Electronic / Ambient / Experimental

Format: 2CD

Tracklist:

1-1 Golpin
1-2 MK 2.1
1-3 Pyn
1-4 Blesdub Dot
1-5 Unitiled
2-1 Clank
2-2 Frantay
2-3 Galvation
2-4 Sluice
2-5 Firpln


Release Info:
After a year and a half writing and recording rock music, I needed to clear my head. I listened to and made music where things generally happen gradually rather than suddenly. I would set up patches on a Monomachine or Analog Four and listen to them, hearing one sound morph into others, making changes to a patch only after having listened for quite a while, gradually adding elements, and finally manipulating the sounds on the fly. All tracks were recorded live to CD burner, with no overdubs, and executed on one or two machines.

While I was almost exclusively listening to artists such as Chris Watson, Peter Rehberg, Bernard Parmegiani, CM Von Hausswolff, Jana Winderen, Oren Ambarchi, Hazard, Bruce Gilbert, Klara Lewis, Ryoji Ikeda, and so on, I was also inspired by my mental image of John Lennon's tape and mellotron experiments he made at home during his time in the Beatles, as well as events like the first minute of Bowie's Station To Station, ...And The Gods Made Love by Jimi Hendrix, the synths in the song Mass Production by Iggy Pop, and the general idea of Eno's initial concept of Ambient music.

Music being a solitary sculpture in sonic space was the main motivating thought. I was looking at pictures of sculptures and trying to make music that simultaneously conveyed both movement and stillness. I refrained from sudden musical changes, especially avoiding sequences of notes and rhythms. In fact, this music was made from sequences which never exceed a single note, many of these pieces being made on a single pattern. The movement which a good sculptor conveys when the shape of his medium meets the eyes of the viewer who walks around the piece, or the sun changes its position, are the kinds of movement which it was the role of the synth patches to communicate.

I've been listening to music like this since I was 13 or so, but I felt that making it was out of my reach because of the amount of restraint I imagined it required. Once I found myself making this music, it did not feel like a matter of restraint at all. I wanted to build a certain type of building, and hear certain types of movement, and I knew when it was complete. There was no place for sequences of notes and rhythms in my plans.

I also cannot overstate the role that being in my band played. I had previously spent 12 years programming and engineering my own music, and then spent a year and a half making music where my role was basically to write songs and play guitar. When the band's recording phase was completed, I needed to go back to my adopted language. I had done enough with chords, rhythms, notes, defined sections, sharp transitions, etc.. What I needed was to create music from the ground up with nothing but sound, and have that music reflect "being" rather than "doing". It was a therapeutic way of re-balancing myself, before and during my band's mixing process.

This music seeks to just exist, and is not attempting to manipulate or grab the listener in any way. I believe it works well if one listens loud and focuses on it, but also works well at soft volumes and in the background. It can compete with silence on silence's own terms, and it can also happily wipe silence out.

There are two versions of this album. The CD version is pronounced "two" and called : I I . This is the longer version. The vinyl version is pronounced "one", and called . I : This version is shorter, but contains one vinyl-only track. The reason the vinyl is shorter is that some of the tracks have sounds that can not be pressed on vinyl.

John Frusciante


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A Carefully Overseen Limited Silver Colored Vinyl Version of Foregrow - NON RSD but Limited. Please PRE- Order your copies to get full pick.

Tracklist:
A1-Foregrow, A2-Expre'act
B1-Lowth Forgue, B2-Unf

John Frusciante's Foregrow doesn't sound like any Acid Test record, or any record, that's come before it. After the unlikely alliance between the Los Angeles label and the iconoclastic Venice, CA musician on Trickfinger, all bets are off. This one's truly a passage through night. Foregrow is a lurching, lysergic beauty which offers glimpses of his platinum pop instincts, but only behind the veil of true experimentalism.




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Tracklist:
A1-Foregrow , A2-Expre'act
B1-Lowth Forgue , B2-Unf

John Frusciante's Foregrow doesn't sound like any Acid Test record, or any record, that's come before it. After the unlikely alliance between the Los Angeles label and the iconoclastic Venice, CA musician on Trickfinger, all bets are off. This one's truly a passage through night. Foregrow is a lurching, lysergic beauty which offers glimpses of his platinum pop instincts, but only behind the veil of true experimentalism.



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RSD 2016 Item - MUST NOT BE ASOLD BEFORE 16.4.2016.

Tracklist:
A1-Foregrow, A2-Expre'act
B1-Lowth Forgue, B2-Unf

John Frusciante's Foregrow doesn't sound like any Acid Test record, or any record, that's come before it. After the unlikely alliance between the Los Angeles label and the iconoclastic Venice, CA musician on Trickfinger, all bets are off. This one's truly a passage through night. Foregrow is a lurching, lysergic beauty which offers glimpses of his platinum pop instincts, but only behind the veil of true experimentalism.




