Non Exclsuive, CD

Tracklist:

1. Sixteen Ways
2. Anything
3. Had It Wrong
4. Saltwater Girl
5. Feel Light
6. DOA
7. Sleeping Night And Day
8. Molotov In Stereo
9. Come Back
10. Song For A Horse

"This album is about having to focus our collective energies on the small things around that we
can control to find joy. A distraction from the the larger systemic problems that feel so
overwhelming and are so very out of our collective hands… for now…”
Love As Projection is the new album by Frankie Rose, her fifth studio LP and second for Night
School following the reissue of her interpretation of The Cure’s Seventeen Seconds. Frankie Rose
has forged an enviable musical legacy, from playing with bands like Crystal Stilts and The Vivian Girls
but on Love As Projection she takes a bold step into electronic pop production. A sumptuous recorded
statement, it dances in ecstasy and broods on the tumult of the western world’s decay in equal
proportion. At the heart of the album is glowing, confident songwriting, resplendent in hooks and
choruses but still touched with an optimism undimmed.
After spending nearly two decades establishing herself across New York and Los Angeles independent
music circles, Rose re-emerges after six years with a fresh form, aesthetic, and ethos. Celebrated over
the years for her expansive approach to songwriting, lush atmospherics, and transcendent vocal
melodies and harmonies, Love As Projection is a reintroduction of her established style through the lens
of contemporary electronic pop. Recorded with producer Brandt Gassman and mixed with long-term
collaborator Jorge Elbrecht this is the album Frankie Rose has been building up to her entire career.
More than a rebirth, a refinement, a resurgence, Love As Projection boasts a widescreen scope: a longform project heavily considered for half of a decade, culminating in the most personal and accessible
collection of art-pop that Frankie has ever written. When Rose aims for the pop jugular as in first lead
track Anything, the result is unstoppable. A majestic pop song built for radio, it erupts into an irresistible
chorus that marries classic epic 80s American pop with the cult effervescence of Strawberry
Switchblade “It’s like a prom scene in a John Hughes movie. It’s a hopeful song about abandoning
fear even if the world is quite literally on fire.. In the end, at least we have each other,” says Rose.
Sixteen Ways further boasts a propulsive, massive chorus, though tempered by a cynicism built in
global post-truth, global malaise. “It’s about getting your hopes up, but simultaneously making lists in
your head about how it will never work out in your favour.”
The big anthems don’t let up there. On DOA some massive, rolling drums lathered in big mid-80s gated
reverb dovetail with a syncopated baseline for the ages as Rose’s vocal sails effortlessly above. The
effect isn’t unlike ethereal vocalists Clannad circa Howard’s Way or Enya jamming with Simple Minds
in their stadium-conquering heyday. Rose tempers the adrenalin with heart-tugging bittersweet tones
and there are plenty of them. Sleeping Night And Day takes its time with an off-the-cuff chorus,
swirling around in harmony and chorus-bass. Saltwater Girl picks up the balladeering baton with
another nod to album track-mode Switchblade, deep space opening up in the mid-tempo drum track
and soupy, digital atmospherics. Album closer Song For A Horse, reimagines modern Pop production
a-la-PC Music but shorn of the meta-atmosphere. Pianos, swelling synths, minor keys cut through with
major. These moments, also seen in Feel Light offer ballast to the soaring pop choruses. Moments like
these are big oceans of emotion to fall into before being led out by Rose into a bright new day.
Love As Projection is released in the USA by Slumberland.
Press: fra

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2026 Repress Edition

Black Vinyl LP, LTD 400

Tracklist

1. Prologue - Proud Destiny
2. Excalibur
3. Palestine
4. Jackboots Return
5. Wetcheeks
6. Red Telephone
7. Naming Names
8. The Communist Party
9. The Beauty Of The Duty
10. Point Doom

Un-American Activities is the 11th Studio album by Molly Nilsson. Written and recorded entirely on location in
California at the former home of writer, poet and early opponent of the National Socialist regime in 1930s Germany,
Lion Feuchtwanger and his wife Marta. An album of experimentation, genre-mashing and, above it all, Nilsson’s
instantly recognisable melodic skill and empathy, it continues the songwriter’s explorations of power, freedom,
oppression and its opposing force, a love unbound.
After accepting an artist residency as part of the Villa Aurora program, Nilsson began work crafting a new album
from scratch in a new environment, afforded the freedom, space and time to challenge her practice and take her
music into new territory. The resulting work, Un-American Activities, is a love note not only to the artist who was
among the very first to be declared an “enemy of the state” by the Nazi regime but also to both the eternal struggle
he fought and the human spirit that pervades all of Nilsson’s best work. It is also a double-pointed poison pen
letter: a critique of the new forms of oppression wielded by her temporary adopted country of the USA but also an
acknowledgement of the promise it always offers but never fulfils.
Along with the novel use of colour and photography in the artwork for Un-American Activities, there are swathes of
new techniques, genres and timbres new to Molly Nilsson’s music in evidence, 16 years into her music career. On
Jackboots Return is an icicle-cold New Beat track that deals directly with the current situation in Germany and
the resurgent Nazi-affiliated AfD. The question the song asks is, what’s the timeframe we’re talking about? Is this
the 30s, or somewhere a lot closer to home? The beat is picked up on The Communist Party, Nilsson’s deepest
bow to House music, evoking the early 90s Rave pioneers, Belgian 80s music and Vogue-era Madonna. Here the
lyrics are direct quotes from the McCarthy-era, anti-Communist pamphlet 100 Things You Should Know About
Communism in the U.S.A. The Beauty Of The Duty does to pounding Electro what Nilsson’s last album Extreme
did to Metal: subsume it into the Molly Nilsson aesthetic. It goes hard.
While Un-American Activities finds Nilsson experimenting, creating instinctive music on a first-thought-bestthought basis there are still “classic” Molly moments liberally spread throughout. Excalibur feels like the Molly of
old, an absolute star of a chorus refrain smudged with the vaseline of fuzz and hope, Red Telephone is wide-eyed,
slathered in reverb and chorus effects, distorted with soaring melody, a heart-tugger that tugs the body upwards to
the heavens with each evolving wave. Glistening digital tones wash through the album, providing a Y2K
etherealness to Nilsson’s audacious Stars and Stripes reference to Wetcheeks. Perhaps the album’s standout,
however, is Palestine (Somewhere Over The Rainbow), which is suffuse with empathy, solidarity and, in
referencing the classic socialist-penned canon song from The Wizard Of Oz, speaks directly to the tradition of
fighting oppression with full hearts of hope.

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Black Vinyl LP,LTD 500

TRACKLIST:
1. Alive On Tuesday
2. Mincing while the Maelstrom Churns
3. Threads Of Radical Unaliveness
4. Keep Honking! We’re Stuck in a Memetic Bottleneck
5. Primordial Invagination
6. Skra¨ckblandad Fo¨rtjusning

Extinction Burst! is the new invocation in album-form by Guttersnipe, Leeds’ premier and pre-eminent XFCER (XFCER:
Xenofeminist crisis-energy rock)* duo. Slamming at full speed to multi-dimensional oblivion, Extinction Burst! is the most full,
hidefinition lurid dream-mare yet spewed out by Uroceras Gigas & Tipula Confusa. Engineered and mixed by Ross Halden at
Hohm Studio in Bradford and mastered by Rashad Becker, Extinction Burst! follows 2018’s My Mother The Vent, which
garnered universal critical adoration. Nevertheless, this long-awaited follow up is more extreme: it is wildness beyond reason,
splitting new tears in the reality gauze, ultimate hallucination through sound ecstasy.

2026’s Guttersnipe are evolved, mutated by 8 years of touring together and with the labyrinthine network of groups both
Guttersnipe members are involved with - Tristwch Y Fenywod, Nape Neck, Petronn Sphene, Yexxen to name a few. On
Extinction Burst!, as with previous material, the duo are heavily augmented with technology. Tipula Confusa's drum kit triggers
chasm-causing synth pulses with thumping low end attack.. Strafing from all over the stereo field the constant shatter of the
cymbals and toms feel like Sunny Murray or Rashied Ali in full flight during a John Coltrane session in 1967. Uroceras Gigas’s
guitar + synth storm is by-now similarly an instantly recognised tool kit in underground music. Switching from screeching guitar
atonality to intricate riffs from the black metal/Voivod hinterland to ultra-distorted synth meltdown, it’s an utterly overwhelming,
essential and vital pouring-out of the full emotional spectrum. Both artists vocalise, ecstatic and primal, drawn out or yelped in
pain or pleasure or panic.

