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: gpsr@wordandsound.netMore

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: gpsr@wordandsound.netMore

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: gpsr@wordandsound.netMore

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: gpsr@wordandsound.netMore

Territories:WW-US,CA,UK, BENELUX
LP 10th Anniversary - Red Gold Vinyl edition


Tracklist

1.The Lonely Planet
2.1995
3.H.O.P.E.
4.Mountain Time
5.Bunny Club
6.Intermezzo: Palimpsest Galore
7.Happyness
8.Lovers Are Losers
9.Clearblue
10.My Body
11.Titanic
12.Bus 194 (All There Is)
13.Tomorrow


To celebrate Molly Nilsson’s most enduring fan-favourite album to date, Night School and Dark Skies
Association are releasing a limited 10th anniversary pressing on Red-Gold vinyl, limited to 500 copies.
Since its release in late summer of 2015, Zenith has come to be considered Nilsson’s greatest album to date. Now
on its 6th pressing, in 2025 Zenith represents the mid-point in the songwriter’s career to date and contains firm fan
favourites in Mountain Time, Happyness and her most popular song, 1995. Zenith sits square between Nilsson’s
original flurry of DIY creativity and her later, outward-looking political material.

Original sales notes…
“A sweeping, cinematic, emotional change is in the air. Molly Nilsson’s sixth studio album Zenith begins with clear,
wide eyes open to Earth as we would love it to be but seldom is. Recorded in her home of Berlin and whilst touring
and, as ever, conceived, produced, written and recorded in solitude, Zenith is Nilsson’s big statement and
consequently her most affecting work to date. It sees her reveling in big arrangements, sweeping synth strings,
bigger choruses and emotions. Like the rest of us she looks within and to endless sunsets in wonder and
puzzlement.

That Molly Nilsson is a DIY cult figure is beyond question; she has always written directly and with wit straight down
the line between the universal and the personal. The difference with Zenith, and you can hear it in the opening
chords of opener The Only Planet, is that her scope is now much wider and her heart heavier than ever before:
over a post-ecstatic dusk, Nilsson serenades the globe in a loving embrace. Following on, 1995 is, arguably, one of
Nilsson’s finest songs to date. It’s one of those songs to learn the lyrics to, to listen to on repeat, a reason to wear
the grooves down to the bone, it’s why pop music can be one of the greatest art forms we have. It’s an example of
how, on this album, Molly draws the listener closer to her heart than ever before. There’s simply no escape from the
line “The plans that you made / when you still had the time / I’ve saved all the things that you left behind but by now
I guess I’d consider them all mine /Windows 95, is only a metaphor for what I feel inside / Although I’m older now /
there’s still an emptiness that’s never letting go somehow.” Show-stopper Mountain Time is the soundtrack to being
on the run, from societal conventions, from normative ideas of happiness, from your surroundings. It’s the
intoxicating call of the renegade. That’s not to say that Nilsson’s light touch has been forsaken for grandiose
statements. Bunny Club begins as a demo-sketch before breaking into a fast-paced tale of doomed romance with
big rave synths and Bus 194 (All There Is) sees Molly joyride through a city on a happy hardcore bus. But it’s
tracks like Tomorrow and another contender for best-ever-Molly moment, Happyness that the true scale of what
she’s accomplished reveals itself. We’re locked in a spiraling orbit, strings and bass whirling, gazing at the spinning
planet below us as we contemplate both the ultimate freedom in loneliness and the glimmer of hope in the Other.

Can we ever be truly with someone? Are we ever truly alone?
Over the 13 tracks here we get the impression that Nilsson may always be restless; like anyone else she has
conflicting feelings of love and hate. It’s just not many other people can tell you exactly how you feel before you
know it yourself.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Territories:WW-US,CA,UK, BENELUX

FORMAT: 7” LTD Black Vinyl (700) + Booklet

Tracklist:

SIDE A: Spanish Song
SIDE AA: Trees & Flowers / Go Away


2025 Repress.
Originally released in limited formats in 2017 and having since been repressed several times, 2025 sees
a new pressing to acknowledge the enduring legacy of this recording. In 2024, the song Trees & Flowers
became an unexpected hit on Tik Tok and introduced a new generation to these timeless songs.

“1982 4-Piece Demo” is the first official, fully-licensed and unreleased material to be released under the name
Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences
in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band’s
mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn’t a
complete picture.