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2LP

Tracklist:
A1. HÄÄlene ___
A2. the beauty
A3. HE is stupid
A4. Ha
B1. green
B2. malady
B3. horizon
B4. anima

mindSET is the ninth album from enigmatic producer SW., directly following this summer’s excursion into his trademark techno, IDM and bleep soundscapes, on the myDEFINITIONS Vol II album. But with his mindSET album SW. takes a left turn, as pioneers often do, and we find ourselves on the lesser traveled side roads of electronic music history. Or in SW.’s own words: “the more abstract leftfield elements.”
It’s in these less-defined areas that SW. finds his sweet spot, building dancefloor soundtracks that defied definition. And with mindSET the sounds and the machines might have changed, the methodology remains the same.
“It draws from what was more generally seen in leftfield as a term for the slightly off-kilter house and broken beats that didn’t fit neatly into classic genres, whether that was Chicago house, French garage, drum and bass, or broken beat. It’s more about those in-between sounds that never really took off, only appearing briefly in the early to mid-90s and then quickly disappearing. There was a certain magic in that moment, which I wanted to capture. Also, the entire album was produced using classic analog equipment, with old machines that were used during that era. That’s the approach I’ve taken.”
The eight tracks on mindSET are shaped out of de-tuned techno pop synths and heavy, syncopated drums, grooving along chopped-up polymeters to create an eerie mood, as if orbiting an undiscovered planet for the first time. The harmonic movements are often bent out of shape, sometimes veering towards Gherkin Jerks or Cristian Vogel territory. But in the end, the sounds are less important than the atmosphere, and the tracks represent an attitude or an approach - to creating the music as well as experiencing it. mindSET is a nod to those dancers sharing an oddball moment, and for those of us on the same wavelength, it's a vibe we can all get inside.



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Tracklist:

A1. Above The Cherry Moon
B1. Above The Cherry Moon – Vakula Remix
B2. Auset


2022 Re-editon of the inaugural Avenue 66 release. Dark acid laced house cut with vocals by Ebony Ugo backed with a remix by Ukrainian producer Vakula, who provides a dreamy lush remix and "Auset", a monster head trip made for dancefloors and headphones alike.


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Electronic / Ambient / Experimental

Format: 2CD

Tracklist:

1-1 Golpin
1-2 MK 2.1
1-3 Pyn
1-4 Blesdub Dot
1-5 Unitiled
2-1 Clank
2-2 Frantay
2-3 Galvation
2-4 Sluice
2-5 Firpln


Release Info:
After a year and a half writing and recording rock music, I needed to clear my head. I listened to and made music where things generally happen gradually rather than suddenly. I would set up patches on a Monomachine or Analog Four and listen to them, hearing one sound morph into others, making changes to a patch only after having listened for quite a while, gradually adding elements, and finally manipulating the sounds on the fly. All tracks were recorded live to CD burner, with no overdubs, and executed on one or two machines.

While I was almost exclusively listening to artists such as Chris Watson, Peter Rehberg, Bernard Parmegiani, CM Von Hausswolff, Jana Winderen, Oren Ambarchi, Hazard, Bruce Gilbert, Klara Lewis, Ryoji Ikeda, and so on, I was also inspired by my mental image of John Lennon's tape and mellotron experiments he made at home during his time in the Beatles, as well as events like the first minute of Bowie's Station To Station, ...And The Gods Made Love by Jimi Hendrix, the synths in the song Mass Production by Iggy Pop, and the general idea of Eno's initial concept of Ambient music.

Music being a solitary sculpture in sonic space was the main motivating thought. I was looking at pictures of sculptures and trying to make music that simultaneously conveyed both movement and stillness. I refrained from sudden musical changes, especially avoiding sequences of notes and rhythms. In fact, this music was made from sequences which never exceed a single note, many of these pieces being made on a single pattern. The movement which a good sculptor conveys when the shape of his medium meets the eyes of the viewer who walks around the piece, or the sun changes its position, are the kinds of movement which it was the role of the synth patches to communicate.

I've been listening to music like this since I was 13 or so, but I felt that making it was out of my reach because of the amount of restraint I imagined it required. Once I found myself making this music, it did not feel like a matter of restraint at all. I wanted to build a certain type of building, and hear certain types of movement, and I knew when it was complete. There was no place for sequences of notes and rhythms in my plans.

I also cannot overstate the role that being in my band played. I had previously spent 12 years programming and engineering my own music, and then spent a year and a half making music where my role was basically to write songs and play guitar. When the band's recording phase was completed, I needed to go back to my adopted language. I had done enough with chords, rhythms, notes, defined sections, sharp transitions, etc.. What I needed was to create music from the ground up with nothing but sound, and have that music reflect "being" rather than "doing". It was a therapeutic way of re-balancing myself, before and during my band's mixing process.

This music seeks to just exist, and is not attempting to manipulate or grab the listener in any way. I believe it works well if one listens loud and focuses on it, but also works well at soft volumes and in the background. It can compete with silence on silence's own terms, and it can also happily wipe silence out.

There are two versions of this album. The CD version is pronounced "two" and called : I I . This is the longer version. The vinyl version is pronounced "one", and called . I : This version is shorter, but contains one vinyl-only track. The reason the vinyl is shorter is that some of the tracks have sounds that can not be pressed on vinyl.

John Frusciante


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2LP

Tracklist:

A1. WHAtADAYray
A2. moTORjungleCITY
B1. stepCLASSixMOtor
B2. apolloTHING
C1. TROPyCALLhytsrIA
C2. geminiMINIMA
C3. nubJA
D1. ROCKetPOCK@
D2. kngs&QUNS
D3. What endingENDs


The elusive SW. returns to Avenue 66 with okALGORYTHM. His third LP for the label is a semi-opaque wandering through the shadowy byways of memory, driven by tough-yet-supple production and his unmistakable, unerringly original voice. Inspired by all night electronic radio shows of the '90s, okALGORYTHM pulses with rich imagination and a sense of purposeful meandering. Speaking in cryptic fragments, the artist hints at elusive reminiscences "back then on the autobahn, to Berlin, with friends" while also noting that some recollections are "of things that didn't happen that way."

