Gatefold double LP version. Contains two bonus tracks not found on the CD version. Finis Africæ (or Finis Africae): words redolent of mystery and myth, of Europe looking out to new lands, new worlds, new times. And so it is with A Last Discovery, the work of Spaniard Juan Alberto Arteche Guel, and his musical co-adventurers, recorded between 1984 and 2001. After 15 years of musical success in Spain with his band Nuestro Pequeño Mundo, Arteche was ready to experiment with new ideas, and with the purchase of a four-track reel-to-reel recorder he did so, exploring imaginary global music-worlds with a core of like-minded explorers. The group, dubbed Finis Africæ by JAA after reading Umberto Eco's The Name of the Rose, where the term refers to forbidden books and hidden knowledge, released seven recordings over an 18-year period, the best of which are compiled here. Finis Africæ was part of the "new wave" of Spanish music which gradually emerged after the end of the Francoist regime. Using modern electric instruments and traditional acoustic instruments from many cultures blended together via studio alchemy, a magic which grew even stronger with the acquisition of a 16-track recorder after their second release, Finis Africæ created an outward-looking musical multiverse, an unclassifiable amalgam encompassing elements of folk traditions from all over the world, skillfully and lovingly shaped into an inclusive pan-global whole. Deeply influenced by African music, the group's reverberant, organic minimal funk will appeal to DJs as well as all who yearn for the loving warmth that comes with the embrace of global possibilities. With liner notes in Spanish, English and Japanese by JAA, A Last Discovery, is the first release by Finis Africae outside of their native Spain. Come take a retrospective journey of discovery where new worlds await.

Recorded on April 18, 2010 at Clemente Velez Center, New York City. German free jazz saxophonist and clarinetist Peter Brötzmann: alto and tenor sax, B-flat clarinet, tarogato. American jazz drummer/percussionist, Hamid Drake: drums and percussion.

A collection of darkly shining northern diamonds, Sous Juju is a 2CD compilation of the musical work of Kuupuu from her first releases in 2003 up to previously-unreleased material from 2012. Kuupuu, known by her parents as Jonna Karanka, is a self-taught musician and visual artist from Finland who inhabits a semi-magical world where the mundane and the mysterious meet and make wonderful music together. Using tapes and loops, instruments both traditional and modern, Kuupuu's blend of low-tech electro-acoustics and high-north songcraft is charming, surprising and unique. Sous Juju gathers her self-released material, plus pieces culled from vinyl, cassette, and CDR on American and European labels, as well as an unreleased piece and a 2012 vinyl remix from EM Records. This is a fine opportunity to hear the early work of an artist who promises to continue to enchant us well into the future. Housed in a cardboard gatefold paper cover, including archival pictures of her previously-issued items and liner notes written by the artist in English.

Miles' returns with a half-hour EP of new material more squarely aimed at the floor with four darkened, robust variants. "Blatant Statement" slowly emerges from a rough alignment of metallic percussion and abrasive stabs you'd most likely associate with Vatican Shadow, before super-warm bass stabs shifts the perspective. "Technocracy" delivers an oozing house deconstruction, while "Infinite Jest" revolves around an industrial cacophony somewhere between technofied Pete Swanson and a sweaty Kassem Mosse. "Plutocracy" is a bleached-out warehouse chug surrounded by a submerged choral arrangement.

Rinse: 22 marks the beginning of a new era for Rinse FM's iconic mix CD series. Where previous installments have featured only DJs who regularly play on the station at the time of release, the mix series now casts its net wider. Future installments will also feature DJs who are respected pioneers of the sounds that Rinse FM plays and represents, and Kode9 -- founder of the iconic Hyperdub label, and with his long personal involvement with Rinse FM -- is an ideal figure with which to make that transition. The mix is a vibrant snapshot of the DJing approach he's been developing recently, drawing from an ever-broader range of styles. It opens with bounding, sub-heavy house and funky, before tracing an almost subliminal increase in tempo through trap-inspired hip-hop instrumentals and footwork. The mix is a thrilling and visceral exploration of rhythm and texture, where eddies of percussion and rogue rips of sub-bass swirl around and into one another, keeping the mix in continual, anxious motion. Grimey strings and gloopy synth melodies from DVA and Champion curl around Jam City's juddering rhythms and the soured bass-blasts of Joy O's anthemic "BRTHTT." Later, RP Boo's sinister "Steamidity" sharply cuts across into angular footwork territory for a final frenetic half-hour of rhythmic free-for-all, where DJ Rashad is a key presence, his tracks dicing soul samples into expressive new configurations. Three brand-new Kode9 tracks appear on Rinse: 22 -- of which "Uh" is set to be released as an accompanying single, backed with a brand-new exclusive track. Artists include: Burial, Theo Parrish, Morgan Zarate (feat. Roses Gabor), Titonton, Alex Parkinson & Chris Lorenzo, Funkystepz, Terror Danjah & Champion, Kuedo, Visionist, Dexplicit, Faze Miyake, The Bug (feat. Flow Dan), Cashmere Cat, Rustie, S-Type, DJ Manny, Uncon Sci, Bleep Bloop, DJ Earl, Sam Binga & Addison Groove, DJ Spinn, Freshmoon, DJ Manny, and Phil.

