender.

Spread over 2 EPs the songs Big Mood and Music In My Mind are remastered and come with special updated edited versions by one of NYC’s latter day producers par excellence in Justin Van Der Volgen.

Born in Paris, a self-confessed music nut, Calvi moved to New York to be involved in an epicenter of music, during the furtive cross-over of 1980. Alongside studies, he landed an internship at Sound Ideas studio. Working for free, essentially as a goffer, the studio was his school. From there, he stepped on to the legendary Hit Factory and Record Plant studios, first achieving success engineering and mixing Cameo’s global hit, Word Up.

That led to becoming house engineer for fledgling hip hop / electro label, Tommy Boy, working with Africa Bambaataa and a stream of era defining releases. Going freelance he worked with a slew of artists from Chaka Khan to Miles Davis, before becoming A&R at Universal Records. Alongside this, Calvi was a club regular, a member at The Loft and Paradise Garage, becoming friends with David Mancuso and engineering for Larry Levan.

Exo Fenders grew out of friendships of those clubbing years. Exo Fenders first saw Calvi and fellow producer Phil Romano, plus musician-singer Randy Fredericks, team up to create Big Mood. Produced by Calvi, it was created as a ‘call and response’ to Laid Back’s cross over club hit White Horse.

Recorded at Sound Ideas studio during down-time, the tongue in cheek nature was backed with an infectious groove, that saw Calvi playing all the instrumentation and Fredericks on vocals. Co-produced and named off hand after Romano worked as a volunteer rehabilitating ex-offenders, the project sat to one side as a one off until the following year when Music In My Mind was created.

Released together on the little know Canadian label, Coach House – not to be confused with the labels run by Eddy Grant – the 12” garnered considerable club play and has gone on to become a highly sought and expensive slice of the tail-end of New York’s golden era, for DJs and many collectors.

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Emotional Rescue returns to the music of the Eric Calvi, presenting the collective project that was Exo Fender, a group of friends, musicians, fellow producers, club and studio buddies who came together to create a one-off release.

While the first EP covered Big Mood, their ‘call and response’ to Laid Back’s White Horse, the second release was recorded a year later, this time revolving around Eric’s friendship with DJ and producer Steve D’Aquisto to create the live boogie jam Music In My Mind.

A Brooklyn native, D’Aquisto began DJing as a teenager in after-hours in the late 60s. By the early 70’s he was a regular DJ at gay discos, including the legendary Le Jardin and Sanctuary, before eventually getting a personal invitation by David Mancuso to come to his new party, The Loft.

A regular and friend of Mancuso, together they came to the idea of starting a way for DJs to get better representation, distribution, and promotion from the record labels. The founders of the idea of the Record Pool, this gave greater legitimacy to the concept of a DJ being a career and integral part of the music industry that laid the foundations of much of what came later.

At the same time, his friendship with Arthur Russell he described at the defining moment of his life. Their meeting and then working with Russell in their project Loose Joints yielded one of the all-time disco anthems with Is It All Over My Face? (West End Records), as well the sublime Tell You (Today) (4th & Broadway), plus a string of still unreleased songs.

His long-time friendship with Eric Calvi came from hanging out together at The Loft, inevitably leading to taking down time studio sessions, with the idea to forming an actual band. As with Loose Joints, the idea was a real live band, with drummer, guitarist, keyboardist, and bassist all brought up together from Philadelphia for a West End session. Sung by friend Kip Kapland, D’Acquisto and Calvi co-produced Music In My Mind at Quandrasonic Studios and together with Big Mood, the one Exo Fenders 12” was released later that year.

Again the label brings in Justin Van Der Volgen, one of NYC’s best producers today. With a string of releases, remixes and edits over the last two decades, he has more recently gravitated to mixing and producer for a myriad of artists. His edit here, however, showcases all his talent. Straight to the groove, a long looped intro before teasing bass, guitar and vocals come in and the new arrangement leads dutifully to the drop, before the big soprano saxophone finally comes at around 6 minutes in, building his edit to perfection.