To this end, the album drifts from the knotty synth spirals of opener "WHAtADAY" through the tense, technoid tropics of "stepCLASSixMOtor," the brightly melancholic Larry Heard-isms of "TROPyCALLhytsrIA" to the stately skronk of closer "What endingENDs." The rhythmic undergirding never lets up, suggesting a limitless night drive tinted in deep greens and refracted reds. Each of the album's ten tracks comes alive with warm, analog finesse and a palpable atmosphere, though they play out by turns urgent or unhurried, coaxing or inscrutable. Yet throughout, there's a consistently hypnotic quality which draws the listener deeper into the album's unique balancing act.

If listeners are trained to expect throwback anthems every time the '90s are referenced, here they might find a more apt touchstone in the wilder, left-of-center corners of Chicago's foundational epoch. Throughout the album, the spirit of jacking house is absorbed, metabolized and transmuted. Drawing on lineages of taut, nervy synth-and-drum machine workouts, SW. manipulates his hardware with the delicate, considered touch of a painter. Perhaps the memory that lingers longest from that bygone era is the sense of profound possibility that dawns before forms become rigidly calificed and commodified. Either way, adventurous listeners will find that okALGORYTHM blooms with a uniquely affecting grace and SW.'s inimitably obscure loveliness, infused with a somber glow and marked by shimmering, untraceable contours.



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Tracklist
A1 Circuit 15 – Herbert’s ‘Kyiv Dub’
A2 Circuit 07 – Tolouse Low Trax Remix
B1 Circuit 04 – Lowtec’s ‘Objects, People, Visions’ Remix
B2 Circuit 18 – Lawrence Remix


Release Info:
Moiré's rain-streaked and masterful Circuits album dropped this past September. RA's Andrew Ryce stated the eight-track album cast the shadowy producer into "a rarefied air occupied by the only the finest and most influential of ambient techno artists."

Now, in short order, the label returns with a remix EP charting out multiple hubs of oblique dance floor innovation. If there's a sonic motif on the A-side, it's vastly reactive interpretations of the "factory floor" element that inspired techno's pioneers. Matthew Herbert, a pioneering force in his own right, mixes steam engine percussion with the dreamy atmospherics of "Circuit 15" and comes up with eight minutes of cerebral machine funk. Tolouse Low Trax, meanwhile, continues his masterclass in modern motorik on his remix of "Circuit 7," integrating a chiming piano into a fascinating, perfectly-timed 110 BPM rhythm.

The B-side, meanwhile, doubles down on the oneiric nature of the original material. Workshop head and Avenue 66 alumnus Lowtec builds allows "Circuit 04"'s synths to billow into Gas-like immersive layering, sheets of melody are anchored by a restrained beat for an ambient techno track that doesn't tip the scales too far in one direction or the other. Rather, it achieves a perfect balance. Hamburg/Dial mainstay Lawrence closes things out with his version of "Circuit 18," which also concludes the original album. While the original has a wistful, Deckard's dream quality, Lawrence's version is deeply-rooted in the late-night German style; a low-slung bassline will keep dancers deeply rooted while those wistful chords sweep in like the violet before dawn.





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Tracklist

A1 Circuit 1
A2 Circuit 2
A3 Circuit 15
A4 Circuit 16
B1 Circuit 4
B2 Circuit 8
B3 Circuit 7
B4 Circuit 18


Over the past decade, the mysterious, London-based artist Moiré has perfected a syrupy, addictive brand of dance music via labels like Actress's Werk Discs and illustrious imprints like Ghostly and Rush Hour. For most of this period, Moiré seemed pramarily concerned in creating alternative universe club tracks. The beats were hypnotic, if wonky. The pads were deep before they were refracted through an oblique filter. In a discography bearing a surfeit of leftfield high points, Circuits, Moiré's latest album for the Berlin-based Avenue 66 (Lowtec, John Frusciante, Joey Anderson) is a massive creative leap that fully breaks with the strictures of a "conventional" dance music.

While there are still nods to the low-slung, slow house style Moiré's perfected in the past ("Circuit 1"), as well as the looming shadow of hardcore ("Circuit 8), Moiré's style now billows into a liminal, cinematic zone that recalls the canonical SAW albums, BOC or even Seefeel's enduring, genre-free experiments. Rhythms come and go at all tempos, from Hauntological four-on-the-floor to flickering downtempo and ambient house approximations. But the emphasis lies with the melodies. From the queasy orchestral style of "Circuits 1" to the glacial, "end credits"-style synths that close out the album, these motifs bear an uncanny familiarity, as though they always existed. You recognize them, not from a previous listen, but rather, some half-remembered dream, or, perhaps, a previous lifetime.





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Mini LP

Tracklist

A1 Flat Dog
A2 Going Nowhere
A3 Red Sparrow

B1 Easy To Heal Cuts
B2 Nature Thinks For You
B3 From Moment To Moment



Info: Rare and unreleased cuts from the Lowtec vaults.




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Mini LP

Following up from his TRUElipS album from last year SW. returns to Avenue 66 with a 7 track LP titled blewLIPs.

A1 elypsiaDANCEsentence
A2 rotherDAMM
A3 drumDUMMrace
A4 escapePAPE
B1 PSYcomaTIC
B2 tranceCANs
B3 RAMframe

Limited to 300 copies

Distributed by Wordandsound

Photos by SW.
Design by Dicey Studios



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2LP

Over the past decade, SUED co-founder SW. has arranged the building blocks of dreamy rave and techno music-billowing pads, undulating sub-bass and adroit, nuanced drum programming-into and novel dance floor structures. TRUElipS, SW.'s first full album since 2016 and his first for Avenue 66, is a beguiling, fully-realised statement.