After the unanimous global acclaim of Glass Eights (DIAL 022CD/LP), John Roberts returns with Fences, his second full-length offering on Dial Records. From elegantly-dusted chamber pop and semi-psychedelic acoustic musings to turgid orchestral dancefloor fillers, Roberts creates a beautifully collaged symphony of recorded violins, cellos, cracked guitars, detuned pianos, faded samples, broken drum machines and manipulated answering machine cassettes. Fences is informed by the effects of travel on the brain: produced over the span of a year in various countries, it is in large part a recollection of what the mind chooses to imprint upon itself, and what physical sensations are dragged to the surface during a re-examination of those particular experiences. It is a deeply personal recorded exercise in free association resulting in a sort of sedated fever-dream: plucked and bowed strings reverberate densely through thick air against weighted Persian rugs, while the voices of white-lacquered synthesizers cry out along the marble tiles of empty palace corridors; yellowed nylon guitar strings are rhythmically pounded against microphones between the mirrored walls of a hotel bathroom, their distorted signals captured and warmed on VHS cassettes before being ejected and thrown into the brackish water of a worn bathtub. Gathered and dried off, these aural relics are patched together into a delicate piecemeal -- patent leather next to cashmere next to plastic next to lace -- with visible seams but impeccable stitch-work. With Fences, genres are either disregarded completely or shredded and re-sculpted into unfamiliar amalgamations. Pop songs are gutted and disemboweled before eventually being given a new skin of collaged features stretched tightly across their frames; the tired bones of dance music are stamped and shattered into shards, melted and re-pressed into pleasurable moments of introspection spotted with outbursts of anthemic extroversion. Roberts chooses to focus here on the unpredictable nature of the mind, weaving recalled experience with minor works of fiction. This is music from the forgotten film scores of discarded laser discs; the sound of memories re-quilted into slabs and thin-sliced into patterns which, when played back, conjure visions of the past and materialize impossible moments of déjà vu for instances of the future not yet experienced.

COH is the moniker used by Ivan Pavlov from Russia for more than a decade. COH is also the Russian word for "sleep." Yet, do not be deceived -- RETRO-2038 is much more of a deep space than a deep sleep. The second COH release on Editions Mego is a true delight to behold, inviting as it does its exploration of electronic sound in minimalism, futuristic pop and the uncharted territories in-between. Ranging from digital updates of Giorgio Moroder's pulse experiments to menacing, lingering LF tones, with occasionally scattered outbursts of jovial noise and glimpses of tonal interstellar disco, RETRO-2038 precisely engraves each of its components with a melodic line and a rhythmical pattern, often beatless. The album as a whole is a work of profound playfulness, at once whimsical and deeply seductive. It opens a crisp crystalline cosmos of its own, rich with unknown objects dancing through ominous orbital auras and smooth gravitational fields. Like a cyber-organic spacecraft moving through dark matter, RETRO-2038 looks back with a warmth as it heads towards its future with abiding optimism. After all, the future can't wait. Artwork by Tina Frank.

Deluxe double LP version with die-cut sleeve and printed innersleeves. Ukrainian pianist Lubomyr Melnyk -- the pioneer of Continuous Piano Music -- presents his first release on UK label Erased Tapes. Entitled Corollaries, the album was recorded and produced by Peter Broderick with the additional help of Nils Frahm and Martyn Heyne. Erased Tapes founder Robert Raths knew it was time to share the great musical legacy of Melnyk, to which he simply responded: "Where were you guys when I was thirty?" Melnyk is a true innovator, exploring new directions in contemporary music. Classically-trained and greatly affected by the minimalist movement in the early 1970s, the Ukrainian pianist developed his own unique language for the piano, named after the principle of maintaining a continuous, unbroken stream of sound. Melnyk has shown a remarkable devotion to the instrument, always striving to discover new ways of composing music in the continuous mode. His focus is on the actual sound of the piano as much as the harmonies and melodies of the music. Playing rapid and complex note patterns made Lubomyr one of the world's fastest concert pianists. His virtuoso piano technique forms overtones that blend, collide or even create new melodies in rare moments, and thereby shape the composition beyond its original form. In the artist's own words: "My first encounter with Peter was at the Ambient Festival in Cologne, when I came into the cathedral where he was playing along with Nils. I was amazed and enthralled by the beauty and power of their music. The colors and majesty of the cathedral coupled with their music made it a great experience I will never forget. Some time later, Peter contacted me with an invitation to come visit him in Berlin and try creating some music together. I had not played improvisation with other ambient musicians before, having worked solo for all these past years. So it was such a relief to start playing at his studio and hear his wonderful input. He was adding a beautiful and delicate dust cover of sounds and pearly effects that cast a lovely sparkle over the piano music -- I loved it. It was a thrill to hear Continuous Music in some new clothes! And with the addition of Nils and Martyn, we all felt the beautiful spell of the communal flow as the music carried us into wonderful spaces." The album artwork and design was created by American contemporary artist Gregory Euclide, known for his cover art for Bon Iver's self-titled album.