Bryson and McDowall’s growing friendship, having met some years earlier on the punk scene, became a creative
partnership: Bryson’s art school background and McDowall’s history in avant-punk group The Poets meant
Strawberry Switchblade was a band pitted against many established norms. The band’s very first incarnation,
an all-female 4 piece, recorded one demo at Glasgow’s Hellfire Club and played a handful of gigs. Friends
Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry
Switchblade would eventually pair down to a duo and go on to chart success but it’s in these raw, passionate
recordings that the songwriting and vocal elements were being hammered out and explored in real time.
“Spanish Song” is a previously unreleased song. With Rose McDowall’s instantly recognizable lead vocal
dovetailing with Bryson’s harmonies and lead guitar, it’s the first glimpse at an alternative history of Strawberry
Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indiepop revolution that would take over British bedrooms a couple of years later. Trees & Flowers is instantly
recognizable, a bona fide classic that would earn the band its first record deal. Here it’s given a more forceful rhythm
section: Goodlett and McGowan’s playing is in fact accomplished and doesn’t hint at the bands’ youth. Go Away
would also surface later on the band’s debut LP but here it is a moody-garage stomper with a psychedelic, haunting
refrain.

These 3 songs point to a tantalizing future of the band that was never realized.
Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single
photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and
new text from contemporary Stephen Pastel.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

Territories:WW-US,CA,UK, BENELUX

FORMAT: 7” LTD Coke Bottle Clear Vinyl (300) + Booklet

Tracklist:

SIDE A: Spanish Song
SIDE AA: Trees & Flowers / Go Away


2025 Repress.
Originally released in limited formats in 2017 and having since been repressed several times, 2025 sees
a new pressing to acknowledge the enduring legacy of this recording. In 2024, the song Trees & Flowers
became an unexpected hit on Tik Tok and introduced a new generation to these timeless songs.

“1982 4-Piece Demo” is the first official, fully-licensed and unreleased material to be released under the name
Strawberry Switchblade in 30 years. Since disbanding amid major record label acrimony and personal differences
in 1986, the already-cult band have since grown in stature and legend. Trailblazers in many ways, the band’s
mythology justifiably centers around the charismatic duo of Jill Bryson and Rose McDowall, but that isn’t a
complete picture.

Bryson and McDowall’s growing friendship, having met some years earlier on the punk scene, became a creative
partnership: Bryson’s art school background and McDowall’s history in avant-punk group The Poets meant
Strawberry Switchblade was a band pitted against many established norms. The band’s very first incarnation,
an all-female 4 piece, recorded one demo at Glasgow’s Hellfire Club and played a handful of gigs. Friends
Janice Goodlett and Carole McGowan completed the line up on bass and drums respectively. Strawberry
Switchblade would eventually pair down to a duo and go on to chart success but it’s in these raw, passionate
recordings that the songwriting and vocal elements were being hammered out and explored in real time.
“Spanish Song” is a previously unreleased song. With Rose McDowall’s instantly recognizable lead vocal
dovetailing with Bryson’s harmonies and lead guitar, it’s the first glimpse at an alternative history of Strawberry
Switchblade. This incarnation could easily have been featured on a Nuggets compilation or a precursor to the indiepop revolution that would take over British bedrooms a couple of years later. Trees & Flowers is instantly
recognizable, a bona fide classic that would earn the band its first record deal. Here it’s given a more forceful rhythm
section: Goodlett and McGowan’s playing is in fact accomplished and doesn’t hint at the bands’ youth. Go Away
would also surface later on the band’s debut LP but here it is a moody-garage stomper with a psychedelic, haunting
refrain.

These 3 songs point to a tantalizing future of the band that was never realized.
Remastered and restored by Sean Pennycook from the original cassette, with artwork based on a single
photographic contact sheet (the only visual evidence of the band in this form) and with a booklet of photographs and
new text from contemporary Stephen Pastel.

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

LP -Transparent Yellow Vinyl, 2025 Repress, LP + Insert

Tracklist

A1. Doily
A2. Horizon
A3. Crystals of Rabbit
A4. Toratolion
B1. Dead Plant
B2. Gaikotsu
B3. New Season
B4. Amuinbow

Shortinfo:
A Colourful Storm presents the first vinyl edition of Yahho no Potori, a treasured recording by one of the most cherished contemporary Japanese folk outfits, Eddie Marcon.