Alive On Tuesday begins with some of the only space on Extinction Burst! Digital crackles and tight-delays blow out into a
fullthrottled death-dive into sweet opaqueness, offset by the duo’s vocals. There’s a popular believe that Guttersnipe is chaos,
but over 9 mins here the group are clinical in their control of the simulated entropy. Mincing while the Maelstrom Churns’s guitar
is modulated into jagged atonal atonement, duetting with the virtuoso drum patterns before it thuds into gear at quadruple the
speed. Threads Of Radical Unaliveness veers close to the extreme Metal influences with blast beats and guttural vocalisations
until the track exhausts itself into unaliveness. Keep Honking summons a demonic digital panic, with the duo reincarnating in
real time as haunted versions of themselves, almost translating the lurid, ultra vivid, simultaneous hell+heaven of being alive in
this dimension. Primordial Invagination harnesses No Wave’s dissension of normality before the structured collapse of
Skra¨ckblandad Fo¨rtjusning, in which Tipula Confusa’s accelerating drums simulate a bouncing barrel of brimstone descending
into a primordial gunky ooze, a respite in the middle before the record splutters to a stuttering finale, both members’ vocals out
there in the neon realness, alive with crisis energy.

There is nothing on this cursed earth like Guttersnipe. For over 10 years they have whirled in a wiggliness both woebegone and
wonderstruck on a mission of radical mutant exaltation using rock music weaponry loaded with a queer hysterical ammunition to
rupture the fabric of the known Rock universe and unleash a tendril-soft hallucinatory violence; thrumming with the bracing
vividness of insect bodies, crazed with alien synaesthetic emotions, harnessing jagged excoriating illogic as a face meltingly
snazzy affront to redundant macho mediocrity with the hope to break minds, squeeze hearts, explode pelvises and maybe even
reset the parameters of reality.

Addendum:
xenofeminist : proposing and creating a world defined not only by sexual/gender equality, queer empowerment and the toppling
of the racist heteropatriarchal hegemony and it’s tyranny of phallogocentric signifiers, but a philosophy of radical queerness that
explodes the basic notion of embodied existence itself beyond even the human, where we see bacteria, invertebrates, reptiles,
marine life, animalia in general, inanimate objects, quantum phenomena and as yet inarticulated bodies and minds as social
and political equals that may inspire and inform our concepts of self, feeling and meaning as we labour to build a collective
reality that doesn’t completely suck!!
crisis energy : a term borrowed from the weird fiction author china mieville to describe a type of extreme concentration of power
which emerges when a system or organism is pushed to it’s absolute limit; the point of rupture, chaos, entropic overload, just
before it all breaks apart.
rock : Rock ’n’ Roll, rock music, the devil’s music, sex, guitar, drums, voice, rhythm, riffs!

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TRACKLIST:
1. Time Wasted
2. Sunday
3. Another Twilight
4. Siloed
5. Replica
6. Damaged Melody
7. Move In Silence
8. Distance Of The Moon
9. The Cloc

“One foot out the door, another in the otherworld…”
So begins Hannah Lew’s debut, self-titled solo record, soaked in imperious, wide-eyed pop songwriting and a girl-group/post punk
aesthetic that belies the artist’s history in the U.S. underground. A towering, hook-laden album, it’s infused with an optimism and
surrealism that conversely deals with the times we find ourselves in.

Recorded at home in Richmond, CA and in The Best House studio with Maryam Qudus in Oakland CA, with the assistance of a crack
team of West Coast musicians, this album sees Hannah Lew stepping out from behind the legacy of her two groups Grass Widow and
Cold Beat. While musically bearing similarities with her previous work, “Hannah Lew” is a bold leap into direct pop territory, making
ample use of a vocal style that teases out the inherent melancholy in her melodies. Mastered by Sarah Register, each song is a
perfectly honed nugget that frequently pulls the heart in two directions at once.

Themes of change, breaking up, shattering old ways of being are shot through the record. For the front cover, a photograph of the
artist’s face was printed, ripped up and re-assembled, resembling the creative process embarked upon by Lew for her first “solo”
material. The album feels instinctual, almost dream-like in its assemblage of sweeping synths and pulsating, propulsive drum machine
beat patterns with Lew’s vocal performances sensitive and caressing over the top. Increasingly relying on the subconscious and
dreams to guide her creative process, Hannah Lew frequently abandons literal interpretations or linear narratives, the songs seeming
to exist in a swooning, effortless flow-state while remaining emotionally hard hitting.

On an album where every song could be a single, there are kaleidoscopic shades and varying emotional tones in abundance. First
single Another Twilight is carried along a pumping, Italo-disco-style 4/4 beat and mono-synth bass line, the low end pulling at the
heart and body. Lew’s vocal melody teases the track before swan-diving into a gorgeous chorus as she sings “it’s all over baby and I
don’t mind… in decline, I take my time…” The album is suffused with moments like this. On slow builder Damaged Melody, an
arpeggiated synth elongates the verse before a cascading synth showers down melodic glitter. The stunning Replica uses dual
swirling synth patterns before a driving, synthpop chorus for the ages carries Hannah Lew’s vocal into the stereo field, sailing in on a
high register singed with the embers of a break up.

In a departure from previous groups, her solo songs are guided by dreams and free association inspired by Dada and the Surrealist
movement and sculpted afterwards. As such, the songs reveal themselves on repeated listens, revealing traces of heartbreak inspired
by both personal and global elements - Hannah Lew regards the album “a wartime album.” On Move In Silence, Lew intones “there’s
a war outside, just out of view,” revealing the dichotomy at play throughout. With the songs evolving naturally and in a flow state, the
pressures and sadnesses of the modern age bleed through, mixed in with Lew’s inherent love, sensitivity and fractured-but-intact
optimism. On the swooning, sublime Sunday layers of Numanoid synths open up for the commanding vocal performance pontificating
on grief, love, pain as she “feels the ache on Sunday…” As the chorus builds and Lew’s call-and-response vocal adds to the emotional
tension, it almost feels like too much to take.

Elsewhere, there are echoes of Hannah Lew’s previous work. On Time Wasted a bass guitar comes in with a heavy, punk attack
before the synths and vocal harmonies reminiscent of later Cold Beat elevate everything. The glassy, sweetly resigned closer The
Clock sounds like so classic it could be cover, a sweetened Jesus & Mary Chain tune perhaps, before it erupts into volcanic chorus
that could only come from Hannah Lew in 2026.

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2LP LTD VINYL REPRESS ON TRANSPARENT GREEN VINYL

TRACKLIST:
1. Design - Premonition
2. Vision - Lucifer’s Friend
3. Richard Bone - Alien Girl
4. John Howard - I Tune Into You
5. Ian North - We’re Not Lonely
6. Selwin Image - The Unknown
7. Harry Kakoulli - I’m On A Rocket
8. Rich Wilde - The Lady Wants To Be Alone
9. Billy London - Woman
10. Alan Burnham - Science Fiction
11. The Microbes - Computer
12. The Goo-Q - I’m A Computer
13. Gerry & The Holograms - Gerry & The Holograms
14. The Warlord - The Ultimate Warlord
15. Die Marinas - Fred From Jupiter
16. Dee Jay Bert & Eagle - I Am Your Master
17. Peta Lily & Michael Process - I Am A Time Bomb
18. Sole Sister - It’s Not What You Are But How
19. Alasdair Riddell - Do You Read Me?
20. Karel Fialka - Armband (The Mystery Song)
21. John Springate - My Life
22. Incandescent Luminaire - Famous Names
23. Disco Volante - No Motion
24. Dream Unit - A Drop In The Ocean

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

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Tracklist:

Tracklist: 1. Humdinger 2. Synthesize Me 3. Major Tom 4. Ghost Riders in the Sky 5. Domine, Libra Nos/Showdown 6. Fly Like an Eagle 7. Born to Be Wild 8. I Had Too Much to Dream (Last Night) 9. From the Womb to the Tomb 10. Ballroom Blitz

Transcendentally beautiful, The Space Lady's music is returning to Earth. Transmitting messages of peace and harmony, The Space Lady began her odyssey on the streets of Boston in the late 70s, then San Francisco ten years later, playing versions of contemporary pop music with an accordion and dressed flamboyantly. Following the theft and destruction of her accordion , The Space Lady invested in a then-new Casio keyboard, complete with a phase shifter and headset mic, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its leading exponents ever since.

"Utterly unique and radiant with a universal love that courses through The Space Lady’s re-shaping of 20th Century counterculture, these songs lament time past while suggesting a mode of living for the future. Now celebrating its 13th Birthday, The Space Lady’s Greatest Hits has firmly earned its place as not an “outsider” classic (whatever that means) but as a Classic full stop. Originally recorded in 1990 by Susan Dietrich to document her time on earth as The Space Lady, it enjoyed niche, underground fandom until Night School Records released it as Greatest Hits in 2013. Play these songs to anyone and the distance between them seems to shrink." - Michael Kasparis


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Tracklist:

1. Die Cry Lie
2. Valhalla
3. Swedish Nightmare
4. Classified
5. Long Time No See
6. Fatal Distraction
7. Get A Life
8. Joe Hill’s Last Will
9. How Much Is The World
10. Creeping Beauty
11. All The Way
12. Big Life
13. The Bitter End

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to
love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or
is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience.
How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous?
It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or
even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a
delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite,
to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love.
And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my
own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All
the way. We can take it all the way, and never get it back.
” - Molly Nilsson

Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly
Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her
greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a
glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart.
Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand
of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First
single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die
Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord
changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on.
When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling
about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully,
making mistakes, we’re active agents against the myriad oppressions of the world.