In 1976, Barış Manço released his third album, which was actually also a compilation of songs previously released on 45s, as happened with his debut. For this LP release, and basically because of contractual reasons, Guerssen are presenting this compilation to you with a few changes: two of the original songs are not there, and instead they have added four new ones. So, what we get here is a scorchin' collection of funky psychedelics done the Turkish way that will knock you out. Big Barış beats them all, the King of Anadolu Pop. Remastered sound. Includes an insert with liner notes and photos. Pressed on 180 gram vinyl.

Hot Casa presents a tremendous Afro-soul album recorded in Togo in 1977 by Itadi Bonney. This rare album was created by a four-piece band formed and led by Itadi. Recorded live in Ghana at the radio station and remixed in Togo, this album is a really stunning fusion of funky arrangements, jazz inspirations and typical Togolese rhythms, sung in English, Mina, and Akposo. The message was political, calling for African unity against dictatorship, which obliged Itadi to move to Washington DC during the '70s. Itadi Bonney, a native of Togo, West Africa, is an international musician who is a composer, arranger, vocalist, and guitarist. Itadi's music is a blend of Ghana's highlife and soul, creating a sparkling, undulating and eminently danceable wave of melodies and rhythms, punctuated by funky keys and layered with smooth vocals and harmonies. Itadi has toured France, Ghana, Benin, The Ivory Coast, Nigeria, and the U.S. Officially licensed and includes an interview with the artist.

From the borderlands between faux pop and cheerful science comes Cologne's multi-instrumentalist Gregor Schwellenbach, who separated 20 label classics from their dance roots and re-recorded them as chamber music. The sophisticated arrangements, which the studied composer Gregor Schwellenbach writes for everything, have been primarily adorning the landscapes of theater, film, radio and television so far. Now, the master of over a thousand instruments has submitted his pop-experimental expertise for Kompakt's back-catalog, radically shifting up some of the numerous evergreens hiding in there. Not only aficionados of musical synthesis are likely to rub their ears in wonder, when internationally-celebrated techno bangers like Voigt & Voigt's "Vision 03" or Mayer/Voigt's "Less Than Zero" suddenly beguile the frequency spectrum as beatless, melancholic piano miniatures. The multi-talented musician also gets help from other, equally adept artists, who put their personality and virtuosity in the service of the unusual task at hand: with flutist Dorothee Oberlinger, a veritable star of the classical music scene enters the stage, but also guitarist Christian Buck or harpist Jane Berthe are well recognized in their respective fields, normally performing the likes of Steve Reich and Claude Debussy to a delighted audience. The instruments used in the recordings happen to be stars, too: for example, there's a rare GDR-built keyboard called "Weltmeister Basset" that contributes to a re-arranged "Everlasting" from Kaito, an old studio harmonium whose hypnotic whisper can be heard on Closer Musik's revamped "On Two Three (No Gravity)," or the epic "Kyai Sangu" used for Voigt & Voigt's "Gong Audio," a Gamelan orchestra found at Cologne's Rautenstrauch-Joest museum. Usually, Kompakt's weapon of choice is the straight bass drum, with its minimalist beauty fueling their dialectics. But they never wanted to become strict guardians of an imagined holy grail, a fact clearly recognized by Gregor, who gives a new voice to each of the selected tracks, in order to be able to tell new stories. With surprisingly rephrased acoustic versions of seminal tracks like Jürgen Paape's "Triumph" (for prepared piano), Justus Köhncke's "Was Ist Musik" (for string quartet), or Closer Musik's "Maria" (for piano), the artist makes some pretty bold assertions while managing to retain the core of the experience -- the melody, the hook, the feeling -- while making it shine in new splendor. Deluxe hardbound packaging with a booklet of sheet music.