Comprised of the core duo of Eddie Corman and Jules Marcon, Eddie Marcon was formed in Himeji in 2001, following Corman's involvement in noise-rock duo Coa and Shinsuke Michishita's fabled psychedelic outfit, LSD March. Marking a stylistic shift into delicate, acoustic territories, the duo would release dozens of albums and singles, mostly self-released through their Pong-Kong imprint, that have seen little distribution outside of Japan.

Recorded over a particularly humid summer and autumn, Yahho no Potori sees Eddie Marcon drifting from the delicate psychedelia of their debut EP into traditional song-based structures. A touching document of joy, tenderness and wistfulness, Marcon's deft yet effortless strum sets a stylish backdrop for Corman's voice to ascend. Desirous yet self-assured, Corman breathes life into an intimate space adorned by the elegant instrumentation of Yashuhisa Mizatani, Yoriro Tatekawa, Ran Mizutani and Saya Ueno, whose ingenuous collaborative instinct has been gifted to listeners through collectives such as Tenniscoats, Maher Shalal Hash Baz and Spirit Fest. Here, she also lends her engineering prowess, having produced the album.

Devotees of ambitious yet beautifully understated songwriting, as well as followers of Reiko and Tori Kudo, Nagisa Ni Te and Ai Aso, will find much to adore in the songs of Eddie Marcon. An intense and devastating recording, A Colourful Storm is proud to give new life to a shimmering, underappreciated gem.






Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

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: gpsr@wordandsound.netMore

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: gpsr@wordandsound.netMore

Territories: WORLD EXCLUDING UK

TRACKLIST
1. / A1 The Warning (Remastered) 04:22
2. / A2 Ghost (Remastered) 05:57
3. / B1 Ex- (Remastered) 04:55
4. / B2 Dark Bässe (Remastered) 04:58
5. / B3 Luv Is Blind (Remastered) 02:06

Throughout 2025, Tresor Records will reactivate Detroit house and techno originator Blake Baxter's vast Tresor catalogue digitally in chronological order, starting with 1992’s Dream Sequence, closely followed by his 1995 album, Endless Reflection. To inaugurate and celebrate this retrospective of one the genre’s true founders, an artist whose connections to Tresor go back to the very beginning, the label announces a special 12” release, Dream Sequence X, featuring remastered tracks from the early days and highlighting the harder side of his output.
Initially inspired by post-punk and funk, Baxter started making music as early as 1985. By 1991 he had already released several seminal records on classic labels like Underground Resistance, KMS, and Incognito, as well as providing multiple tracks to the groundbreaking UK compilation Techno! The New Dance Sound of Detroit, which was many European listeners’ introduction to the genre, solidifying the term techno, and launching the international careers of many of the contributors.
1992 saw Baxter make the first trip to play Tresor, on the first UR Europe tour ever, thereby pioneering the now legendary Berlin-Detroit Connection. This visit led to a long and fruitful partnership with the club’s new-fledged label beginning with Mills', Banks' & Hood’s X-101 and Baxter’s Dream Sequence, from which the first four tracks on the new 12” come.
Whilst he would become more renowned for his signature seductive vocals and a smoother music style closer to house music, these early tracks are heavier, classic 90s techno, revealing the influence of industrial, post-punk and pop of the time. Indeed the collection is something of a time capsule: jacking 909 drums, intense, ravey synth stabs, samples from classic soul breakbeat and the Speak & Spell voice synthesizer; classic sounds and styles of the era all make appearances on the record. All tracks have been remastered by Manmade Mastering breathing a new vitality and sharpness for the modern dancefloor.
In a world where longevity is difficult and superlatives are too easily deployed, it is still difficult to overstate the long-lasting influence that Blake Baxter has had on modern music. His visionary output can be heard across modern electronic and pop to this day and with this series of remasters, there has never been a better time for the world to hear it at source.




Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

lim. Natural Vinyl Version!

Third studio album of Tren, following two sold-out releases (The Rising and Setting of the Heavenly Bodies; The Passages through Space and Time). An hour of hypnotic minimal techno and electronica, unfolding seamlessly to guide the listener on an introspective journey. Coming out 1.5 year after the unreleased set (mixed version), which gathered great feedback from fans:

"TREN touches deeply within the spirit / soul / most emotional part of self. It's a new and refreshing
sound, but still with the same fingerprint. Just Amazing!!!"