All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the
process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of
endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful
anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the
songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of
her career.

There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed
beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A
Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song
about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you
want to?

Here’s to making mistakes.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

LP - territory: territory: WW- UK/USA/CA/Benelux/AU/NZ/JP

CD

Tracklist:

1. Die Cry Lie
2. Valhalla
3. Swedish Nightmare
4. Classified
5. Long Time No See
6. Fatal Distraction
7. Get A Life
8. Joe Hill’s Last Will
9. How Much Is The World
10. Creeping Beauty
11. All The Way
12. Big Life
13. The Bitter End

The word "amateur" originates from the Latin word "amator," meaning "lover" or "admirer". This Latin term is derived from "amare," which means "to
love". The French adopted "amateur" from Latin, and the English then borrowed it from French, initially retaining the sense of someone who loves or
is devoted to something. Over time, the English usage of "amateur" also developed a meaning related to a lack of professional skill or experience.
How did a word derived from love become a slur? Is love really so defenseless? They say love conquers all, but in reality isn’t love quite ridiculous?
It has no intention, no motive, no agenda. How could it possibly prevail? It can’t be bought or sold, or so they say.Its mere existence can't be proven or
even measured. What an impossible thing. Trying and failing, time and time again, no wonder cynicism always seems to win. I see “amateurism” as a
delighted, even foolish, protest. Protest against everything. Of what’s expected of someone, or expected of someone to desire or strive for. To be elite,
to be expert, to be professional, to be a master, to excel and succeed. Where’s the joy in that? I just want to have fun. I want to want. I want to love.
And keep doing it, forever. I want to have fun, even when it’s tiring and sometimes even heaven is boring as hell. I want to be bad. I want to do my
own thing. “I vant to be alone”. I want to be someone so dedicated to their passion that it starts to seem like there’s something wrong with them. All
the way. We can take it all the way, and never get it back.
” - Molly Nilsson

Amateur is the 12th studio album by Molly Nilsson. Deep in the teeth of a career that threatens to tip into something resembling a “legacy,” Molly
Nilsson celebrates with an album recorded instinctively, quickly and bursting with so many moments of emotional brilliance and clarity it may be her
greatest yet. Hers has been a career spent reaching out, perennially powerful in her earnestness, a warrior ridiculously defenceless and armed with a
glittering sincerity. Shearing herself of the machinations of the music industry, recording at home, writing direct to the heart.
Amateur is a jubilee for losers. A treatise in 13 songs, Amateur states clearly that we should live our life with eternal curiosity, offers us an open hand
of comradeship out of the rat race. The songs on the album are both some of the most personal of Nilsson’s career and the most anthemic. First
single How Much Is The World asks us to re-evaluate value in the face of a Neo-liberal system squeezing the life out of our loves. Pulsing opener Die
Cry Lie satirises the commercialisation of emotion in the form of a shout-along diss-track. With a pounding rhythm track held down by gorgeous chord
changes, heartbreaker Valhalla carries the torch for the main themes of the album: never growing up, making mistakes with kindness, moving on.
When the drums crash in on the line “It’s going to get better now, you’ll see, going to be much better off without me” there is a world of feeling swirling
about in the vocal delivery. One reading of the track might be that it’s a break up song but the subtext is classic Molly Nilsson: by living truthfully,
making mistakes, we’re active agents against the myriad oppressions of the world.

All The Way takes the theme for a run into the eternal sunset. It’s a manifesto for living fully. “Take it all the way, and never get it back” - it’s the
process that’s the important point. The journey not the destination. Big Life, follows on like a part 2: An ode not only to Molly Nilsson’s career of
endless gigs, endless connections with people, it’s a massive ode for following your dreams, doing it yourself. Closer The Bitter End is a powerful
anthem for friendship, another definition of love infused in Nilsson’s work, A beautifully poignant ode to comradeship til the end, it seems to be the
songwriter approaching aging, approaching life’s inevitability with the same vigour and earnestness, the same love of life she enjoyed at the onset of
her career.

There are moments on Amateur shrouded in reverb, slightly out of focus, forcing the listener to step deeper into the Mollyverse.. Nilsson’s open-armed
beseeching to the world permeates every beat, every chord. These are songs exploding with life: the chunky, aggressive bassline on the punker Get A
Life can’t hide its massive, catchy chorus. The sweeping Swedish Nightmare might be a tongue-in-cheek self-reference, but at its heart it’s a song
about the duality of living life large, what is a dream, what is a nightmare? Molly Nilsson says you can’t have one without the other, and why would you
want to?

Here’s to making mistakes.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

LP - territory: WW- UK/USA/CA/Benelux
LP LTD 300 with 8 page 12” booklet

Tracklist
1. We Are All Karpenters
2. Mundo Chabola
3. Izugarrizko Buruak (Greatest Heads)
4. A Brand New Astrophobia
5. The Most Grudgeful Lie
6. Tout Avant de Devenir Rein
7. Stop The Genocide!
8. Worm City
9. Death Song
10.Perfect Love

Released by Hegoa Records and Night School Records.
Greatest Heads is the fourth album by the radical Basque- Berlinesque group Al Karpenter. A
deconstruction of structured “rock” music, here Al Karpenter re-imagine “the band” to explore
the intersection between Free music, afro-beat, the avant garde and gonzo rock.
If Theodore Adorno wrote “To Write Poetry after Auschwitz is Barbaric” in 1949, Al Karpenter
attempts to answer the difficult question today; what kind of music can be done in the face of a
genocide? Álvaro Matilla, Marta Sainz, Enrique Zaccagnini & Mattin’s response to the planet’s
slipping into a vortex of hate is to create a music ecstatic, a music of protest bursting with multiple
musical languages and glossaries, full of overlapping histories and thrilling tensions.
Greatest Heads posits a plurality of musics both in opposition and intertwined: Al Karpenter play rock
instruments pulled apart in the studio in post-production. Distorted rhythm chunks bit-crushed and
dissipated, segments of freedom oppressed by waves of sound invading from every direction. The
interplay between the chief instrumentalists and renowned, storied sound artist Mattin creates
something akin to ESP freedom-seekers Cro Magnon playing in Miles Davis’ early 70s groups, The
Los Angeles Free Music Society tightening up into a clenched fist of plunderphonics and runaway
percussion.
We Are All Karpenters opens Greatest Heads with the most straight-forward song refrain of the record
accompanied by a band that soon crash into eruption, imagining Sun City Girls in full free rock mode.
The modulating synth sound soon sucks the band into its wake to create a spine-chilling climax of
distorted sound, made fully orgasmic with mastering engineer Rashad Becker’s attention to detail. On
Izugarrizko Buruak (Greatest Heads), Matilla intones in Basque over a mangled distorto-beat. A Brand
New Astraphobia creates a black space for a heavily processed guitar to blow up before falling to earth
at night, a gentle figure serenading the coming end.
On Side B, the band begins by being masticated by a brutal phaser, squelching and stretching the
music into new territories. The overt message of Stop The Genocide! is besieged by violence before
Worm City aggressively samples the ghosts of soul music, mixing in noise bursts, prepared piano and
swiping, abstracted sound. Epic closer Perfect Love feels like a beat poetry performance on a burnt
world, still grasping for community, for home, for some sort of human love. A Mad love, then; an angry
love fuelled by solidarity and collaboration.
The band’s cascading layers of references and polyglottal musics attempt to create the perfect lover,
alive with rage and disorientating ecstasy: Al Karpenter.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

territories:WW-US,CA,UK, BENELUX, OZ

Black Vinyl LP

Tracklist
1. Loam Loom Leaf Litter
2. Gold Plum
3. Thistle
4. Tides Reflected In Her Eyes
5. Cocoonist (prelude)
6. Cocoonist
7. Myrtle Mystes
8. Unfinished Rose
9. Deep Umbel

Slowly yet firmly blooming into focus, An Unfinished Rose is the new album from Australian duo Troth. This is
their first since relocating to Hobart, Tasmania and their introduction to Night School Records. With a detailed
web of past releases on labels A Colourful Storm, Mammas Mysteriska Jukebox, Knekelhuis and Bowman’s
own Altered States Tapes imprint, An Unfinished Rose is the group’s most realised and composed work thus far.
While still drawing on the improvisatory and DIY practices that informed Troth’s beginnings, it points to
a new incarnation of the duo’s music; an intentional language emerging from the fog of obfuscation and mists of
uncertainty.