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The Dancefloor Records reissues on Emotional Rescue comes in the form a true House classic. Produced and released by the Chicago legend Andrew Komis, It’s You is an original Deep House bomb and an education to those increasingly misusing the term today.

Essentially a cover / updated version of the all-time early House classic in ESP’s Its You, this 1989 update shows how much the scene was progressing in just 3 years with a tougher, heavier and deeper 12” that was all about rocking club sound systems.

Coming out on Komis’ own (Dancefloor subsidiary) Big Shot Records, this might not of been as big as Dionne’s Come Get My Lovin’, but has long been an ‘in the bag’ record for the likes of Derrick Carter and Solar. Just one listen spread across the time-defining “Mixes” and it’s clear why.

The stepping bass of the New York – London Mix was so indicative of the time. As the latter’s ascent as a clubbing capital took hold, ears were pinned to what was emanating from across the seas, especially the clubs of NYC and ‘Windy City’. Trademark Komis bass and hats ride are all here to allow the breathy vocals space to do their magic.

However it is the Free House Mix that really shows where things were at. Skipping hats, electro-meets-Belgian bass and a dark synth line pull the track down before acid touches take the song to a much deeper place and has long been the favourite version for the discerning DJ.

Ending with what was indicative of the time, the title says it all with the NU Style Mix. A drum heavy work out, taking in elements of successful records of the time, we get Break 4 Love percussion arranged around a NYC influenced Konder’s style quick cut-up editing for a more 'freestyle' mix to round out what is simply, an underground bomb and therefore, worthy of what this label has always been about, bringing great records to new ears.

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Emotional Rescue completes the series of non-defined reissues where the label licenses an all-time favourite, remasters and then reappraised with new interpretations by contemporary producers for today’s collectors.

After the series started back in 2019 with Hawkwind’s sprawling psychedelic electronics, featuring deep drone mixes by the esteemed digger Cherrystones (ERC074), the bouncing cosmic-Balearics of Thomas Leer with wonderful reworkings by friend and producer Bullion (ERC075) and then the post punk dubs of The Embrace and Timothy J Faiplay’s brooding italo-dub excursions (ERC076), there was always one artist and producer left out. Finally, then the percussive excursion of the early 80s band The Impossible Dreamers and their cult B side jam, Spin, coming with 9 minutes percussion-dub extravaganza of an extended reversion, plus a dub heavy reprise, by label go-to Dan Tyler (Idjut Boys /Noid), under his NAD moniker.

Started by a group of friends while at Exeter University that centered around Caroline Radcliffe, James Hood, Justin Adams and Nick Waterhouse, their debut 12” record is one of just three on the 100 Things To Do label. The other two releases have already been covered with the Hamburger All Stars ‘Swinging London’ 12” (ERC114) of 2022.

Recorded before the move to West London, ‘Life On Earth’ was a raw post punk vocal pop cut, with influences of dub, funk, hip-hop and African music shining through, there were in their own words, “young music fans starting out, with no agenda”.

However, it was on the B side that things got interesting. Enamored by the growing trend of extended 12” singles, they decided, with the A side wrapped up, to have some studio experimentation by recording a drumming jam, with all the members playing percussion, followed by some overdubbing. Memories are hazy, but at the time the band was an 8-piece, so the results a chaotic explosion, capturing the essence of that time. Featuring Nick and James on 4 hand piano, plus Caroline on Oboe, with some additional hollering and wooping vocals, Spin was a 5-minute burst of energy.

In effect, self-released in 1982, the band didn’t expect much to come of it, but the 12” acted as a calling card leading them to London and later signing for RCA. At the same time, Spin was being discovered in the early eighties alternative club world. On a trip to New York, the track was heard being played Downtown, and on enquiring it was discovered the DJ was playing a 7” that was never an official release but cut in the US solely for the club DJs there.

Its resonance extended further, to Italy and the Cosmic club of the resident, an ever-searching Danielle Baldelli, before being picked up a few years later by a young Andrew Weatherall during his pursuit of an alternative “Balearic” beat during the late eighties Summers of Love and has even recently received the Joe Clausell edit treatment back again in NYC.

