Outer space or Cyber space, you decide… Fantasy or an urban introduction into the vast possibilities of the internet? Honoring sci fi heroes, citing inspiration, or something more sinister?

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Next batch coming in on the 14th of july.

The Aztecs return. UR receives the message. The Aztecs and the Hermanos make the transition from the guitar player. Natives didn’t take the robbery of Mother Earth’s land or her culture lightly. A new warrior culture, the Electronics did not back down when a war broke out with the programmers over this production. Those who know were avenged for the transgression. Strong beautiful music with a stronger beautiful spirit. A first in the history of music: big can lose. Hear it and feel the power of the cats that still prowl the streets of Detroit.

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Size XS

Screen-printed graphic logo on black Gildan Ultra Cotton T-shirt.
Red on Black

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Size S

Screen-printed graphic logo on black Gildan Ultra Cotton T-shirt.
Red on Black

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Size M

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Red on Black

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Size L

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Red on Black

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Size XL

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Red on Black

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Size XL

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Red on Black

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Size L

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Black on White

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Size M

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Black on White

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Size S

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Black on White

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Size XS

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Black on White

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Size XS

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Black on White

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Size XXL

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Repress!

AS THE BLACK MOON RISES THE SIGNAL IS SEEN. ONCE AGAIN REPORTS OF THE UNSEEN ARE STARTING TO EMERGE THIS PRESENCE THAT TRAVELS THRU CAT 7 HIGHWAYS TO SCAN ROUTERS WORLDWIDE COUNTERING THE PROGRAMMERS EFFORTS TO COMMERCIALIZE A FEELING OUR FEELINGS... THIS PRESENCE KNOWN AS SCAN 7 CANNOT BE DEALT WITHIN THE PHYSICAL REALM. LISTEN TO THE FEELING AND JOIN THE FIGHT. THEY CANNOT HAVE THE SOUND OF THE UNDERGROUND! IT BELONGS TO THE PEOPLE OF THE NEW TRIBE! DO NOT ALLOW YOURSELF TO BE PROGRAMMED
KIRK OUT: MAD MIKE

ALL TRACKS PRODUCED AND CONCEIVED BY "TRACKMASTER LOU" & "THE ELOHIM".
MIXED BY V. SHELTON AND MAD MIKE FOR UNDERGROUND RESISTANCE PRODUCTIONS.

ALL TRACKS RECORDED AND MIXED AT BLACK PLANET STUDIOS.
RECORDED ON A TASCAM 4 TRACK.

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Outer space or Cyber space, you decide… Fantasy or an urban introduction into the vast possibilities of the internet? Honoring sci fi heroes, citing inspiration, or something more sinister?

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Detroit techno classic by James Pennington.

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Next batch coming in on the 14th of july.

The Aztecs return. UR receives the message. The Aztecs and the Hermanos make the transition from the guitar player. Natives didn’t take the robbery of Mother Earth’s land or her culture lightly. A new warrior culture, the Electronics did not back down when a war broke out with the programmers over this production. Those who know were avenged for the transgression. Strong beautiful music with a stronger beautiful spirit. A first in the history of music: big can lose. Hear it and feel the power of the cats that still prowl the streets of Detroit.

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Repress!

“UR wonders” What happens to jazz if combined with the current electronic sound tools used to make Detroit techno now?

What might Jazz sound like if the inspirational pioneers of fusion ie; Return to Forever, Astral Pirates or Weather Report had access to the music production technology available now or in the future?

The artform called Jazz was a unique reflection of “The African American experience here in the United States.Unfortunately by the 90"s it had been compromised by major record companies and made “smoother” for mainstream consumption and more profits.

Born in America’s rural black south Rock & Roll had suffered the same fate years earlier. Original artists eventually replaced by well studied clones and corporate mega profits!! Also happening the original artform of jazz appeared to be caught, processed & throughly EXPLAINED by people who sought to intellectualize “struggle & human emotion” into mere words and then benefit immensely financially by being authorities on the subject.

Hmm sound familiar?

As you watch the current intellectual colonization of the urban inner city African American art forms house music, hip-hop, Jungle & Detroit techno get studied, bent, twisted renamed and turned into EDM profit formulas.

There stands records like Nation 2 Nation that defy these definitions and inspire the next generation of Pioneers who continue the undefined exploration of Jazz like Derek Jamerson, Jon Dixon, Raphael Merriweathers, Desean Jones, Timeline, Galaxy 2 Galaxy, Raphael Statin & Ian Finkelstein. Mother to daughter, Father to son,

Nation 2 Nation a work inspired and that inspired what’s next.

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Repress!