Over these 9 meditations on change, acceptance, renewal and rebirth, An Unfinished Rose finds Amelia Besseny
and Cooper Bowman peeling back some of the roughhewn architecture that defined their earlier releases to reveal
a masterful - if auto-didactic - use of space and melody. Composition and improvisation compliment and feed each
other throughout, with locked-loop earworms providing the springboard for lines of clarinet or synth melody, and the
negative space between chord clusters giving ample room for Besseny’s most confident vocal performances to
date. Shaving off a little of the defining dissonance and tape compression of old reveals Troth’s music in radiant
daylight, humbly accepting of its place in the world while yearning for better, more sympathetic modes of living.
Leaning more heavily on acoustic instrumentation and post-production processes than previously, the result is a
transcendent body of work infused with an almost zen-like presence.

Troth’s music exists in the border between forming and becoming, its goal to project a kind of preternatural beauty,
leaving interpretation open to the listener. Field recordings, happenstance and improvisation may provide seeds for
the duo’s compositions, particularly on Side A, but there is a deft touch of songcraft on show. Loam Loom Leaf
Litter opens An Unfinished Rose, directly referencing natural cycles of life, death and regeneration, before the
blissed-out drum machine groove of Gold Plum continues a discussion concerning the totality of nature and one’s
place in it. Besseny’s vocal, swelling like an ocean churn in duet with itself is adorned with synthesised harp and a
revolving synth pattern, conjuring plumes of medieval smoke. Thistle’s rounded, bass-heavy drums, nodding to the
vast echo of dub, is a relatively new terrain for Troth. It’s propulsive and thumping, pulsing with a meaning and
symbolism consistent with Troth’s past work, referenced overtly in Bessey’s lyrics - “Say it too much and it loses its
meaning…”. Similarly, the sprawling modern-classical suite, Tides Reflected In Her Eyes, is intentional in its lyrical
themes while traversing new ground, revelling in layers of bowed cello and vocal intonations.
Side B’s 4 tracks feel like Troth’s most thoroughly accessible and affecting music to date. Leaning into their own
detoured version of Synth Pop, Cocoonist explores downtempoisms via a crunchy low frequency synth, and
dream-like, fuzzy trip-hop modalities, not unlike Besseny and Bowman’s other group, Th Blisks. Following on,
Myrtle Mystes is an open and searching DIY pop song, forged out of drum machine, bass guitar and cello. (An)
Unfinished Rose’s title-track is a clear stand-out, built upon an evocative rhythm sample that appears to change
emotional resonance with each undulating repetition. Its cascading waves of affect, interjected with a subtle breeze
of synth, bowed instrumentation and soaring, densely-layered vocals.

An Unfinished Rose is enveloping, warm, forgiving. Difficult, yet retaining a unique beauty. Troth’s music aims to
celebrate the duo;s shared experiences of being in the world, despite the complexity often surrounding us all.
Theirs is a message of hope and perseverance, learning and patience.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Superlimited Live Sold 7" - Only 40 Available

Tracklist:

1. Un Po’ Più Vicino al Cielo
2. Il Peggior Bar di Caracas

D.S.A. and Night School Records are once more teaming up to release a limited edition 7”: Certe Notti by Molly Nilsson. The
record contains the two new songs Un Po’ Più Vicino al Cielo and Il Peggior Bar di Caracas.
The songs were written and recorded in August 2024 in San Giorgio del Sannio, Benevento, during a month long artist
residency, made possible thanks to the kind invitation and hospitality of AUNA a.p.s.
A whole moon spent between local festivities, sagras and late nights in the best of worst bars, making new friends
forever and life-long memories (including an unforgettable Inti-Illimani concert), all infused with sweet drinks and ancient
lore of local witches.
The cover art depicts the view from the window on one of those nights, the rising moon, Liquore Strega yellow, and the
inlay hints at Nilsson's favourite crosswords magazine. With all these distractions it’s really a wonder any music was
made at all. But thanks in large part to endless espressi and ginseng, two new songs came to be. The first is Nilsson’s
first opus in the Italian language! The second, a hommage to her favourite joint and hang out, The Worst
Bar in Caracas.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

LP - territory: WW- UK/USA/CA/ Benelux

2LP Black Vinyl w/8pg 12” booklet

TRACKLIST:
1. Design - Premonition
2. Vision - Lucifer’s Friend
3. Richard Bone - Alien Girl
4. John Howard - I Tune Into You
5. Ian North - We’re Not Lonely
6. Selwin Image - The Unknown
7. Harry Kakoulli - I’m On A Rocket
8. Rich Wilde - The Lady Wants To Be Alone
9. Billy London - Woman
10. Alan Burnham - Science Fiction
11. The Microbes - Computer
12. The Goo-Q - I’m A Computer
13. Gerry & The Holograms - Gerry & The Holograms
14. The Warlord - The Ultimate Warlord
15. Die Marinas - Fred From Jupiter
16. Dee Jay Bert & Eagle - I Am Your Master
17. Peta Lily & Michael Process - I Am A Time Bomb
18. Sole Sister - It’s Not What You Are But How
19. Alasdair Riddell - Do You Read Me?
20. Karel Fialka - Armband (The Mystery Song)
21. John Springate - My Life
22. Incandescent Luminaire - Famous Names
23. Disco Volante - No Motion
24. Dream Unit - A Drop In The Ocean

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

LP - territory: WW- UK/USA/CA/ Benelux

2LP LTD TRANSPARENT PINK VINYL Vinyl w/8pg 12” booklet

TRACKLIST:
1. Design - Premonition
2. Vision - Lucifer’s Friend
3. Richard Bone - Alien Girl
4. John Howard - I Tune Into You
5. Ian North - We’re Not Lonely
6. Selwin Image - The Unknown
7. Harry Kakoulli - I’m On A Rocket
8. Rich Wilde - The Lady Wants To Be Alone
9. Billy London - Woman
10. Alan Burnham - Science Fiction
11. The Microbes - Computer
12. The Goo-Q - I’m A Computer
13. Gerry & The Holograms - Gerry & The Holograms
14. The Warlord - The Ultimate Warlord
15. Die Marinas - Fred From Jupiter
16. Dee Jay Bert & Eagle - I Am Your Master
17. Peta Lily & Michael Process - I Am A Time Bomb
18. Sole Sister - It’s Not What You Are But How
19. Alasdair Riddell - Do You Read Me?
20. Karel Fialka - Armband (The Mystery Song)
21. John Springate - My Life
22. Incandescent Luminaire - Famous Names
23. Disco Volante - No Motion
24. Dream Unit - A Drop In The Ocean

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

LP - territory: WW- UK/USA/CA/ Benelux

2LP ULTRA LTD MIRROR BOARD PRESSING ON CRYSTAL CLEAR VINYL, HAS THE BOOKLET, AND AN EXTRA 6 PANEL FOLDED POSTER, ONE OF TWO IMAGES.

TRACKLIST:
1. Design - Premonition
2. Vision - Lucifer’s Friend
3. Richard Bone - Alien Girl
4. John Howard - I Tune Into You
5. Ian North - We’re Not Lonely
6. Selwin Image - The Unknown
7. Harry Kakoulli - I’m On A Rocket
8. Rich Wilde - The Lady Wants To Be Alone
9. Billy London - Woman
10. Alan Burnham - Science Fiction
11. The Microbes - Computer
12. The Goo-Q - I’m A Computer
13. Gerry & The Holograms - Gerry & The Holograms
14. The Warlord - The Ultimate Warlord
15. Die Marinas - Fred From Jupiter
16. Dee Jay Bert & Eagle - I Am Your Master
17. Peta Lily & Michael Process - I Am A Time Bomb
18. Sole Sister - It’s Not What You Are But How
19. Alasdair Riddell - Do You Read Me?
20. Karel Fialka - Armband (The Mystery Song)
21. John Springate - My Life
22. Incandescent Luminaire - Famous Names
23. Disco Volante - No Motion
24. Dream Unit - A Drop In The Ocean

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

LP - territory: WW- UK/USA/CA/ Benelux

2CD w/ 24pg booklet

TRACKLIST:
1. Design - Premonition
2. Vision - Lucifer’s Friend
3. Richard Bone - Alien Girl
4. John Howard - I Tune Into You
5. Ian North - We’re Not Lonely
6. Selwin Image - The Unknown
7. Harry Kakoulli - I’m On A Rocket
8. Rich Wilde - The Lady Wants To Be Alone
9. Billy London - Woman
10. Alan Burnham - Science Fiction
11. The Microbes - Computer
12. The Goo-Q - I’m A Computer
13. Gerry & The Holograms - Gerry & The Holograms
14. The Warlord - The Ultimate Warlord
15. Die Marinas - Fred From Jupiter
16. Dee Jay Bert & Eagle - I Am Your Master
17. Peta Lily & Michael Process - I Am A Time Bomb
18. Sole Sister - It’s Not What You Are But How
19. Alasdair Riddell - Do You Read Me?
20. Karel Fialka - Armband (The Mystery Song)
21. John Springate - My Life
22. Incandescent Luminaire - Famous Names
23. Disco Volante - No Motion
24. Dream Unit - A Drop In The Ocean

Compiled by Philip King
“And then came the rise of synth pop : blokes with dodgy haircuts hunched over keyboard-operated
machines stuffed with wires and do-it-yourself tone oscillators making sounds like a brood of geese
passing gas in a wind tunnel. Whoopee! This is the way the ‘70s ended : not with a blood-curdling bang
bang but with a cheap, synthesized, emasculating whimper.”
NICK KENT, NME.