The 12-track LP is rooted in the storied '90s era when the spirit of orbital raves and free parties was channeled into massive leaps forward in the studio. A combination of house and drum & bass looms large, as does the much-referenced intelligent techno era, but if you've listened to an SW. record, you already know TRUElipS is the work of a singular auteur.

Breakbeats, rave stabs and major chords permeate the album, motoring along on a chassis of sine-wave bass lines and SW's widescreen percussive vision. Forays into downtempo and sweeping ambience keep the listener's head in the clouds, while the superb melodic techno constructions that comprise the album's core are at once contemplative and liable to bring on a giddy head rush. TRUElipS brims with the optimistic, escapist spirit that fueled dance music's original triumph, a throwback to bright, imagined futures.


A1 ELEctreC
A2 STEPrapGAP
A3 meanDreaMbeam
B1 theMARTIANswing
B2 radeDARKpaid
B3 daCRUISEgangSTAR
C1 JAZZmassLESS
C2 DREAMdanceVANs
C3 deepFLYhigh
D1 esCAPEdeepCREEp
D2 spookyWOOKYchill
D3 ambientRAND


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LP

On his third album as Trickfinger, John Frusciante makes the jump from Acid Test to its leftfield sub-label, Avenue 66, to unleash the full scope of his vision. On She Smiles Because She Presses The Button, the legendary, LA-based cult figure, presents his most diverse yet cohesive album to date.

Frusciante has the melodic and programming chops to jump from style to style while sounding only like himself. "Amb" is the welcome middle-ground between Balearic and IDM while "Brise" with its quick syncopations and rhythmic groove provide a contrasting fabric. Elsewhere, JF caroms through electro and pastoral, "intelligent" ambient. The common thread through this quixotic journey are his trademark, timeless melodies.

For years now, Frusciante has immersed himself in machines, learning tracker programs, synths and drum machines inside and out, applying the same, tireless approach he's exhibited through-out his career. On She Smiles Because She Presses The Button, this period of intense study leads intense creative liberation.


Track List

A1. Amb
A2. Brise
A3. Noice
B1. Plane
B2. Rhyme Four
B3. Sea YX6


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CD
On his third album as Trickfinger, John Frusciante makes the jump from Acid Test to its leftfield sub-label, Avenue 66, to unleash the full scope of his vision. On She Smiles Because She Presses The Button, the legendary, LA-based cult figure, presents his most diverse yet cohesive album to date.

Frusciante has the melodic and programming chops to jump from style to style while sounding only like himself. "Amb" is the welcome middle-ground between Balearic and IDM while "Brise" with its quick syncopations and rhythmic groove provide a contrasting fabric. Elsewhere, JF caroms through electro and pastoral, "intelligent" ambient. The common thread through this quixotic journey are his trademark, timeless melodies.

For years now, Frusciante has immersed himself in machines, learning tracker programs, synths and drum machines inside and out, applying the same, tireless approach he's exhibited through-out his career. On She Smiles Because She Presses The Button, this period of intense study leads intense creative liberation.


Track List

01. Amb
02. Brise
03. Noice
04. Plane
05. Rhyme Four
06. Sea YX6


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2LP

On his third and album, Rainbow Doll, the New Jersey house mystic Joey Anderson speaks to us. Of course, like everything Anderson does, the message is encoded. On tracks like "Beside Me" and "Cindy," his voice rings out in dream incantations-on the latter, he repeats a Mark Hollis-like mantra over a perfect, minimalist house loop while the former sounds like the late, great Ron Hardy taking the razor-and-tape to Ike Yard.

It's his third record for the Berlin-based label Avenue 66, and graciously illuminates the dream logic introduced on his debut for the imprint, the 2013 leftfield classic "Above The Cherry Moon." While Rainbow Doll satisfies those outre impulses, the album's core comprises what are perhaps Anderson's most indelible dance tracks to date, like "Bounce With It," a jacking anthem which sees him at mission control, sending widescreen synth lines soaring through the atmosphere.

With the aforementioned vocals punctuating five of the eight tracks, Rainbow Doll is Anderson's most personal work to date. It's his first album in four years, but also his shortest, most concise full-length. Even with a more direct approach, the elusive, dreamlike quality which has made his work so intriguing remains intact. He speaks of dreams throughout the record, even as his uncanny methodology comes into focus. More than ever before, we understand the materials Anderson uses to construct his Escher-like tracks. We hear his fingers on the keys, the sturdy east coast house beats he learned to dance to. The dreams have become lucid. As he puts it deep in the album, they "seem so real."


A1. My Dream
A2. Heaven Help Us

B1. Beside Me
B2. Ocean

C1. Live It
C2. Bounce With It

D1. Cindy
D2. Can Not

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2LP

"Coconut Grove started as a secret. I wrote & recorded it in deliberate solitude over the course of a year, in long sessions when I was alone at home or after everyone else had gone to sleep. I had the uncanny sense of discovering something quite old rather than of making something new.