"Godly creation! Loved it from the first few seconds"

"Probably his best mix as of yet. So mature and well-rounded tracks."

"holy smokes. long ago I heard something that good"

TRACKLISTS:
1. TREN - Movement I
2. TREN - Lumen
3. TREN - Stor
4. TREN - Aether
5. TREN - Remembrance
6. TREN - Aftertime
7. TREN - Birth of Hermes
8. TREN - Solace
9. TREN - Ephemera
10. TREN - Ombra
11. TREN - Into the Abyss
12. TREN - Temple of Juno



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Third studio album of Tren, following two sold-out releases (The Rising and Setting of the Heavenly Bodies; The Passages through Space and Time). An hour of hypnotic minimal techno and electronica, unfolding seamlessly to guide the listener on an introspective journey. Coming out 1.5 year after the unreleased set (mixed version), which gathered great feedback from fans:

"TREN touches deeply within the spirit / soul / most emotional part of self. It's a new and refreshing
sound, but still with the same fingerprint. Just Amazing!!!"

"Godly creation! Loved it from the first few seconds"

"Probably his best mix as of yet. So mature and well-rounded tracks."

"holy smokes. long ago I heard something that good"

TRACKLISTS:
1. TREN - Movement I
2. TREN - Lumen
3. TREN - Stor
4. TREN - Aether
5. TREN - Remembrance
6. TREN - Aftertime
7. TREN - Birth of Hermes
8. TREN - Solace
9. TREN - Ephemera
10. TREN - Ombra
11. TREN - Into the Abyss
12. TREN - Temple of Juno



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WAS - Word and Sound Medien GmbH
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Übermensch (RAINBOW ECO MIX VINYL):
1xLP, Standard Jacket, Rainbow Eco Mix Vinyl, 24x36 Poster, 1 Photocard, 1 Note From GD, Marketing Sticker, Hand-numbered

About:
The King of K-Pop Returns!

To those unfamiliar, G-Dragon is regarded by many as the Godfather of K-Pop. Rising to fame in the mid-00's with his group, Big Bang, that later went on to become one of the world's biggest selling boy groups. He quickly stood out with his unique and intricate songwriting as the leader of the group. A talented songwriter and trendsetter within the youth culture and fashion space, G-Dragon has received a bevy of awards, nominations for his music and fashion sense from the World Music Awards, to Hypebeast's 100 list, to Forbes' 30 Under 30 list, it's apparent that G-Dragon has cemented his place in cultural relevance.

After serving his mandatory South Korean military service and a brief hiatus from music, the global superstar, G-Dragon has returned! He announced that he signed with indie-powerhouse, EMPIRE, and released his first comeback single on October 31, 2024 with POWER to immediate global fanfare and buzz, with the music video garnering over 44 MILLION views in a month and over 115 MILLION global streams. He soon followed that up with an electrifying performance at the 2024 MAMA Awards show in Osaka coupled with the release of his new single, Home Sweet Home which has garnered 100 MILLION global streams since release.

2025 will see the release of his first full length album since 2017 entitled Übermensch along with global tour dates. The album is expected to make a huge impact globally and further cement his place in music history!

Key Selling:
? 3 different Vinyl variants offered (1 D2C, 2 Wide Retail)
? First solo full length album since 2017
? 2+ BILLION career streams
? POWER single: 115M global streams + 15k downloads
? Home Sweet Home single: 100M global streams + 17k downloads
? Worked with the likes of Diplo, Missy Elliot, Boys Noize, Sky Ferreira, Tayeang, Skrillex
? Graced covers and pages of Elle Korea, Harper's Bazaar Korea, Vogue Korea, Hypebeast
? Owns his own streetwear brand, PEACEMINUSONE
? Has collaborated with the likes of Chanel, Nike and BMW

Key Marketing:
? Extensive global digital ad campaign on Meta, Google, TikTok, In-flight, Fortnite and more
? META sponsored Creator Campaign
? Global influencer marketing campaign
? Extensive OOH campaign
? Global tour dates in 2025
? Music videos and dance videos to be released
? Press run in the USA in 2025 to support album release
? Press already covered: Rolling Stone, Billboard, Hypebeast, Nylon, NPR, Entertainment Online and more
? Multiple Merch capsules to be released
? Headlining Head In The Clouds Festival 2025 in LA