For the remake to fit the label series, it was only right to ask label friend Dan Tyler to do what he does so well, putting the original through his array of dub machines and pedals, extending and cutting with aplomb to create an incendiary ‘Reversion’ that will send dancefloors literally in a spin. Teasing the percussion incandescent, looping and teasing, the piano held back before finally releasing in a haze of dub effects.

This is followed by the ‘Riddim Reprise’. Working with London based drummer Matt Bruce (Claptrap), this is the perfect DJ tool, taking the original idea of the band, to just jam see what happens, twisting it full of space echo and reverb, to offer a perfect 12” Extended Mix.

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The last of the Konduko series from Emotional Rescue arrives now and quite possibly it is the best of the lot from Noel Williams. His 'Fantasy' saw him work with Larry Dermer aka Der Mer on what is an effective and catchy electro jam that operates at the higher end of the tempo chart with some classic vocoder vocal action to really make it pop. Despite being released originally in 1984 this one still bangs with its emulated TR-808 beats and nagging melodies. The instrumental heightens that and then the Jonny Rock Discomix shuts down with long-form rework that shows why the DJ, editor and all-round amiable bloke is so well regarded.

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South African Warrick Sony is a ground breaking composer who was behind the Kalahari Surfers project which now gets a vital spotlight courtesy of Emotional Rescue. This compilation shows how effortlessly eclectic his sound was - from jive rhythms to jazz, tabla to political speeches and much more in between. A Hindu pacifist who was once conscripted into the South African Defense Force, he founded this group as a way out getting his ides out there, calling on other musicians as and when he needed them. It was the first radical white anti-apartheid pop in South Africa and as this vital collection shows it explored polyrhythms, slow motorik, dub sound collage and even a goofy cover of Nancy Sinatra.

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King Sporty is something of a chameleonic artists, not that many people know. He started out int he 70s making reggae and soul 7"s, then moved into disco, boogie, hip-hop and electro 12"s during the 80s, and then when house music hit in the 90s he evolved once more. This new drop from Emotional Rescue takes a tune from that late era. 'Computer Music' is four to the floor with electro influences and a lazy break that pull you in deep. Far-sighted chords bring a serene sense of cosmic majesty while a filtered vocal adds space age vibes. A dub is included as well as the Universal Cave Discomix by the Philadelphia DJ and production crew. A retro-future EP indeed..

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Emotional Rescue's vital Konduko reissue series sadly comes to an end here with a look at the label's final years. In those days it moved away from reggae, disco and boogie towards an enduring electro sound that had a vast and lasting impact on the Miami scene. The biggest tune from that time was when Noel Williams linked with local songwriter Lawrence Dermer aka Der Mer for the track reissued here. 'Fall Out' soon became a hit with its driving electro-funk rhythms. The original sits next to the later Fresh '86" mix as well as a NAD disco mix from Dan Tyler, best known as one of the Idjut Boys. It's an irresistible package of body-popping electro with hooks for days.

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Noted reggae vocalist Barry Biggs comes under the Emotional Rescue microscope here with celebrated LA digger Patrick Billard aka DJ Duckcomb remixing one of his cuts. First up is the original version of 'Illusion' which has big pianos over the clean digital dub. The soaring vocal is obscured by plenty of lush effects and melodies. After a version twists and contorts the original, the DJ Duckcomb Discomix slows things down and ups the dazzling disco vibes but keeps the dub dubby bottom end to ensure plenty of dance floor impact. This is a classy one as ever from this label.

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Here comes Emotional Rescue and Konduko's last in their series of Noel Williams/King Sporty reissues, this time looking at later electro productions and the hip-hop/boogie influenced 'Sun Country'. Vocals and co-production come from Williams' long-time partner Betty Wright and as well as a vocal and instrumental mix there's a longform remix by Bay Area disco dub stalwarts, 40 Thieves.
By this point in his career, the godfather of Miami Bass had travelled a long way from his Jamaican roots in reggae and soul, paying homage to the warm climbs of the Sunshine State and laying down a much copied template using the TR-808 drum machine create the electronic emulations of the breakbeat, claps accenting the backbeat and trademark low frequencies shaking the floorboards. The instrumental stretches the arrangement, emphasising the interplay between electronics, bass, vocal samples, scratching and fx, the voice transformed into a percussive element in its own right. The flip sees 40 Thieves flexing their understated understanding of electro funk, making for a rounded, generation-jumping package.