All The Young Droids: Junkshop Synth Pop 1978-1985 is a new compilation that charts the
underbelly of the epoch-defining sound of the synthesiser in 80s popular music. Compiled by Philip
King (previously seen compiling All The Young Droogs, Glitterbest and Boobs - The Junkshop
Glam Discotheque), the music here connects the dots between DIY synth enthusiasts grappling with
new, cheap synthesisers at the tail-end of punk and wannabe, jobbing songwriters enthral to the new
music pioneered by Gary Numan, Depeche Mode and Daniel Miller’s Mute Records. Featuring rare
tracks of auto-didactic progressive pop music, proto-techno punk, shoot-for-the-stars-land-in-the-gutter
chart flops and heralded, underground synth classics, School Daze paints a picture of beautiful failure.
Complete with extensive sleeve notes written by King and never before seen imagery, all 24 tracks
were remastered by RPM in-house engineer Simon Murphy, many from vinyl copies due to lost master
tapes. The story told on All The Young Droids is one of the dawning opportunity presented by both the
emergence to the market of cheaper analog synthesisers and the distribution networks plus indie labels
that exploded with the advent of punk music in 1976. While the music that sprouted out all over the
globe in the wake of these factors was decried as fake, plastic, a refutation of punk’s guitar-led
revolution, it’s telling that much of the music on All The Young Droids.. was created in bedrooms,
ramshackle studios and home-made set ups with often borrowed equipment. In the era of record labels
jumping to capitalise on the success of The Sex Pistols, The Clash (both on major labels, of course)
these artists struggled to stand out from a new gold-rush with next to no budget or PR team. With radio
and labels desperate for the new Yazoo, what resulted was a testament to necessity being the mother
of invention.

At the time, the synthesiser was the music of the future, a shiny new machine that could paint like an
orchestra with a single finger and a 4-track. In the hands of Manchester avant-pranksters Gerry & The
Holograms it’s a pulsing, sardonic weapon.. the only instrument on the Messthetics classic lampooning
of New Wave fashion. In Hamburg, a 16 year old Andreas Dorau used it to write and record (with his
female classmates on vocals) a global smash in Fred Vom Jupiter (later licensed to Mute Records).
The hard-to-find English version (Fred From Jupiter, natch) is included here. Many artists with alreadystoried careers caught the bug and recorded synthesiser-fuelled peons to space, computers, the future
and, of course, love-interests. Harry Kakoulli, late of Squeeze, recorded a solo album in 1979 that
included the incredible power-synth-pop smash-that-never-smashed I’m On A Rocket. Similarly, Ian
North of Neo and American Power Pop stalwarts Milk ’n’ Cookies bought a Korg MS20 and used a
tape machine to record We’re Not Lonely, an absolute lost-classic of minimal synth pop. We’re Not
Lonely also features on the Junkshop Synth Pop sampler 7” twinned with John Howard unreleased
track You Will See, released April 12th 2025.

There are plenty of compilation debuts in evidence. Sole Sister were a mysterious trio who were
featured on the Scaling Triangles compilation of female-fronted, queer-adjacent post-punk /
underground music that also featured The Petticoats. Selwin Image were from San Francisco and
featured members of the recently defunct power pop/punk group The Pushups. Their stupidly catchy
The Unknown fizzes with New Wave energy - think XTC to Sparks but remains unreleased until now.
Dream Unit’s A Drop In The Ocean is an early synth wave cut, positively teaming with Joy Division
instrumentation, previously only released on a long-forgotten and super rare, self-released EP.
Incandescent Luminaire’s Famous Names belies an archetypal struggle of a small-town trying to
make it in a cruel industry but is a thrilling New Romantic-Synth Wave cross over with a OMD
gloominess that’s a joy to hear. Feminist Minimal Wave track I Am A Time Bomb by performance artist
Peta Lilly and Michael Chance is a revelation destined for new found cult status. It was released on 7”
and lost until now.

The flipside to the subterranean, never-made-it synth pop mentioned above are the ambitious, even
fruity attempts at success that have a perennial elegance to their confidence. New Jersey-ite Billy
London (real name Ed Barth) tried to cash in on the synth boom with Woman, released by a major
label, a lurching new wave track built on the Louie Louie rhythm and a wonderfully camp Lou Reedstyle sleazy vocal before exploding in the synthesised chorus. The song bombed but with a chorus like
this, you have to wonder why? Ex-Glitter Band member John Springate’s My Life is truly epic, with
doomed chord progressions and massive sounding drums turning into at least 3 different songs in the
course of the track. Before you wonder what’s going on the song resolves with a glorious return to the
main refrain.

The dry-ice-dressed dance floor is well catered for too. Design’s Premonition and Vision’s Lucifer’s
Friend are stone-cold minimal synth bangers, well loved but given a new lease of life here. The
Warlord’s The Ultimate Warlord was released in 1978, a homespun proto Hi NRG banger that was
later re-recorded by The Immortals in Canada who had a club hit with it. One-man- band Disco
Volante’s No Motion was re-issued by Synth wave label Medical in 2012 but makes its first vinyl
compilation appearance here. Close your eyes and you can imagine what Lawrence of Felt would have
sounded like with some cheap Korgs a little earlier in his career. Gibraltar-based trio The Microbes
imagined a computer programming people to dance - how prescient - and ended up with a propulsive,
robo-funk track with splendid rubbery bass playing over a tectonic drum machine. Previously picked up
by Belgian label Stroom TV, Dee Jay Bert & Eagle’s heavily Euro-accented I Am Your Master
demands the listener to “come to paradise!” In a frankly terrifying manner.
All The Young Droids is the first compilation to peel away from the narrative that dour, Minimal Synth
and Cold Wave were the only musical children of the first rush of synth pop. Philip King and School
Daze Records describe a much more complicated world: along with the austere, Brutalist children of
Daniel Miller (who produced Alan Burnham’s Bowie-Low-influenced Science Fiction here) was a
plethora of desperate cash-ins, accidental mainstream hits, ambitious pop dramas and major label
punts that went nowhere. Crucially, the compilation blurs the line between junk and treasure. What if the
two things are interchangeable. What if it’s all science fiction?

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Special remarks : Full-colour sleeve with poetry and lyric sheet
Tracklist

A1. First the Crocus
A2. The Wind That Had Not Touched Land
A3. For Anni Albers
A4. Aria
B1. Like a Sail or a Bed
B2. Chaque Plante, Chaque Personne
B3. The Air Moving
B4. Maxine Funke - Nasturtium Runners (Read by the Rain)

Shortinfo:
Annie A, the one-off collaborative project between Félicia Atkinson, Time is Away, Christina Petrie and Maxine Funke, arrives on A Colourful Storm with an inquisitive, exploratory composition evoking questions of inconstancy and reconciliation, vastness and finitude and the sometimes cruel deception of human perception. Who will conduct our dreams if we never wake?

It is a geographically diverse yet like-minded ensemble whose seeds were sown during an A Colourful Storm show in London, where time on stage was shared by Atkinson, Time is Away and Petrie. Atkinson had previously found solace in Time is Away's Ballads (ACOLOUR041), Funke's Seance (ACOLOUR035) and particularly the voice of poet Petrie, whose delivery drifts from a wide-eyed stream of consciousness to crystalline sensory expression. It is the perfect accompaniment to Atkinson's hushed tones, spoken sensitively like a mother to a resting child.

Atkinson's evocative sonic landscapes are formed from keyboard, voice and organic materials collected from life on the dramatic coast of Normandy, as well as field recordings from places far and wide. She breathes life into liminal spaces, the sound of wind, whispers and the distant clatter of rocks conjuring visions of places both beautiful and eerily familiar. Time is Away delicately arranges the field of sounds, their weaving and layering likened to the assembly of an Anni Albers textile. The spirit of Albers guides the piece, Petrie's recounting of her loom and thread a symbol of her endurance, vitality and seeking wonder in intricacies. The piece also features an exclusive concluding track by Maxine Funke, whose meditation on vulnerability confronts and surrenders herself to the enchanting natural world.






Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

2026 repress

Territories: Worldwide no restrictions

Format Notes:
2024 first time double vinyl reissue with exclusive bonus track, 140g double vinyl, remastered audio with restored artwork


Track List:

A1 Intro 0:50
A2 WordPlay 3:17
A3 Spontaneity 4:08
A4 Rugged Ruff 3:08
A5 Interlude 0:29

B1 I Confess 4:06
B2 UKNOWHOWWEDU 3:35
B3 Interlude 1:09
B4 Total Wreck 3:26
B5 Innovation 3:23

C1 Da Jawn 5:19
C2 Interlude 1:05
C3 True Honey Buns (Dat Freak Sh*t) 3:41

D1 3 Tha Hard Way 4:12
D2 Biggest Part Of Me 4:51
D3 Path To Rhythm 3:24

Release Notes:

Bahamadia’s 1996 debut album Kollage is rightly regarded as one of the greatest rap albums of the 1990s. For the first time ever, Be With present the definitive double LP version of this eternal hip-hop classic, including the legendary "Path To Rhythm" which never appeared on the original LP or on vinyl, anywhere. An indelible VIBE from start-to-finish, Kollage presents Bahamadia's swirling rhymes delivered with an irresistibly butter flow and razor-sharp assuredness over a steady slew of smoothed-out, jazzed-up, blunted beats. Achingly cool and effortlessly funky throughout, it's an absolute must for true 90s hip-hop fanatics.

The entire Kollage project was recorded at D&D Studios and the ties to Gang Starr are keenly felt, with DJ Premier producing five tracks in addition to the killer songs Guru had already produced with her. Working with the cream of the mid-90s East Coast sound, Kollage is, accordingly, a record that demonstrates a varied musical taste with disparate influences, as Bahamadia has previously stated: “The title Kollage was a reflection of my state of mind. I first got interested in music from playing my parents’ and grandparents’ records, as well what I heard on the radio. I wanted Kollage to reflect that diversity both lyrically and sonically."

With intelligent, poetic lyricism and a laconic verbal style bursting with both warm texture and deceptive energy, Bahamadia’s flow was as inspired by Aretha and Nancy Wilson as it was Q-Tip, Schoolly D and Lady B. Swaggering out the gate, "WordPlay" finds Bahamadia confidently showcasing her considerable old-school battle-rhyme skills over a Guru beat that utilises an infectiously bouncy bassline with splashes of sultry jazz horns and a Jeru vocal snatch for the hook. Up next, the quietly shimmering and ruggedly beautiful "Spontaneity" is one of the most alluring on the record, Da Beatminerz crafting a brilliantly soulful and jazzy soundscape for Bahamadia's effortless vocals to float across. It's followed by "Rugged Ruff", where the rapper carefully constructs a swift off-beat flow over Premier's raw jazzy fire.

With smooth spacey synth vibes overseen by former Geto Boys producer N.O. Joe, "I Confess" is, without question, a fly love song and soothing (p)-funk groove. "UKNOWHOWWEDU" is an airy, chilled tribute to her hometown. Produced by Ski Beatz & DJ Redhanded, it rides a gloriously mellow break. It's a true Philly anthem, shouting out a who’s who of the entire city’s scene. Early banger "Total Wreck" follows, presenting a murky Guru instrumental elevated by jazzy horns. Bahamadia invokes the title's suggestion, firing her brilliant bars more aggressively than we’re accustomed to. More Beatminerz-brilliance comes in the way of "Innovation", an opportunity for the MC to invoke Freestyle Fellowship in her forward-thinking and literary verses. "Da Jawn" features hometown buddies The Roots, with Black Thought gliding into a back-and-forth with Bahamadia over ?uestlove’s warm, snapping percussion. With the strut club banger "True Honey Buns (Dat Freak Sh*t)", DJ Premier provides some laidback vibrant boom bap for Bahamadia to share a wild, cautionary tale about a night out with her girl, Kia.

Fan favourite "3 Tha Hard Way" is a hypnotically sinister cut, with Bahamadia, K-Swift and Mecca Star taking star turns to coast over DJ Premier’s raw beat whilst the tender "Biggest Part Of Me" is a heartfelt stunner dedicated to her son. Incredibly, only the European and Japanese CD versions of Kollage was released with the brilliantly breezy “Path To Rhythm”, featuring Ursula Rucker. Whilst ostensibly a "bonus track", it's anything but, to our ears. Very much in sonic conversation with KRS-One's stretched-out sleeper classic "Higher Level", it's absolutely essential so we had to include it, appearing on wax for the first time here, exclusively. Quite a coup.

Somewhat predictably, whilst Kollage was released to significant critical acclaim, it suffered from disappointing sales. In the intervening years - and for far too long - it was a criminally underrated record, an increasingly hidden gem. We hope this double LP reissue - which looks and sounds amazing - will go some way to correct this. This 2024 Be With double LP re-issue has been mastered for vinyl by Simon Francis, cut by Cicely Balston and pressed at Record Industry. It's too bold and beautiful to remain overlooked and underserved.


Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

Special remarks : 2LP, 2022 Repress Edition

Vital Sales Points:
- Released by popular NTS show Noise In My Head
- Liner notes from Ivan Smagghe and artwork from Misha Hollenbach (Perks and Mini)
- Features many rarities reissued for the first time ever (Karen Marks' most wanted Australian cold wave single last sold for 290€ while Once traded for 170€)
- All tracks officially licensed, sourcing original masters when available
- Includes digital download

Tracklist
A1. Linda Smith - I So Liked Spring , A2. Karen Marks - Cold Café , A3. Bruce Langhorne - Leaving Del Norte , A4. The Seraphims - Conciousness of Happening
B1. Garry Davenport - Sarra , B2. Some of My Best Friends Are Canadians - Feeling Sheepish , B3. The Rising Storm - Frozen Laughter
C1. Warfield Spillers - Daddy's Little Girl , C2. Joyce Heath - I Wouldn't Dream Of It , C3. Joe Tossini and Friends - Wild Dream , C4. Scott Seskind - I Remember
D1. Angel - Driving (Down) , D2. Nini Raviolette and Hugo Weris - Slow , D3. Nora Guthrie - Home Before Dark , D4. Once - Joanna

Short info:
Sky Girl is a mysteriously unshakeable companion, a deeply melancholic and sentimental journey through folk-pop, new wave and art music micro presses that span 1961-1991. A seemingly disparate suite of selections of forgotten fables by more or less neverknowns, Sky Girl forms a beautifully coherent and utterly sublime whole deftly compiled by French collectors DJ Sundae and Julien Dechery.

From Scott Seskind's adolescent musical road movie to Karen Marks' icy Oz-wave, the charming DIY storytelling of Italian-American go-getter Joe Tossini and the ethereal slow dance themes of Parisian artists Nini Raviolette and Hugo Weris, Sky Girl resonates on a wide spectrum historically, geographically and stylistically. It unites in a singular, longing, almost intangible ambience.

If the names sound wholly unfamiliar that doesn't matter, the nature of the compositions swiftly nurtures an intimacy with these lonely, poignant, openhearted wanderers. Most were available in a very limited capacity at the time of their release, some were never really released at all - Gary Davenport declined to release Sarra after he split with the girl for whom the track is named - years later a friend convinced Davenport to allow him to put 100 copies online to sell and DJ Sundae was quick enough to snare one. Beyond their scarcity, these tracks are bound together by a certain raw beauty that's achievable when music is made and no one is listening.

Sky Girl comprises of fifteen officially licensed songs, a two year international scavenger hunt through long-folded home label operations, the depths of internet forums and traceless acetates. Both compilers are well trained record sleuths - DJ Sundae's labels Hollie and Idle Press have reissued Arthur Russell affiliate Nirosta Steel and DIY relic Pitch, while Julien Dechery previously compiled 'Fire Star', a retrospective on Tamil film composer Ilaiyaraaja, for Bombay Connection.

Released by Noise In My Head offshoot Efficient Space, Sky Girl is enriched with artwork from Perks and Mini mutant Misha Hollenbach and appropriately elegant sleeve notes courtesy of Ivan Smagghe.






Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: [email protected]More

LP: 45rpm Cut, Inside Out Printed Sleeve, Sticker
WORLDWIDE

Genre: Soundtrack, Classical, Smooth Jazz, Modern Western


Tracklisting LP
A1. Azuma's Theme (Gnossienne No. 1 - Erik Satie)
A2. Sono Otoko Kyobo Ni Tsuki (Violent Cop) (End Title)
A3. Kiyohiro's Theme
A4. Kiyohiro's Theme II
B1. Sono Otoko Kyobo Ni Tsuki (Violent Cop) (Main Title)
B2. Fear (Gnossienne No. 1 - Erik Satie)
B3. Intorno all'idol mio (Antonio Cesti)
B4. Sono Otoko Kyobo Ni Tsuki (Violent Cop) (Main Title - Saxophone Version)


Info

WRWTFWW Records is thrilled to announce the official reissue of Daisaku Kume's original soundtrack for the highly acclaimed 1989 Japanese crime/drama movie Violent Cop. Available for the first time outside of Japan, the album comes in a limited edition of 500 copies worldwide with a 45 rpm cut providing full audio pleasure and an iconic record sleeve featuring the movie director and star: the one and only "Beat" Takeshi Kitano!

Violent Cop marks Kitano's directorial debut - a gritty neo-noir in which he stars as a rogue detective fighting a sadistic crime syndicate, only to discover widespread internal corruption in the police force. Poetic, minimalistic, with a superb balance between small soothing moments of beauty and vertiginous sudden violence, the film spearheaded a superb international career for the multi-talented filmmaker, actor, and comedian, which includes works such as Sonatine, Hana-Bi, and Battle Royale. The release of the soundtrack on vinyl presents an excellent opportunity for fans to explore the musical underpinnings of one of Kitano's earliest creations.
Daisaku Kume, known for his work as the keyboardist for late 70s fusion bands T-Square and Prism, showcases versatile musical prowess on the soundtrack, taking listeners on a sonic journey through a blend of genres including magnificent Erik Satie re-interpretations, melancholic smooth jazz sometimes reminiscent of Taxi Driver, ambient-classical, and modern Western atmospherics. It's the perfect setting for Kitano's stoic but tormented lonesome urban cowboy character. Raw power mixed with timeless elegance.

Violent Cop (Original Soundtrack) by Daisaku Kume follows the recent release of the soundtrack from another groundbreaking Japanese movie, Shin'ya Tsukamoto's Tokyo Fist (1995), with music by industrial visionaries Chu Ishikawa & Der Eisenrost, also currently available on WRWTFWW Records.


Points of interests

- For fans of good movies, good soundtracks, Takeshi Kitano and Erik Satie, furniture music in a modern Western setting, ambient, minimalism, classical, Japanese crime movies of the 90s, Daisaku Kume, Taxi Driver, nice looking record sleeves.

- First official reissue of the soundtrack for classic Japanese crime/drama movie Violent Cop (1989) directed by and starring the legend (Beat) Takeshi Kitano.








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Finally: the long awaited Trentemøller debut album - maybe one of the most anticipated independent albums of the year - is ready to be released in October!The danish producer Anders Trentemøller is one of the hottest artists on the electronic circuit - the man of the moment!His 12“es broke many sales-records and he‘s been voted as the shooting star in 2005 by many reader polls.So the time is right to release his debut album The Last Resort“ - a beautifully crafted, astonishing masterpiece, that will leave you breathless. The 13 instrumental tracks together form a wordless musical story, almost like the soundtrack of a movie. It manages to capture a whole range of emotions in subtle melodic miniatures, dreamy ambiences, dusty beats, deep dub-tracks and driving groove-excursions. An ever-changing kaleidoscope of colours and moods, „The Last Resort“ without a doubt contains Trentemøller’s best work to date. Although it’s an electronic album, it also incorporates live-drums, guitars, bass and other acoustic instruments like celesta, glockenspiel, melodica and even DJ scratching to create a more organic feel. „Something I couldn’t manage with just electronica“, according to the producer.

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Beautiful 1 LP Edition 140g Vinyl, Heavy 350gsm Sleeve, Sticker

- Official reissue of hard-to-find favorite L'Univers De La Mer by Dominique Guiot, considered by some the greatest library album ever recorded. Available on vinyl for the first time since 1978 and for the first time ever on vinyl and digital.
- For fans of synthesizers, library music, prog-rock, experimental, ambient, folk, medieval, movie soundtracks, sci-fi, Schicke Führs Fröhling (SFF), Tangerine Dream, Mike Oldfield, King Crimson, Didier Bonin, Claude Perraudin, Jacques Wyrs, oceanic vibes and giant squids.

WRWTFWW Records is honored to announce the official reissue of super rare and fabled prog-rock/library/synth album L'Univers De La Mer by French composer Dominique Guiot. The full length release is sourced from original masters, available on vinyl LP for the first time since 1978 and housed in a 350g sleeve with a spellbinding artwork by surrealist sci-fi artist Jacques Wyrs. It it also available on CD and digital formats for the first time ever.

Written, composed and played by Dominique Guiot with his Mellotron, Minimoog, clavinet, organ, and guitar, L'Univers de la Mer draws its inspiration from deep sea exploration, oceanic creatures, and underwater kingdoms. The 12-track album navigates organically through diverse mutations of the prog-rock and synth kind, from scenic meditation pieces ("Wind Surf Ballad"), to medieval electronica ("Une Ballade Pour Une Goélette"), spacey smooth jazz ("Les Deux Poissons"), funked out fantasy folk ("L'Univers De La Mer"), or even incredible Sega Mega-CD vibes ("La Danse Des Méduses") - altogether painting a fascinating world of eerie magic and subaquatic sensuality. It's escapism at its best with subtle overtones of Schicke Führs Fröhling, Mike Oldfield, and Claude Perraudin.

The sound of the album is brilliantly captured by its surreal cover art, the work of legendary artist Jacques Wyrs, whose memorable record sleeves include Klaus Schulze's Picture Music, Eloy's Floating, Ange's Le Cimetière Des Arlequins, and the 1974 reissue of Larry Coryell's Spaces.


Tracklisting Vinyl LP
A1. Wind Surf Ballad 2:20
A2. La Danse Des Méduses 2:40
A3. Une Ballade Pour Une Goélette 1:30
A4. Les Deux Poissons 3:00
A5. Ballet Amoureux Des Dauphins 2:20
A6. Les Pingouins S'Amusent 2:40
B1. Destination Inconnue 3:25
B2. Iceberg En Voyage 3:30
B3. L'Univers De La Mer 3:20
B4. Alerte En Mer 2:50
B5. Les Émigrants De La Mer 3:35
B6. À La Découverte D'Une Amphore 2:30


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2LP, LTD 500 , Black Vinyl -- Territories: WW-US,CA,UK,FR,BENELUX

The final album from stevie’s Mope Grooves,
the seminal Portland collective. A 2 hour, 27
track masterpiece of touching, warped music
that transcends genre into a realm of pure
inspiration.
All profits from this release will be donated to
Survived and Punished charity.

Tracklist:

1.Controlled Burn
2.Aileen
3.Pieces Of God
4.Forever Is A Long Time 03:19
5.Do You Hear Music
6.Home Sick
7.We Won
8.Swail
9.Here Comes The Moon
10.Hallway Of Crucified Angels
11.Fox Highway
12.Harp Circles
13.Wind Follows Me Home
14.Cap Hits The Button
15.Si Fuese Violeta
16.Wall Of Swords
17.Switch Cars
18.Continue & Intensify
19.Les Anges Passent
20.Here Comes The Rain
21.Turning Fire
22.Simple As That
23.Life Is Good
24.Dora
25.Isn't It Hard
26.Tired All The Time
27.Box Of Dark Roses





Through the fog of our grief in the wake of the earth-shattering loss of our beloved angel Stevie, on this
day which would have been her 35th birthday, we announce the release of Mope Groove’s final album; Box
of Dark Roses. A 27 song, 2XLP of songs that Stevie prepared for release before she left. In addition to the
music, Stevie provided extensive liner notes to accompany the album. These are included with the album in
the form of a zine, or as a digital PDF, respectively.
"If i'm ever hard to get a hold of u can find my whole heart in here."
-Stevie (from her liner notes)
Rest in peace sweet angel. We love you forever.
Stevie provided the following statement on the album before her departure:
"all artist profits and digital proceeds will be redistributed in perpetuity to incarcerated or formerly
incarcerated survivors of sexual assault and domestic violence, especially the many women and other
gender marginalized ppl incarcerated for defending themselves against their attackers. funds will be
allocated to the Survived and Punished NY Mutual Aid Fund, a comparable organization, or directly into
commissary funds or fundraisers of incarcerated survivors.
"box of dark roses is a 27 song LP where the same images repeat and repeat until you might have some
idea of what roses have to do with armed struggle, trans autonomy, losing your house (again), angels,
women political prisoners, violence returned to sender, suicided poets, refusing to recant, insisting on life,
& how the revenge of twenty billion screaming ghost women could unmake the worst of all possible
worlds”

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LP - Limited White VInyl Version
Territory: WW-US-UK-FR-BNLX


Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.


Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly
Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing
to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban
landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical
novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over
bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she
has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or
perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly
Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano
chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the
doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn
you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery,
Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for
an imperfect Summer.