Tracklist:
1. HOME SWEET HOME (feat. TAEYANG & DAESUNG)
2. POWER
3. TOO BAD (feat. Anderson .Paak)
4. DRAMA
5. IBELONGIIU
6. TAKE ME
7. ???? (BONAMANA)
8. GYRO-DROP

Socials:
IG: 24.5M followers
FB: 8.5M followers
TW: 8.2M followers
YT: 4M subs / 895M views


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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore

2LP, Black Vinyl, Gatefold Jacket, Marketing Sticker

About:
Shaboozey is building his own world, carving a lane in the alternative country and hip-hop space. Born to parents of Nigerian descent and raised in the small town of Woodbridge, VA, the multi-faceted artist grew up on an eclectic mix of music encompassing classic hip-hop and R&B, to country and blues icons like Johnny Cash, Kenny Rogers, Garth Brooks, and Lead Belly, to master lyricists, such as Bob Dylan and Leonard Cohen.

A true crossover artist, he began his epic rise to stardom with two standout features on Beyoncé's COWBOY CARTER. His latest body of work, the critically acclaimed RIAA-Platinum certified masterpiece Where I've Been, Isn't Where I'm Going, debuted in the top five of the Billboard 200 and was praised by Rolling Stone for "honoring country tradition and moving it forward." NPR calls him "the future of country music," and the Los Angeles Times crowned him as "the breakout country artist of the year."

The album's breakthrough anthem, the 8X RIAA-Platinum certified, "A Bar Song (Tipsy)" holds the record for the longest-leading Hot 100 No. 1 while also topping Billboard's Hot Country Songs, Country Airplay Chart, and Mediabase/Country Aircheck charts. The single has accumulated over a billion streams across DSPs and made history, making Shaboozey the first Black male artist to simultaneously top Billboard's Hot Country Songs and Hot 100.

Shaboozey earned five nominations at the 2025 GRAMMY® Awards including Best New Artist and Song of the Year. He won the New Artist of 2024 and New Artist Song of 2024 awards at the People's Choice Country Awards, garnered Best New Artist and Song of the Summer nominations at the 2024 MTV Video Music Awards, and was nominated for New Artist of the Year and Single of the Year at the 2024 Country Music Association Awards. He was also named a TIME100 NEXT honoree and Billboard Country Power Player. Shaboozey was crowned Newcomer Of The Year at Variety's Hitmakers 2024 and picked up 2024 Billboard Music Awards for Top Song Sales Artist, Top Selling Song, and Top Country Song. Most recently, Shaboozey was nominated for New Male Artist of the Year and Single of the Year at the 2025 Academy of Country Music Awards.

Highlighting not only his musical vision but also his commitment to influencing modern culture, Shaboozey debuted his collaboration for YSL Beauty's MYSLF Le Parfum for a groundbreaking campaign. Honoring his Virginia roots, Shaboozey continues the region's long-standing tradition of prolific creativity by expanding the scope of contemporary hip-hop, introducing modern Americana to a global audience, and bringing a unique sense of artistry to the world. His debut headline Where I've Been, Isn't Where I'm Going tour sold out in every market across North America, Europe, and the UK, and he played arenas nationwide as part of Jelly Roll's Beautifully Broken tour.