Detroit a city of great contrasts. Feats of engineering that spurred the world forward. For a few decades wealth and prosperity. Hi-tech dreams seemed achieved. But with the dream also comes nightmares…..Traffic Jams, Predatory Insurance Companies prey on municipalities with no mass transporation, freeways built specifically to ruin minority prosperity & to build walls between people. Beautiful countries all over the world wrecked at war over the thirst for oil, entire neighborhoods decimated when the corporate greed for profit forces engineers to build throw away cars that are quickly replaced by better built foreign competition. Even Worse……Climate change. Detroit the city that knows the best NO CORPORATIONS SHOULD DICTATE CITY FUNCTION the people should……listen to the sound and learn from it……or deal with the Lo-tech reality that Corporate greed actually is so good at building. UR the future UR the change……

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Outer space or Cyber space, you decide… Fantasy or an urban introduction into the vast possibilities of the internet? Honoring sci fi heroes, citing inspiration, or something more sinister?

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WAS - Word and Sound Medien GmbH
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Next batch coming in on the 14th of july.

The Aztecs return. UR receives the message. The Aztecs and the Hermanos make the transition from the guitar player. Natives didn’t take the robbery of Mother Earth’s land or her culture lightly. A new warrior culture, the Electronics did not back down when a war broke out with the programmers over this production. Those who know were avenged for the transgression. Strong beautiful music with a stronger beautiful spirit. A first in the history of music: big can lose. Hear it and feel the power of the cats that still prowl the streets of Detroit.

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Repress!

In February 2021, Jan Jelinek's seminal album "Loop-Finding-Jazz-Records" turned 20. The anniversary repress, a double LP with two bonus tracks (B-sides from the Tendency EP, 2000), is a little late to the party.

What the press said about Loop-Finding-Jazz-Records:

“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)

“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)

“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.” (RPM)

“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré laid atop a dub Techno framework. (...) Jelinek might as well have sampled a horn player’s hissing intake of breath – it would have been ‘jazz’ enough for his purposes.“ (The Wire)

“It’s a perfect inversion of conventional music, a sonic negative. Everything that would typically be foreground is moved back or pushed off the screen altogether, and the flecks of sonic debris that would normally be covered by other sounds are left to carry the melody and rhythm.” (Pitchfork)

“All you need to know is that these onomatopoeic non-specific songs (...) are warm, paradisical creations”. (NME)

“Listen carefully and you’ll hear textures slowly unfolding and mutating. Presuming you’ve not fallen asleep of course.” (iDJ)

“At times, it’s all a bit dripping tap Japanese water torture; so sedentary it drowns in its own motionlessness” (DJ)

“Loop Finding Jazz Records' is a genuine modern classic whose re-release is anything but a cynical mortgage repayment exercise. Consider this a second chance, then pretend you had it all along.” (Boomkat)

PS:

“I’ve been fortunate enough to see Jan Jelinek live once, at Tonic NYC (...). Wearing a black and white striped shirt, he looked like a nihilistic Charlie Brown.” (beachsloth)

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Tracklisting:
A1 Sweely - Stronger Than Me
A2 Sweely - You Don't Really Want Me
B1 Sweely - Raw Thoughts
B2 Sweely - Acid City
B3 Sweely - You Do

Sales Note
- repress -

Sweely caps off a massive 2017 with a bumper 5-tracker EP of pure heaters.

Pressed on the classic "LT Records" centres, Nice Archive Traxx Vol. 1 is a lesson in raw, hissing house from the Concrete resident and one of France's finest new talents.

Stronger Than Me has been bothering mixes & radio for a good year now and takes pride of place on the A1. Skipped snares, wailing sax and clear vocal hits slot together around an NY house core. You Don't Really Want Me heats up the production just that bit more on the grill and adds in some serious Chi-town acidic flavour. 303's running riot from the midway.

On the B, Raw Thoughts takes a similarly blown-out production sensibility and drives it straight into laid-back electro territory. Elements of boogie spliced with sultry synth soloing and glacial pad ripples. Ice cream parlour chill jams.

Rounding out the EP are Acid City - a soulful deep house number overrun with grumpy, growling acid lines - and hyper beat-snippet You Do - a breaks-y beat track showcasing the other side of Sweely's enormous talent. Proper dredgin' beats from the raw!






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Repress!

Ampoule present Pub - Single

Dense and beautiful electronic music that falls somewhere between T++ / Various Artists, early Boards of Canada, Basic Channel and Carl Craigs most epic works.

This record contains rare & long out of print classic tracks from the three Pub EP's that were released on Ampoule in 1999, 2001and 2003 respectively.

There are also two 2 exclusive cuts which have been never released on vinyl before.

Remastered by Dubplates & Mastering and new artwork by Pub.

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An artist who needs no introduction, Mike Dunn returns to the legendary NYC label Nu Groove with a four-track vinyl release that brings together disparate influences from the master’s encyclopaedic knowledge of genre and style.

What results are productions that are at once timeless, a quality that can only be achieved through the lived experiences of a four-decade career. Title track ‘Git’cha House On, Baby’ is a late 80s freestyle throwback, with hard synth lines running the show, while ‘Don’t Pay Me No Mind’ is a metropolitan anthem led by a solid piano groove.