Every album I've made revealed itself over time - Coconut Grove snaked its way through my psyche, going back to my beginnings. While working on it, I found some notes I had jotted down back in 2006, when I was 22 & first inching away from punk towards electronic music. I wrote that I had been dreaming of something humid and menacing, melting but also alluring. I heard some of that in the haunting, dubby minimal techno of the time, and imagined it crossed with the slashing urgency of my favorite no wave & post punk bands. I imagined the catharsis I experienced as a performer rerouted through techno's mercurial endlessness. Those visions never left me, and I've been dreaming of them in one way or another ever since. Coconut Grove folded that time back onto the present, letting me start again from the beginning.

A lot can happen in a year, and, at the risk of sounding coy, a lot happened to me in 2018. Coconut Grove was an exorcism, or maybe a rebirth, but whatever it was it moved with a little extra fluidity. You can hear it for yourself, but I will say the album's softer touch is no accident. Living in that secret space, it felt good to let some air in."

-Daniel Martin-McCormick aka Relaxer

Track List
A1. Serpent In The Garden
A2. Fluorescence
B1. Cold Green
B2. Born From The Beyond
C1. Steeplechase
C2. Um
C3. Breaking The Waves
D1. Agony
D2. Finally Forgetting



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2LP
The man behind Workshop and Out To Lunch famously takes his time to make electronic productions that are, in turn, out of time. Over the course of his career he's released tracks that could have been made yesterday, years ago, or a decade into the future. with Avenue 66 he's found a leftfield home that celebrates pure creativity, that embraces the liminal, the weird and the sublime. Light Surfing fits all of these descriptors.

The double-LP rewards deep, repeated listening. There's plenty to unpack, but those who cherish the murky bangers that have been Lowtec's stock and trade will find plenty to love. "Boy With The Broken Glasses" weaves a subtle, dancehall-inflected riddim into hazy ambient house, while the closer, "Burnt Toast," is the latest example of Kuhn's uncanny ability to perfectly fit a soulful vocal sample into an alien dance floor soundscape.

Unexpected moments of sideways beauty also unfurl across the four sides. The two-part "Light Surfing" is one of Lowtec's most evocative suites to a date-its mournful string soundtrack is the album's recurring, longing motif. Elsewhere, as on "Mynthenquai," Kuhn applies avant-garde strategies to his synth leads, taking us on head-spinning melodic journeys.

Light Surfing is a masterful balancing act between dream states and machine-like efficiency, the experimental and functional, precision and spontanaeity. Lowtec could have only gotten here by taking his time.

A1 Hotel D Europe
A2 Boy With The Broken Glasses
B1 Light Surfing (Part A)
B2 Light Surfing (Part B)
B3 Vintage Internet
C1 Mythenquai
C2 Interna
D1 Burnt Toast



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LP
There's been an air of hypnagogic mystery surrounding Acid Test's sublabel Avenue 66 from the start. Joey Anderson's oblique, Prince-inspired incantation "Above The Cherry Moon" set the tone for a label that's sound that has found beauty in the furthest recesses of the dance floor, in the murkiest decay of kick drums and rave stabs.

Fitting then, that the first album on the imprint comes from Trux, an artist who has chosen to reveal nearly nothing about themselves. Following a cult classic mini-LP for Office Recordings, "Orbiter" bears out the anonymous producer as a master of liminal, conceptual dance music.

"Orbiter's" ten tracks have a vaporous, shape-shifting quality, threatening to topple over into full-on kick drum bliss or vanish into ambience. Opener, "With It," moves from heady ambient rush to skeletal piano, while "Blinko" and "Roy's Garage" spell out a hazy memoriam for the UK continuum.

Forlorn pianos ring out amongst the field recordings, excitable toms and jungle bass all softened in the enveloping gauze. "Orbiter" positions Trux as an unknown auteur who puts evocative world of tone and echo into dizzying motion, content to watch from the wings.

Track List

With It
Orbiter
Blinko
Roy's Garage
Third Glow
In My World
My Row
EeEsTee
Odd U
Agoma



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When LA label Acid Test decided to start the leftfield imprint, Avenue 66, they looked to New Jersey house mystic Joey Anderson for an opening salvo. He delivered the modern psych-dance masterpiece "Above The Cherry Moon." Now Anderson's back again with more of his beguiling dreamlogic. On "If One Cares, They Act Different" Anderson works with a lead that could score an unsettling '80s horror flick, eventually introducing his signature quicksilver synths and abstract, jacking drum patterns. "Peace There" starts with the square-wave basslines and raspy hats Taking us to a psychedelic far away place. On "The Vase", Anderson reins things in, but even his bittersweet, relatively straight-head deep house tracks present an odd paradox. His music so alien and human all at once.
Tracklist:

A1 If One Cares, They Act Different
A2 Peace There
B1 The Vase




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Rights: Rights: World excluding FR (and including the Uk)

Format: Double 180 G Vinyl

TRACKLIST

Vinyl 1
A1. 5:55 - A2. AF607105
B1. The Operation - B2. Tel que tu es B3. The Songs That We Sing

Vinyl 2
C1. Beauty Mark -C2. Little Monsters - C3. Jamais
D1. Night-Time Intermission - D2. Everything I Cannot See

BIOG
2023 repress as double heavy weight black vinyl , with original artwork & gatefold sleeve. Originally released in 2006,even though 5:55 isn't technically Charlotte Gainsbourg's first solo album (that would be Charlotte for Ever, which was released [in 1986] when she was 15), it is her first solo album as an adult and, with the help of a dream team of collaborators, it's a fittingly sophisticated set that touches on her father Serge's brilliantly louche, literate pop without being overshadowed by it. Air's Jean-Benoit Dunckel and Nicolas Godin (who paid tribute to Serge Gainsbourg particularly well on 10,000 Hz Legend's 'Wonder Milky Bitch') wrote 5:55's delicate music, while Jarvis Cocker and the Divine Comedy's Neil Hannon penned its lyrics. This mingling of French and English influences is mirrored in Charlotte Gainsbourg's subtly expressive voice and accent, which provides the perfect complement to the album's lush sounds and vivid imagery.