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Group Du Jour was founded in Portland, Oregon in 1983 and have had a storied career spanning the decades since. They have always brought together live, ethnic, and electronic sounds with folk and modern pop, later getting ever more experimental. Early albums Forgotten Colors in 1986 and Wonderful Vision in 1988 are groundbreaking affairs, the latter of which gave rise to 'Motion Of Waves', which is something of a cult favourite for deep diggers. It is a rich instrumental groove that layers up synthesiser, flute, guitar and haunting vocals sitting over a brilliantly electric beat. The whole thing was a live one-take recording and is perfectly suited to both sunset and sunup moments of dancing pleasure.

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There is always a good backstory to the music that Emotional Rescue releases and this EP is a case in point. It comes from Betty & The Code Red and Betty was the girlfriend of Tunde Obazee, a Nigerian-born artist who used music as a "non-violent tool to express his socio-political opinions on global injustice." The pair would entertain people on campus by playing anything they could get their hands on, informed by the old Edo folk songs they had grown up around. They went on to live in Italy and the US and start a family as well as lay down self-released songs that have become cult classics. A selection of them feature on this, the first of two EPs from the pair.

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Betty & The Code Red is a life and creative partnership between Benin-born Tunde Obazee and his girlfriend Betty. The pair grew up in Nigeria and would play all manner of instruments to entertain people at the local school before staying together as they went on to live in Italy and the US. Obazee performed at colleges and universities despite no formal training and eventually recorded a selection of tunes together including a small album on relatively new bits of gear like the Yamaha RX7. Especial has collated some of their best work across two new EPs, this being one of them.

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Emotional Rescue looks to the newly rebuilt but still very much culturally separate East and West Germany of the 1980s with this new EP. It's dub reggae through a post-punk and alternative lens by Hanover artists Felix Holter aka Dubvisionist. All these cuts have a very live, improvised feel because father way he worked from rhythms first and jammed endlessly before adding the vocals. They are taken from their 1987 release 10 Tracks Of Reggae & Dub Music which was inspired by the great Adrian Sherwood label On-U Sound label, and you can hear that clearly.

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Emotional Rescue can be relied on to dig up obscure, left of centre dance gems and serve them up to newer, wider audiences. Adu's reggae-pop cut 'Burkina Faso' is a great example, re-purposed for the dancefloor without any of its original flavour lost in the overhaul. A
South Saharan/West African emigre to Brixton, Rauf Adu would go on to fairly sizeable European fame with the Eddy Grant-esque 'Human To Human'. This, however, is his 1982 debut for Copasetic Records, another reggae-pop inspired, ludicrously catchy effort with scorched electric guitar and a Compass Point-style drum/bassline providing rhythmic rocksteadiness. As well as the buffed up original, there's a dub mix, which gives his beautiful guitar plenty of room to breathe, and an appearance from the Isle of Jura Sound System boss Kevin Griffiths , whose remix completes the trio of mixes.

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Emotional Rescue is delighted to debut a first. Rather than a straight reissue of an (obscure) classic or a collection of music by an artist or label, here presented is a compilation of various artists centered around a sound and movement reggae-tinged music and how it influenced and spread from the Caribbean and diaspora.

Drawn from the off kilter digging of archivist, DJ and collector Bruno (perfectliv.es), Nowhere Like Here is not a follow up, but a sideways accompaniment, to his recent and already cult like 'Perfect Motion' collection of left field pop and new wave, recently self-released with Flo Dill (NTS).