Additionally, the vinyl features two tracks from Dunn’s ‘Rock Ya Body (Deepa)’; the lead, an effortlessly cool deliverance of pure, unadulterated house, and ‘Let’cha Love Fall Down On Me’ which swells and flows with addictive ease. Elevating all four compositions are the producer’s signature vocals, immediately arresting and suitable for all genres. Dunn’s status as an innovator was earned through creating and influencing the scenes we know and love today, and this new delivery of originals further cements his status as a 100% house master.

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Tara Nome Doyle's latest EP »Agape« marks her return to the music scene after a two-year hiatus following the success of her acclaimed sophomore album »Værmin« (Modern Recordings, BMG, 2022).

»Agape« is a profoundly intimate collection of songs documenting TND's emotional journey through grief, commemorating the passing of a loved one. Each track explores different facets of this emotional landscape, showcasing TND's otherworldly performances and unique approach to songwriting.

This self-produced EP represents an artistic leap for the Norwegian-Irish songwriter. Skill-fully capturing the arresting beauty of her compositions, TNDs minimalistic arrangements feature the haunting melodies of Norwegian-Scottish cellist Sunniva Shaw of Tordarroch (known for her work with Fay Wildhagen, Liv Jakobsen and Juni Habel). The ethereal atmosphere they create together evokes a distinctly Scandinavian eeriness while TND's dedication to crafting poetic lyrics and vivid storytelling pays tribute to her Irish singer-songwriter roots.

The EP's title »Agape« translates to unconditional, selfless love - a sentiment that permeates each of the six tracks. This timeless collection of songs aims to be a comforting and cathartic companion for anyone caught in the throes of grief.

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Theo’s most sought-after edits, backed with the fully licensed original, both remastered and cut loud on either side of a 12 inch. Kicking things off we have one of Theo’s most treasured cuts, his ‘Ugly Edit’ of Made In USA - Never Gonna Let You Go, bootlegged endlessly in the past and racking up prices of up to £144 on Discogs it’s a high time an official reissue came around.
As iconic an edit as they get, ‘Never Gonna Let You Go’ encompasses everything great about Theo’s energy behind the decks - extending grooves for longer than anyone else even dare, working the EQ’s like a god and throwing in a bit of that raw magic that only he knows how. Taking the original’s sumptuous breakdown, Theo works it into a spirited, high energy disco workout looped into a near 10-minute stomper, big on the bass and brass fire whilst keeping the vocals to short and sweet snippets.
On the B side the original ’77 Made In USA version is laid out in all it’s glory. Funk powered, horn-laden disco goodness with breath-taking vocals from the Stateside troupe.


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Altercat proudly presents the definitive reissue of one of the crown jewels of South American jazz. Essentially the brainchild of Argentinian jazz's leading figure Jorge López Ruiz, the project Viejas Raíces marked López Ruiz's departure from the traditional forms of jazz. The trio that recorded this album, consisting of López Ruiz joined by his life-long friend drummer Pocho Lapouble and gifted Chilean pianist Matías Pizarro, created a thrilling blend of jazz and Uruguayan candombe, surrounded by an undeniable cinematic feel spurred by López Ruiz's long experience in the soundtrack field. When read as one element, the cleverly chosen combination of group name and album title (in English: 'Old Roots of the Colonies of the River Plate') readily hints at the kind of sounds the listener will be challenged with when diving into this LP. Recorded in 1976 in the wake of the "Proceso de Reorganización Nacional", the bloodiest period of dictatorship in Argentina, the album was initially frowned upon by critics and public alike, both still firmly rooted in jazz traditionalism and obviously not ready for the new ideas that musicians like López Ruiz were experimenting with. Despite being a commercial flop upon its release, the album has been enjoying a growing reputation over the last two decades, acclaimed by jazz enthusiasts who value it from a different historical perspective and embrace its experimentation during this revolutionary period of change. Fourty-five years after its release, the album receives the Altercat treatment with a much deserved deluxe reissue, with sound direct from the master tapes and an accompanying 12-page booklet with previously unpublished pictures and bilingual liner notes telling everything you ever wanted to know about the album and those who made it possible.

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An artist needing little introduction, having crafted a playful yet impactful sound that is entirely his own spanning house to breaks, electro and beyond, Cologne’s Kolter continues to prove exactly why he’s in such high demand as a producer and a DJ. Following his debut on Up The Stuss back in 2021, his releases since have landed via labels such as Solid Grooves, Shall Not Fade, Pilot, Berg Audio and his own Koltrax imprint, and he picks up right where he left off with a long-awaited return to Chris Stussy’s admired imprint with four cuts that have been in heavy rotation for the label boss for months. From the hooky vocal samples to the rumbling groove and vibrant bass guitar licks, title track ‘That Was Fresh’ brings the arrival of one of the German’s most requested anthems to date. Add in the helter-skelter electronics and glitchy sonics of ‘This Is It’, the breaks-driven and resonant ‘Feel’, and the hazy yet driving ‘I’m Fine, Thanks!’, and the four tracks showcase Kolter at his best as he makes a triumphant return.



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