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Rights: World excl. France,
1 LP, first Re Issue Ever, Cut from original masters. Original packaging strictly reproduced.
+ printed gatefold sleeve and printed inner-sleeve with CD included. EAN: 5060525433214
Original year of release: 1991. Features the tracks 'Out Of Time Man', 'King Of Bongo', 'Madame Oscar', etc.

Mano Negra the legendary first band of French singer Manu Chao ... featuring songs in Spanish, French, English and Arabic..
We are celebrating this year the 30th anniversary of its foundation.
The album has been unavailable on vinyl since its first original pressing.

Tracklisting:

A1. Bring The Fire
A2. King Of Bongo
A3. Don’t Want You No More
A4. Le Bruit Du Frigo
A5. Letter To The Censors
A6. El Jako
A7. It’s My Heart

B1. Mad Man’s Dead
B2. Out Of Time Man
B3. Madam Oscar
B4. Welcome In Occident
B5. Furious Fiesta
B6. The Fool
B7. Paris La Nuit


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NO VINYLE OF ANY MANU CHAO ALBUM HAS BEEN AVAILABLE ON SALE FOR AGES. ALL STUDIO & LIVE ALBUMS ARE BACK ON DOUBLE VINYL GATEFOLD FEAT. THE CD
TRACKLIST
A1. 13 DÍAS - A2. TRISTEZA MALEZA - A3. POLITIK KILLS - A4. RAININ IN PARADIZE - A5. BESOIN DE LA LUNE - A6. EL KITAPENA - B1. ME LLAMAN CALLE - B2. A COSA - B3. THE BLEEDIN CLOWN - B4. MUNDORÉVÈS - B5. EL HOYO - C1. LA VIDA TOMBOLA - C2. MALA FAMA - C3. PANIK PANIK - C4. OTRO MUNDO - C5. PICCOLA RADIOLINA - D1. Y AHORA QUÉ ? - D2. MAMA CUCHARA - D3. SIBERIA - D4. SOÑE OTRO MUNDO - D5. AMALUCADA VIDA

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Metronomy release their third album, 'The English Riviera' on April 11th through Because Music. The follow up to 2008's critically acclaimed 'Nights Out', 'The English Riviera' is a sonic progression of epic proportions and affirms Metronomy front man and producer, Joseph Mount, as a rare British talent.
Since 'Nights Out', the band have swollen to a four piece with new members Anna Prior on drums, Gbenga Adelekan on bass, original member Oscar Cash on keys/sax, and Joe himself on vocals, keys and guitar. This expansion of personnel is reflective of a new record that is mapped by vast soundscapes, incredible depth and warmth, and big pop hooks
Part love letter to the area of Devon coast Mount grew up in and part concept album about his own semi-fictionalised vision of "The English Riviera", the tone for the album is set by the opening sounds of seagulls, distant waves and a Music Hall string quartet. However, any notion of whimsy is swiftly dispelled, as the seismic bass line of 'We Broke Free' shudders and ushers in waves of layered guitars and synths.
Having produced and remixed everyone from Roots Manuva to Kate Nash and the forthcoming album from Nicola Roberts, this is the first Metronomy album that Mount has taken out of his bedroom and recorded in a proper studio. The results are telling.
Characterised throughout with a sense of warmth and richness, 'The English Riviera' is in parts reminiscent of seminal 1970s West Coast studio albums from the likes of Fleetwood Mac and The Eagles, but due to Mount's studio wizardry, the record sounds vibrant and entirely of its time.
Few other albums released this year will so successfully transcend such a plethora of influences and ideas and form such a coherent body of work.

Tracklisting:
Side A:
The English Riviera
We Broke Free
Everything Goes my way
The Look
She Wants
Trouble
Side B:
The Bay
Loving Arm
Corinne
Some Written
Love Underlined


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RE-RELEASE! No one can say they didn’t see these two brats coming! Justice, who’s name the world (well at least that part of the world that loves to dance) chants with emotion and whose first album is awaited with bated breath ever since the French duo revolutionised dancefloors with two radically different hits. It comes as no surprise that «†», the first album by Justice, is a fantastic treat for the ears and for the feet. A kind of musical opera marked with religious and baroque symbols, where the melodies are ripped to shreds by the beats, where electro teaches rock a lesson and where pop gets a botox injection.

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AAL record on Other People.
Pressed on to wax due to popular demand.

Tracklist:
A 1. THIS OLD HOUSE IS ALL I HAVE 3:39 A.A.L (AGAINST ALL LOGIC)
2. I NEVER DREAM 6:46 A.A.L (AGAINST ALL LOGIC)
3. SOME KIND OF GAME 6:47 A.A.L (AGAINST ALL LOGIC)
B 4. HOPELESS 5:41 A.A.L (AGAINST ALL LOGIC)
5. SUCH A BAD WAY 4:53 A.A.L (AGAINST ALL LOGIC)
6. FLASH IN THE PAN 7:28 A.A.L (AGAINST ALL LOGIC)
C 7. CITYFADE 5:41 A.A.L (AGAINST ALL LOGIC)
8. NOW U GOT ME HOOKED 5:51 A.A.L (AGAINST ALL LOGIC)
9. KNOW YOU 4:25 A.A.L (AGAINST ALL LOGIC)
D 10. YOU ARE GOING TO LOVE ME AND SCREAM 5:35 A.A.L (AGAINST ALL LOGIC)
11. RAVE ON U 9:56 A.A.L (AGAINST ALL LOGIC)


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Rights: World excluding France

Packaging :
Double 140 G Black Vinyl. Features a marketing front sticker.