Tracklist:

1. Summer Cats
2. Perfect Past
3. Punks In Paradise
4. Plaza Italia
5. Blue Dollar
6. Maximo Says
7. Bar Roma
8. Malaysian Airlines

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Non Exclsuive LP

1. Absolute Power
2. Earth Girls
3. Fearless Like A Child
4. Kids Today
5. Intermezzo X – Wheel Of Fortune
6. Sweet Smell Of Success
7. Obnoxiously Talented
8. Avoid Heaven
9. Take Me To Your Leader
10. They Will Pay
11. Pompeii

“The letter X marks the spot, crosses over, literally with a cross. It’s the former, the ex-. The ex-lover known simply as “an ex”. Ex- is the latin
prefix meaning “out”. Exterior, an exit. Extraordinary. Excellent. It’s exciting. Generation X. X-files. X is the unknown. X is Extreme“
Extreme is Molly Nilsson’s tenth studio album. Recorded in 2019 and throughout the 2020 global pandemic at home in Berlin, Extreme
is a departure for Nilsson, an explosion of angry love. It’s an album of anthems for the jilted generation, soaked with joy and offering
solace, bristling with distorted, Metal guitars and planet-sized choruses that bring light to the dark centre of the galaxy. It’s an album of
the times, by the times and for the people. It’s a record about power. About how to fight it, how to take it and how to share it.
Absolute Power explodes with massive guitars, double kick beats and the instantly iconic line “It’s me versus the black hole at the
centre of the galaxy.” Nilsson’s performance itself portrays absolute power in its confidence but the song is a call-to-arms, an entreaty to
grasp the here and now, to take the power back. It’s Nilsson pacing the ring and we’re instantly in her corner. Earth Girls takes familiar
Molly Nilsson themes - female empowerment and subverting the patriarchy - but casually throws in one of the choruses of her career.
“Women have no place in this world” she sings, but it’s the world that isn’t good enough. Stadium-sized but still warmly hazy, Earth Girls
has its fists in the air, glorifying in harmony, almost ecstatic in its feeling good. Nilsson’s Springsteen-level conviction and righteousness
bleeds through the speaker cones, the cognitive dissonance between the song’s cadences and angry lyrics redolent of Bruce in his
prime. Female empowerment isn’t always an angry energy on Extreme, however. On Fearless Like A Child, Nilsson’s anthem to the
female body and women’s sovereignty of it, she croons over a mid-80s blue-eyed Soul groove. It sets a nocturnal scene as the narrator
surveys her past and her surroundings. Before we’re fully submerged in a dreamlike, Steve McQueen-era Prefab Sprout poem to
learning from your mistakes the song erupts into one of those lines only Molly Nilsson can get away with: “I love my womb, come inside I
feel so alive” she fervently sings. Against the backdrop of ever-encroaching, conservative rulings on women’s reproductive rights in
places like Texas, it’s simultaneously angry and full of love.
Every song on Extreme is a gleaming gem in a pouch of jewels. On Kids Today, Nilsson is the voice of wisdom, archly commenting on the
eternal struggle between youth and authority. Wisdom infuses Sweet Smell Of Success with a transcendent love that forgives the narrator’s
shortcomings and celebrates the moment, it’s a letter to the author from the author that asks “what is success” and concludes that this is it,
this song, this moment. It’s a rare moment of simple reflection that is generous in its insight to Nilsson’s inner life. “Success” is a tool of power
and we don’t need it… We need power tools and there are moments on Extreme where it feels like Nilsson is showing us how to find them. It's
an open conversation through out Extreme. She’s a warm, comforting presence through out the album and specially on these songs of
encouragement, songs perhaps sang to a younger Molly Nilsson or, really, to whomever needs to hear them. “They’ll praise your efforts, they’ll
call you slurs a rebel, a master, an amateur / Merely with your own existence, you already offer your resistance.” On Avoid Heaven she’s
even more direct, pleading with us to avoid concepts of purity and to embrace the glorious, ebullient, emotional mess we’re often in as a
method of upending the power structures who need things to be perfect.
They Will Pay brings back the big, distorted power chords in the form of a agit-punk, pop slammer. Of course, when Molly Nilsson does punk
pop we get the catchiest chorus this side of The Bangles or The Nerves. It’s rendered in an off the cuff, throwaway manner that is just perfect
in its roughness. However, it’s on Pompeii that Nilsson delivers the album’s epic, emotional heartbreaker. Like 1995 on Nilsson’s album Zenith,
or Days Of Dust on Twenty Twenty, the lyrics of Pompeii are heavy with a transcendent sadness, an aching poetry that cuts to the truth of the
heart like the best Leonard Cohen lines, though here delivered with an uplifting, life-affirming love. It contains the most personal moments of
Extreme, a song lit by the dying embers of romance. Yet it’s here where the alchemy at the base of all Nilsson’s best work is found. Turning
small nuggets of personal truth into big, generous universal moments that invite everyone to cry, to love and to fight the power. In an album of
jewels, it might be the shining star.
Molly Nilsson’s biggest, boldest and most vital album to date, Extreme is about power. Against the love of power and for the power of love

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Territories: Worldwide no restrictions

Format Notes:

Part of Bobby Caldwell Reissue Campaign, 2023 first time reissue, 140g vinyl


Track List:

A1 Special To Me 4:00
A2 My Flame 3:30
A3 Love Won't Wait 4:00
A4 Can't Say Goodbye 5:20

B1 Come To Me 2:52
B2 What You Won't Do For Love 4:45
B3 Kalimba Song 2:00
B4 Take Me Back To Then 3:30
B5 Down For The Third Time 3:30

Release Notes:

Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. Tragically passing away in March 2023 at the too young age of 71, it still feels as if Bobby's true artistry is profoundly under-appreciated. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Yes, it's perfect, yet it's been out of press on vinyl for years. We're deeply honoured to present the long-awaited reissue this summer.

Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted.

String-swept opener "Special To Me" immediately sets the tone with its lush instrumentation, rich harmonies, and Caldwell's velvety-smooth vocals. Next up, a huge one. The infectious, mid-tempo bounce of "My Flame" showcases Caldwell's ability to effortlessly blend catchy pop hooks with soulful arrangements. It's an exquisite, emotive ballad that, at the same time, absolutely SLAPS. Game recognise game, and all that, so, accordingly, Notorious B.I.G. memorably ran with “My Flame” for his 1997 single “Sky’s The Limit”. The rolling, disco-very "Love Won't Wait" is a slick, uptempo track containing heartfelt lyrics intertwined with elegant strings and a horn section to die for. Aching - and achingly cool - single "Can't Say Goodbye" is a real fan favourite, and it's no surprise. It's a laconic, slow-mo jazz-funk stepper, with fantastic, very deliberate playing that closes out the A Side quite exceptionally. "Come To Me" slows proceedings down elegantly to open Side B before the universally agreed-upon masterpiece enters proceedings.

"What You Won't Do for Love," the standout hit that became a classic in its own right, perfectly captured Bobby's ability to infuse a contagious groove with introspective and relatable lyrics. With its instantly recognisable horn riff and Caldwell's soulful delivery, this timeless, chiller anthem continues to captivate audiences and define his musical legacy. He scored huge with the track, taking over the pop and R&B airways with this mellow soul stepper. It has remained a perennial favourite and has been heavily sampled, such is its unique allure; Aaliyah sang over snatches of it on "Age Ain’t Nothing But A Number" and you can hear Caldwell’s vocal sample used for the hook on Tupac’s posthumously released “Do For Love”.

Upon submitting the finished album to his label, they requested more material in hope of a big single. As Bobby remembered to Wax Poetics a few years ago: “Now at this point, I’m mentally exhausted...and bear in mind that I got so close to all the songs I’d written. I gave each song a profound amount of thought, and maybe too much. So, in haste, I went in and cut this song, "What You Won’t Do For Love". Wrote it in a day, cut the rhythm track, overdubbed the horns, I sang the song, and literally turned it in three days after. And lo and behold, the one song I gave the least thought to,” Bobby laughed, “ended up being a national anthem.”

The mysterious, magical "Kalimba Song" is a cosmic, kalimba-driven melodic-funk instrumental - short but oh, so sweet. It's followed by the supreme tear-jerker "Take Me Back To Then", Bobby's otherworldly voice deeply longing for a simpler time, "when life was mellow". I think we can all get behind this sentiment. The final cut is arguably its deepest, its low-key finest moment. For us, it is, anyway. The glorious, driving, effortlessly funky guitar-soul jam "Down For The Third Time" is a huge melancholic Be With favourite and has been played by discerning genre-hopping DJs with significant glee for years. Hypnotic, melodic, beautiful. Like the album it elegantly rounds out.

Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his wonderful eponymous album will be available on vinyl across the globe, ensuring that fans of his incomparable talent - and soul music enthusiasts worldwide - can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest possibly quality at Record Industry in Holland.

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