This is a special release to celebrate the label's 10th year and beyond, offering a treasure trove of lo-fi and often pop inspired reggae cuts, mixing heartfelt Lovers Rocks style paeans and quirky private press oddities, all guaranteed to 'make-a-move and tap', these are, in the main ridiculously rare or impossible to find alternative bombs, that are just as sound system rocking and massive bass line quaking showcases of the enduring legacy of this Jamaican music phenomenon.
As with much of the early 80s period, the music community was in the throes of a Do-It-Yourself cultural renaissance as small labels, where crazy limited, one off White Labels Onlys came and went. Songs like Avalanche 's 'Your Love is Such a Good Thing 'or Warp Speed's 'Take It To The Night' were part of the claiming the means of production in to their own hands, pressing up the records and self-distributing. This raw, naive exuberance can be heard in the songs themselves. This is not reggae or Lovers as known, but something more expressive. Musical, simply produced, but with intelligible and uplifting optimism that is just superlatively catchy.

While Paul Thompson's 'Can I Take You Home' and Ras Ibuna's 'Black Beauty' are more straight-ahead Lover's style cuts, there is the parallel dance pop private pressing vibrations of the two Keith Robinson songs and Majority's 'Caroline' included all part of a thread; a joining the dots that Nowhere Like Here is at its most basic, a warmth the whole album exudes.

This is not a Lovers Rock Hits of some, but a left-of-center versioning, spread across Double Pack and cut loud for DJ play, fitting the ethos of Emotional Rescue by presenting something most will not have heard before and all the better for it.

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Emotional Rescue dives back in the world of post punk experiments and early synthesised electronics to present another of the labels iconoclastic 7" 'collectors specials', with a look at Stockholm's Staalfagel.

Born in 1977, Erik Fritjofsson and Petter Brundell merged and formed Staalfagel out of the suburbs of Jakobsberg. Like so many at the time, the duo was tired of Prog, Jazz and Symphonic Rock and formulated something new and against at the same moment; a time where drummers were jettisoned in place of drum machines and the inspirations of artists like Creedence Clearwater Revival, Devo and Pere Ubu were thrown in the mix to fervent results.

With Micke Kjell soon joining on bass, they toured Sweden constantly, the manic machine beat, beating guitars and strange synth sounds defeated the throng and led to a considerable following. Recorded live to tape with no overdubs or mixing, the faithful CR 78 drum machine, the results radiate energy.

Release just 4 records in 2 years (1980 - 1982), Utan Rymddrakt Pa Uranus appeared as their last ever release. Jettisoning the punky-funk vocals of previous releases, the single is a pure electronic groove. Funk bass and guitar atop, its short form simplicity is perfection distilled in 2 parts of less than 3 minutes, conjoined like some reggae dream, with 'Uranus II' acting the dub 'version' counterpoint.

Discovered and shared by long-time friend, DJ and collector, Gary The Tall steps out from behind the decks and microphone of his long running NTS show to present an exemplary "Reversion". Teaming up with master producer and label affiliate, Timothy J Fairplay on engineering duties, they keep the originals' straightforward charm, deceptively editing, looping and reversing with aplomb, for a killer flip side.

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REPRESS ALERT!: A planned reissue for many years, the untimely passing of Steve Coe shortly after the label's rerelease of The Ganges Orchestra's The Dream put everything on hold. However, time moves and so now seems a fitting time to revisit this "world dance" classic with fonder hearts. Long cherished, it is a reminder of Steve's enduring studio mastery. After the initial success of his work with Sheila Chandra in Monsoon, Steve expanded his musical scope, working on an Indipop compilation as clubs looked to Eastern flavours to add a new dimension for the dancefloor.

Teaming up with tabla disciple turned teacher, Jhalib (Millar), as well as long time collaborator Martin Smith, it's hard to imagine Mysteries was first heard in 1982. Hailed as an all time classic, it's enduring appeal can be seen in how it became a staple for the likes of Danielle Baldelli at the infamous Cosmic club and beyond to become an original Evissa "balearic" secret play for Weatherall & co in those fateful summers of love and beyond.