Tracklist:
Face A
1.MANO NEGRA 2.KING KONG FIVE 3.SOLEDAD 4.MALA VIDA 5.SIDI H’BIBI 6.ROCK ISLAND LINE

Face B
1.NOCHE DE ACCION 2.GUAYAQUIL CITY 3.PELIGRO 4.SUENO DE SOLENTINAME 5.INDIOS DE BARCELONA 6.MAD MAN’S DEAD

Face C
1.SENOR MATANZA 2.OUT OF TIME MAN 3.PAS ASSEZ DE TOI 4.KING OF BONGO 5.RONDE DE NUIT 6.PATCHANKA

Face D
1.SALGA LA LUNA 2.SANTA MARADONA 3.EL SUR 4.LONG LONG NITE 5.ON TELEFON 6.DARLING DARLING

Info/Key Points:

First timer ever Best Of Mano Negra on vinyl ! Double black 140G vinyl edition. 24 sons – all their hits : "King Kong Five", "Mala Vida" , "Pas assez de toi" , "Out of time man", "King of Bongo", "Sidi H'Bibi", “Santa Maradona”, “Senor Matenza”… Mano Negra are the legendary French alternative rock band whose leader was Manu Chao. Singing in French, Spanish, English & even Arabic. They toured throughout the world and recorded 4 studio albums : “Patchanka”, “Puta’s fever”, “King of Bongo” & “Casa Babylon” & a live album “In the hell of Patchinko” , all reissued by Because Music and still available on CD & Vinyl. After their split, Manu Chao started a solo carreer in 1998 with the classic “Clandestino” album.


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Release: 25.5.2015 - NO SALES TO FR, UK, USA !

Special Remarks: Double LP in gatefold sleeve with printed inner-sleeves and CD included
Tracklist :
A1 - Giant , A2 - Shake and Tremble , A3 - Found You , B1 - First Light , B2 - Pause Repeat , B3 - Reflections , B4 - Vibrations

Short info:
Django Django's debut album came out in January 2012 on Because Music and was lavished with praise. It was "updated psychedelia that beguiles and delights" (The Guardian), "consistently mind-melting and often brilliant" (Q), "bursting with ideas" (Pitchfork) and "gloriously, unpredictably new" (Mojo). By December it had been shortlisted for the Mercury Prize and named one of the albums of the year by Rolling Stone and NME. They became known from their electric live performances full of energy, and went on to play memorable shows at festivals across the globe including as Glastonbury and Fuji Rock. Born Under Saturn is the work of a band fired up by confidence and experience and propelled way beyond their DIY roots. It has all of the imagination of their debut self-titled album but splashed across a larger canvas. "Once we got into the studio it became obvious it would be a bigger-sounding record," says bassist Jim Dixon.
Recorded at Netil House in east London and Angelic Studios in Banbury, Born Under Saturn saw the song writing split four ways with Dave also producing the record. Lyrics often emerged naturally from the sound of the music. There are dark dramas like Found You, which draws on the myth of Faust's deal with the devil, and Shot Down, a bloody tale of crime and betrayal. Jim wrote the sighingly beautiful Beginning to Fade while contemplating writer's block and the atmospheric, synth-driven High Moon, says Dave, is about people who "come alive at night".
Born Under Saturn expands on the slippery, indefinable brilliance of the debut, finding magic in the unexplored spaces between different kinds of music, and never doing the same thing twice.
Like before, Django Django are blessedly oblivious to genre rules. "A lot of it has to do with growing up being more into mixtapes than albums," Dave says. "I think that sensibility comes through. Since I was a kid I've always tried to see the connections and threads through music."


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Rights: World excluding FR, UK, US, Belgium & Netherlands

2 x 140 G Black Vinyl, 5mm spine printed Sleeve, 2 x Black Dust Inner Sleeve, 2 page 30cmx30cm printed insert, sticker

BIOG
“sweet, moreish and deliciously unpredictable” - The Guardian
“striking, playful electro pop with a sly sense of humor” - Pitchfork
“Delightfully (Deliberately) Absurd” - Vogue
“A deeply sardonic salvo that, in a better world, would annihilate mansplaining once and for all." - The New York Times on Thank You

Today sees Belgian-Caribbean provocateur Charlotte Adigéry and her long-term musical partner, Bolis Pupul announce their debut album Topical Dancer, due for release on March 4 2022 via Soulwax’s iconic label DEEWEE.
Cultural appropriation. Misogyny and racism. Social media vanity. Post-colonialism and political correctness. These are not talking points that you’d ordinarily hear on the dancefloor but Charlotte Adigéry and Bolis Pupul are ripping up the rulebook with their debut album Topical Dancer. The Ghent-based duo, who broke out with their 2019 Zandoli EP, are rare storytellers in electronic music: they take the temperature of the time and funnel them into their playful synth concoctions – never didactic and always with a knowing wink.