Key Marketing/Selling:
- Shaboozey is a true crossover artist with, blending country music with influences of contemporary hip-hop
- Deluxe version of third studio album from Shaboozey, following the previously released Cowboys Live Forever, Outlaws Never Die (2022) & Lady Wrangler (2018)
- A Bar Song (Tipsy) was the top song of 2024 - and named Song of the Summer by Spotify
- A Bar Song (Tipsy) peaked at #1 on the Billboard Hot 100 & tied the record for longest running #1 single on the chart
- A Bar Song (Tipsy) is the first song in history to be Top 10 at 4 formats: Country Airplay, Pop Airplay, Adult Pop Airplay and Rhythmic Airplay
- Performed A Bar Song (Tipsy) with Ed Sheeran at Coachella 2025
- A Bar Song (Tipsy) broke the record for longest running #1 on Hot Country Songs chart
- A Bar Song (Tipsy) has over 1 Billion streams on Spotify alone
- Winner of Best New Artist and New Artist Song, among other nominations at the People's Choice Country Awards 2024
- Performing at Stagecoach 2025
- "A Bar Song (Tipsy)" is the #1 song on TouchTunes digital jukebox, unseating the previous number one, "Tennessee Whiskey" by Chris Stapleton, which held the spot for 7 years in a row
- The album was given a 7.7 by Pitchfork
- The album received write ups/reviews from Taste of Country, Billboard, Pitchfork, Rolling Stone & more
- The album was the number one trending topic on Twitter/X on release day
- Deluxe Edition includes 6 additional songs, including the previously released "Good News" & "Blink Twice (feat. Myles Smith), with addtl features from Jelly Roll & Sierra Ferrell
- A Bar Song - #1 on Billboard Hot 100 (19 weeks) - longest running solo #1 in history
- A Bar Song - #1 Billboard Hot Country Songs (40weeks)
- "A Bar Song (Tipsy)" ranks as the biggest country single of all time on the Billboard Hot 100
- Record breaking 24 weeks at #1 Billboard Hot 100 Canada
- 1B+ STREAMS GLOBALLY
- 6x Grammy nominee
- 2x CMA nominee
- 2x ACM nominee

Tracklist:
A1/1. Horses & Hellcats
A2/2. A Bar Song (Tipsy)
A3/3. Last Of My Kind (feat. Paul Cauthen)
A4/4. Anabelle
A5/5. East Of The Massanutten
A6/6. Highway
B1/7. Let It Burn
B2/8. My Fault (feat. Noah Cyrus)
B3/9. Vegas
B4/10. Drink Don't Need No Mix (feat. BigXthaPlug)
B5/11. Steal Her From Me
B6/12. Finally Over
C1/13. Amen (feat. Jelly Roll)
C2/14. Hail Mary (feat. Sierra Ferrell)
C3/15. Fire And Gasoline
D1/16. Blink Twice (feat. Myles Smith)
D2/17. Good News
D3/18. Chrome

Socials:
Twitter: 47.9k followers
IG: 1.2M followers
FB: 60k followers
YT: 793k subs / 585M views


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WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
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No Return!

Genre: Jazz, Rock, Funk, Psychedelic, Beat, Cinematic

This album is probably one of the most outstanding jazz discoveries of this year and highlights the significance of earlyJjazz-Rock recordings from East Germany in the late 60s to the early 1970s.
The highly talented organist Ulrich Gumpert, along with top musicians like drummer Günter "Baby" Sommer, bassist Gert Lübke, and guitarist Günter Dobrowolsky, formed a powerful independent quartet as well the rhythm section within the Klaus Lenz Orchestra and later of the group SOK. Their modern, soulful, and funky Jazz-Rock compositions gained popularity and were even promoted by the
East Berlin youth radio. Guest artists like the famous Günther Fischer contributed to their first recordings. This retrospective LP celebrates a groundbreaking yet underappreciated era in East German Jazz and Rock history.

TRACKLISTS:

A1 Der Läufer Auf Dem Dach
A2 Karo Einfach
A3 Drittens
A4 Rot Und Grün
A5 So Einfach Ist Das

B1 Hallo Ulli
B2 High Heel Sneakers
B3 Gedanken


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Germany
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Genre: EBM, Italo, Electro, Acid

Second Horizon is the follow up album of his very successful debut album "Heartware", that has been voted as album of the year by more than 23.000 readers of FAZE Magazine. The twelve tracks are inspired by 80s music styles EBM, Italo, Acid, Electro and Dark Wave and produced with a lot of original equipment from that era transferred into 2025. The album is also inspired by his relocation to Berlin, and the music reflects this shift, balancing gritty, industrial influences with shimmering, retro-futuristic tones.

Tracklist:

A1: City Sights
A2: Memory Sync
A3: Digital Freedom
B1: Surveillance State
B2: Technology
B3: Heiss oder Kalt
C1: Chasing Shadows
C2: Free to move
C3: Black Gold
D1: Human Code
D2: I am a creator
D3: Tonight

Sicherheits- und Herstellerinformationen / safety and manufacturer info (GPSR)
WAS - Word and Sound Medien GmbH
Liebigstrasse 2-20
DE - 22113 Hamburg
Germany
Contact: gpsr@wordandsound.netMore