Remastered especially for this release, the orchestral Eastern melody and mid-tempo chugging rhythms and vocals marry in perfection with a dub bassline of Wobble inspired depth. This alone would be enough, however, the original is at last backed with the 1988 remix. Aimed at the then burgening New Beat scene, a subtle straightening kick is added, but it's the unmistakable vocals of Sheila Chandra that finally brings this release together in melodic harmony. Peace be with you Steve. I AM x

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You would think that a small country like the Netherlands has very few isolated places, but buried in the south-west corner you will find the region of Zeeuwsch Vlaanderen. Just before the Westerscheldetunnel was built in 2003, the area was only reachable by ferry or over land through Belgium. By the late 1970s, in the region's small city of Terneuzen, a group of like-minded music lovers were inspired by punk music and formed a series of bands together. A number of the musicians first met in high school, and it is here where we find Danny Bosten (Das Ding) and his label Tear Apart Tapes. If you played music you had to have a label to release it and because you had a label you needed to make music. It was a logical and circular process, and despite being isolated, nothing stopped them from bringing new music to Terneuzen. Up till today the label releases cassettes just like in the olden days as well as a string of 7-inches with new music by Das Ding, Les Yeux Interdits and Ian Martin. Each of these releases carries a similar visual aesthetic to the label's early 1980s output. All of them sold out quickly, but luckily they are now collected here on this LP.

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For fans of minimal wave and DIY electronic pop, Oppenheimer Analysis's self-released 1982 debut cassette, New Mexico - little more than an extended demo cassette - has become something of a collector's item. While it has been reissued digitally since, it never received a vinyl release. In tribute to Martin Lloyd (the other half of the duo, alongside Andy Oppenheimer), who passed away recently, Minimal Wave has decided to make New Mexico available on wax for the first time. While the sound quality is appropriately dusty (it was badly recorded in the first place, of course), the music remains magical - bubbling, evocative, left-of-centre leftfield pop created with home-made synthesizers, modular hardware and little else. It's no wonder many consider it a classic album (even if was never officially released first time round).

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OFFICIAL 2022 REISSUE

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Opera Multi Steel was born during the winter of 1983 in Bourges, a city in the center of France. The band started off as a trio with Franck Lopez (Vocals, Keyboards, Guitars), his brother Patrick L. Robin (Vocals, Percussion) and Catherine M. Marie (Keyboards, Vocals). They began to record demos utilizing a Elex Keyboard, Casio VL-Tone, Roland TR-606 drum machine, guitars and pedals. Layering organ-like keyboards over drum machine snares and a woodwind recorder, they created a unique style of Medieval or Baroque synth pop. The result was a 4-song debut, eponymous EP, released in 1984 on their own label Orcadia Machina. The songs range from fast and bright, New Wave influenced by Orchestral Manoeuvres in the Dark’s “Electricity” and slower, brooding Darkwave ballads like “17 Seconds” “Faith” era Cure. All songs were sung in French with lyrics about feeling of nihilism, disgust with life and escaping to a botanical garden in search of redemption. It was a pre-cursor to their darker and classic French coldwave sounds of their debut album “Catherdrale” released the following year.
All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The jacket is die-cut replica of the original sleeve using master templates the band created in 1984 and offset printed on heavy French off-white card stock. Each copy includes an inner sleeve printed with lyrics and perspective line drawings by Jean Vredeman de Vries from the 17th century.

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Initially released in 2010, Minimal Wave's retrospective of obscure French '80s outfit Deux remains one of the label's most sought-after compilations. Here, it gets a deserved re-press, allowing a whole new generation of listeners to fall in love with the quirky works of the Lyon-based duo. The album's ten tracks, which were drawn from various obscure cassettes and seven-inch singles, effortlessly join the dots between moody electro, cold-wave, new wave and eccentric synth-pop, reflecting the pair's esoteric approach to wayward electronic pop. This second edition comes in a hand-numbered edition of 999 copies, with Minimal Wave's usual attention to detail present on the weighty packaging.