Their debut studio record – which cements them as a duo under both their names for the first time and is co-written and co-produced by Soulwax – is both a triumph of kaleidoscopic electro-pop and “a snapshot of how we think about pop culture in the 2020s.” It captures Charlotte and Bolis’s essence as musical collaborators and the conversations they’ve had over the past two years on tour, as well as their perspectives as Belgians with an immigrant background, Charlotte with Guadeloupean and French-Martinique ancestry and Bolis being of Chinese descent.

Beyond the album’s thematic heft, Topical Dancer reflects Charlotte and Bolis’s idiosyncratic sound: it’s thoughtful but it bangs. Their take on familiar genres is always off-kilter; songs sound undone or a little wonky; but these are nocturnal heaters to make the club throb. “We like to fuck things up a bit,” laughs Bolis. “We cringe when we feel like we're making something that already exists, so we're always looking for things to combine to make it sound not like a pop song, not like an R&B song, not a techno song. We’re always putting different worlds together. Charlotte and I get bored when things get too predictable.”

Topical Dancer is fizzing with ideas – there’s certainly no filler among its 13 tracks. But above all, perhaps, it has a restlessness, a desire not to be boxed in and to escape others’ narrow perceptions of who they are. It’s summarised by the refrain of their new single, ‘Blenda’: “Don’t sound like what I look like / Don’t look like what I sound like.” “One thing that always comes up,” says Bolis, “is that people perceive me as the producer, and Charlotte as just a singer. Or that being a Black artist means you should be making ‘urban’ music. Those kinds of boxes don’t feel good to us.”

‘Blenda’ in particular references how “I am a product of colonialism,” says Charlotte, “and I feel guilty for taking up space in a white country.” The song was inspired in part by Reni Eddo-Lodge’s book Why I’m Not Longer Talking To White People About Race. “It talks about the colonial past and post-colonial present in the UK,” Charlotte continues, “but that isn’t merely a British or American problem, Belgium is part of that as well.” She says that her home country is likewise “oblivious to a big part of its history” which “results in general ignorance and a lack of understanding and empathy towards Belgian inhabitants of immigrant descent.”

On Topical Dancer, it’s less about finger pointing or being dogmatic about all the things they speak about. It’s about emancipation through humour. “I don’t want to feel this heaviness on me,” says Charlotte. “These aren’t my crosses to bear. Topical Dancer is my way of freeing myself of these issues. And of having fun.”

TRACKLIST

LP
VINYLE 1
FACE A
1. BEL DEEWEE 2. ESPERANTO 3. BLENDA 4. HEY
FACE B
1. IT HIT ME 2. ICH MWEN (WITH CHRISTIANE ADIGERY 3. REAPPROPRIATE

VINYL 2
FACE C
1. CECI N’EST PAS UN CLICHE 2. HUILE SMISSE 3. MANTRA
FACE D
1. MAKING SENSE STOP 2. HAHA 3. THANK YOU















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NO VINYLE OF ANY MANU CHAO ALBUM HAS BEEN AVAILABLE ON SALE FOR AGES. ALL STUDIO & LIVE ALBUMS ARE BACK ON DOUBLE VINYL GATEFOLD FEAT. THE CD
TRACKLIST
A1. MERRY BLUES - A2. BIXO - A3. ELDORADO 1997 - A4. PROMISCUITY - A5. LA PRIMAVERA - A6. ME GUSTAS TU - B1. DENIA - B2. MI VIDA - B3. TRAPPED BY LOVE - B4. LE RENDEZ VOUS - C1. MR BOBBY - C2. PAPITO - C3. LA CHINITA - C4. LA MAREA - D1. HOMENS - D2. LA VAÇALOÇA - D3. INFINITA TRISTEZA

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Rights : World excluding Fr

180 Grs Black Vinyl EP – Limited Edition -

Packaging: 1 x 12’’ Heavyweight Black vinyl, printed 3mm spine sleeve, 45 rpm.

PRODUCT INFORMATION/ SHORT BIOG
• “Collector run – 180 grs Black 12’’ vinyl / 2 tracks – 45rpm.
• “Chiroptera” is the soundtrack of « Acte 2 : Retour à la Caverne », a creation by JR with Thomas Bangalter and choregraph Damien Jalet , performed in Paris in front of the Opéra de Paris (Opéra Garnier) on November 12th, 2023 by more than 150 dancers.


TRACKLISTING

Face A :
1 - CHIROPTERA
Face B :
1 - CHIROPTERA (Solo Intro)





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A Tempest Of Intimacy.
It's part of the nature of man to start with romance and build to a reality
and this is what System Olympia has done with this new 4 track EP.
Love, longing, and the restlessness of the heart and body are the foundation forces of this record.
"Luce Rossa" presents itself as an emblem of a credo, an irreverent manifesto delivered via daring melodies and empowering vocals.
System Olympia inhabits a world in which human senses are mightier than religion and "Sanctified" feat Working Men's Club is an ecstatic and highly articulated fusion of passion and redemption - a new truth about reality, whispered to your ear with infinite sweetness.
Poetic desire as a force of beauty and vitality is all over Lenzuola Di Raso. Fantasising in between satin sheets on the hottest day of the year because art and imagination mean freedom from the solitude of the mind.
Mi Dimentico makes beauty out of melancholy, and nostalgia out of the oscillation between resignation and demand.
Sanctified EP is naked skin over a sunken heart, and a soaring mind.

Tracklist:
A1 - Luce Rossa
A2 - Sanctified feat Working Men's Club
B1 - Lenzuola Di Raso
B2 - Mi Dimentico


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