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Note: comes with 16 pages casebound book - limited to 474 numbered copies

Die Form is the seminal post-industrial electronic act started in the late 70’s by French musician and multimedia artist Philippe Fichot. He began recording a number of experimental cassettes under different names but Die Form became the main project and with which he has developed a prolific career during more than four decades. Whilst the project was still in its first stage, the underlying concepts were already evident: a combination of esoteric electronic experiments with an underlying theme of eroticism, death and other taboo subjects, apparent in both the music and artworks.

“Ad Infinitum” was recorded with dark and stifling atmospheres almost simultaneously with the album “Confessions”. It includes cult pieces such as “Bite Of God” and “Chronovision”, which has made the success of Die Form in clubs, alongside more ambient and industrial tracks such as “In The Evening Of Life” or “Unlimited”.

“Ad Infnitum” was originally released on CD in 1993 by Hyperium Records and now is available for the first on vinyl record. This new edition includes the complete original track list plus a selection of instrumental versions and unreleased tracks from the same period. Limited edition of 474 numbered copies on double vinyl with a deluxe 16-page casebound hardcover book featuring unpublished images as well as other reworked photographs taken from “The Visionary Garden”. Every copy includes a certificate and one sticker.

“The taboo leads to transgression … the taboo transgression spellbinds” (Georges Bataille)

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limited repress on clear vinyl

The Australian master of the dark synth arts is back and – boy – he is out for blood.
We’ve been missing Marc Dwyer solo project Buzz Kull since his latest single Last In The Club from late 2019 and since back then we knew he was up to something. At first glimpse, the minimal wave days of We Were Lovers seem far away now that Marc has gone full Club Body Music with his upcoming new album, but there is a thread that binds Buzz Kull hits from the past such as Into The Void, Avoiding The Light and New Kind Of Cross with these ten new cuts: a thread of darkness proper to the most handsome man in the game and that’s here to stay.

Echoes of 90’s era Front 242 and Front Line Assembly will resonate from tracks like Fascination and Dead Inside; elements of early body music flirting with the dark side of British synthpop will rave from the grooves of Dancing with Machines and Man on the Beat, while late 80’s Belgian new beat cellar-like vibes rise from Do You See and Burn it to the Ground.

But Buzz Kull’s third full-length is not just about music subgenres we all know and love, it’s about a feeling that comes alive only with the dark and drives you through the small hours just to leave you drained and filled at once. The creature of the night is on the loose, the sticky dancefloor its natural habitat, its lust for the upside-down world of the club can’t be cured.

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Emerged from the heart of Japan’s underground scene, SCHEDARS is an incredible five piece band with an explosive sound rooted in the Post-Punk-No-Wave aesthetic. Previously self-released and now reissued on a world-wide scale, this is their first full album. A hyper-active blend of sharp singing, psychotic guitars and organs, snaky saxes, infectious bass lines and nervous drums beats.

Fans of bands like D.N.A, The Contortions, Phew or early The Ex will find themselves enthralled by SCHEDARS’ uncompromising, high-intensity approach. With this first full-length release now reaching a global audience, SCHEDARS is set to carve out a space in the international post-punk landscape, proving that the underground still has plenty of room for raw, visceral, and boundary-pushing sounds.Get ready to experience schedars—where controlled chaos meets razor-sharp musical precision. ONE BONUS TRACK INCLUDED

Tracklist:

Side A

Waste Site
Golf
Cold Storage
Secrets Leak Out Like Gas
Left With...

Side B

Paranoidea
In The Morning I Eat Rotten Meat
Waving/Drowing
Your Lost City
Shameless Lost City
Stroll (Bonus Track)

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3xLP Boxset mit den remasterten 4AD-Alben Fetisch und Tocsin und den EPs Incubus Succubus II und Qual Es ist ein unwahrscheinlicher Eindruck, den Xmal Deutschland in den frühen Achtzigern nicht nur auf das hiesige, sondern auch auf ihr britisches Publikum gemacht haben. Es war wie gebannt von den unvermittelten Stakkato-Rhythmen, der mysteriösen (also: deutschen) Sprache und der Kraft und Vision der beteiligten Musikerinnen. 40 Jahre später, genauer am 9. Mai 2025, erscheint nun "Gift: The 4AD Years", mit dem das Londoner Label die Jahre 1983/1984 wieder aufleben lässt. Die 3xLP führt das fiebrige "Fetisch", das mächtige "Tocsin" und die korrespondierenden EP-Tracks zu einem Ganzen zusammen, das pulsiert vor Energie und Haltung. Enthalten sind auch die Bandklassiker "Incubus Succubus II" und "Qual". Das Coverartwork mit einer Fotoarbeit von Peter Schulte wurde auf Grundlage von 23 Envelope-Originalarbeiten von Timothy O"Donnell designt. Es kommt begleitend zu den originalen Sleeve-Fotografien von Nigel Grierson. Hinzu kommt ein Fotobuch mit Bildern von Kevin Cummins, Paul Slattery, Sheila Rock und weiteren sowie einem Text von Chris Roberts. "Gift: The 4AD Years" erscheint am 9 Mai digital, auf Doppel-CD sowie als 3xLP auf transparentem, rotem Vinyl sowie exklusiv in Deutschland als Crystal Clear Vinyl.

Trackliste
1.1QualA
1.2GeheimnisA
1.3Young ManA
1.4In Der NachtA
1.5OrientB
2.1Hand In HandB
2.2KaempfenB
2.3DanthemB
2.4BoomerangB
2.5Stummes KindC
3.1MondlichtC
3.2EilandC
3.3ReigenC
3.4Tag für TagD
4.1Augen-blickD
4.2Begrab Mein HerzD
4.3NachtschattenD
4.4Xmas in AustraliaD
4.5DerwischE
5.1Incubus Succubus IIE
5.2VitoF
6.1Qual -
6.2ZeitF
6.3Sehnsucht

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Nervous Gender’s legendary synthpunk LP Music From Hell burbles up from infernal depths to resurface on Dark Entries! Confrontational, unhinged, and unabashedly queer, Music from Hell is an unholy grail for fans of the strangest underbellies of post-punk, minimal synth, and early industrial music, and is presented here newly remastered and on expanded double LP. Nervous Gender (de)formed in LA in 1978 at the hands of Phranc, Gerardo Velaquez, Edward Stapleton, and Michael Ochoa. Phranc, the androgynous embodiment of the band’s name, left in 1980. Following her departure, a wide cast of LA freaks would find themselves drawn into the band’s orbit, including Alice Bag of the Bags, Paul Roessler of the Screamers, the Germs’ Don Bolles, and an 8-year old drummer named Sven Pfeiffer. In 1980, Nervous Gender appeared on the seminal Live at Target compilation alongside Factrix, uns, and Flipper. With the band’s notoriety cemented, Music from Hell followed in 1981 on Subterranean Records (as no LA label would touch this material).

Side A, dubbed “Martyr Complex”, presents a more punk-forward sound with live drum salvos and slabs of aggressive synth. These twitchy, unsettling shockers ooze with the kind of snotty misanthropy that will endear them to fans of the Screamers or Crass.

Side B, known as “Beelzebub Youth”, is a live performance the band labeled "an electronic bruto-canto dissertation on the banality of spiritual transcendence." Mutant melodies cede way to synthesized clangs, whirs, bleeps, manipulated tapes, and howls of despair. In addition to all the material from the original LP, we’re treated to a full disc of the band’s demos, the material from the Live at Target compilation, and early live recordings. Included are unrecognizable covers of Carly Simon and Lou Reed, and the Sex Pistols that are so despairingly skewed they fall into the void. This reissue of Music From Hell includes a 36 page lyric booklet, foldout poster, and gatefold sleeve with photos, flyers, and news-clippings designed by Eloise Leigh. Tackling taboo issues like sexual kinks, mental illness, drug use, and childhood molestation, Music From Hell is still surprising – even shocking - over 40 years after the album’s release. Nervous Gender stand as one of the most genuinely anti-establishment outfits in underground music, a colossal fuck you to social norms from religious strictures to gender essentialism.

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