"Nicholas Winding Refn's neo-noir love story Drive first hit theater in September 2011 and was instantly revered as one of the best films of the year by both audiences and critics alike. A signature component of the film's success is credited to an eclectic soundtrack comprised of various retro '80s pop songs and an eloquently blended synthesizer score composed by Cliff Martinez. When Refn had first approached Martinez to compose the score, the Danish director gave the former Red Hot Chili Peppers drummer a collection of moody songs which would eventually find a permanent home within the movie. Martinez set out to create a score that blended these songs into a homogenous aural tapestry. One of the signature sounds he employed is a rare and unique instrument called the Cristal Baschet. It's a large contraption featuring a metal frame with 54 chromatically tuned glass rods protruding from its base. Each individual glass rod is delicately rubbed with moistened figures that cause the rods to vibrate. The result is a hauntingly beautiful sound that beguiles the listener's ear. The Cristal Baschet can be heard throughout the score including the track 'Rubber Head,' 'I Drive,' and 'Wrong Floor.'" Also includes Kavinsky's "Nightcall" (REC 065EP). 180 gram vinyl, comes in a gatefold sleeve. Limited stock, one per customer.

Further distanced in time from John Coltrane's spiritual new-jazz and the influential second Miles Davis quintet, Doug Carn showed a close affinity with R&B when recording his fourth and final Black Jazz album Adam's Apple. Sharing his interest in R&B was a platoon of committed, resourceful jazz musicians including young star-in-the-making Ronnie Laws, who had worked with Earth, Wind & Fire before that band's big commercial breakthrough. Of the others, ace guitarists Nathan Page and Calvin Keys had acquired intimacy with the soulful properties of African-American music of the time, performing with the premier jazz organist Jimmy Smith. Musicians include: Gerals Brown (acoustic bass), Darrel Clayborn (Fender bass), Big Black (congas, percussion), Harold Mason (drums), Calvin Keys, Nathan Page (guitar), Doug Carn (keyboards, vocals), Dick Schory, Gene Russell (producer), Ronnie Laws (saxophone), Thurman Green (tambourine), John Conner, and Joyce Greene (vocals).

On 180 gram vinyl with a full-color printed innersleeve. "Groundbreaking" doesn't even begin to describe PiL's album from 1978. Surrounded by polemic on its release, this is arguably where post-punk started. Released in December 1978 after the Sex Pistols' break-up, First Issue is considered by many to be the first post-punk album. After the punk hangover, John Lydon set out to create a new sound that would stand apart from what other contemporary bands were doing, fully aware that it wouldn't be understood by many of his old followers. For this he counted on the help of ex-Clash guitarist Keith Levene, first-time bassist Jah Wobble, and Canadian drummer Jim Walker. It was a bold and risky artistic move towards the future, which drew from Krautrock, prog rock, dub and disco rhythm overtones, all involved in a sinister atmosphere. Despite this radical change, the disconcerted punk fans could still hear echoes of the Sex Pistols in tracks such as "Public Image," "Attack," and "Low Life." The recording took place in different studios and was fraught with problems as the band soon ran out of money. The LP was deemed too uncommercial for the U.S. market despite some parts being re-recorded and its release there was cancelled, and it sparked controversy in some countries due to the lyrics of "Religion." It sounded like nothing else at the time and confounded public and press alike, but today First Issue stands as a truly innovative album that challenged the music of its time.

Electronic pop fruitcakes múm return with a single, before coming up with a whole new album later in 2013. "Toothwheels" starts off with echoes of their millennium-era rhythms, which morph into shadows. Flourishing strings and teeming arpeggios elevate the track, which spins along in a cyclical motion before being washed away. The lulling vocals disguise the song's fatalistic lyrics, evoking an eerie sense of immateriality. "Cranes Like Ships" is built around booming electronic beats and confused synthesizers, but it's a much happier affair.

The Head Technician cruises up with his first 12" maxi single, presented on Boomkat Editions. Since Type's reissue of his Black Mill Tapes last year, PCA has had praise coming from all angles: whether it's for his slick-but-sleazy, Carl Craigian lustre, the BoC-like melodic hooks, or his beautifully full bodied analogue production; he's really hit a collective soft spot dead on. We were keen to hear him attempt something slightly more club-wise, and, et voila, we now have Superstitious Century. Opener "Vorticism" is a real peach, steeped in nostalgia for early '90s UK house with the rosy-cheeked, wide-eyed essence of Smokebelch and classic AFX (it almost sounds like something off the first Analogue Bubblebath EP) distilled to a spine-tingling brew, and neatly contrasting with the subtle, slo-mo balearic build of "Zero Centre" to complete the A-side. Turn her over for the extended and seductively oily, oriental chug of "Wasted Evolution", which has become a bit of an anthem at our monthly Haxan gatherings, and there's the blissed out arpeggios of "End of all Eras" to bring us safely in to port, like some lost outtake off Boards of Canada's Music Has the Right to Children.

After their concert in Rio at Circo Voador, Tony Allen, his musicians, and the Abayomy crew ended up in a studio in Santa Teresa for a stellar session recording live the famous Jorge Ben's song "Meus Filhos" to celebrate the meeting between Africa and Brazil. The Abayomy Afrobeat Orquestra is formed by 13 musicians who use their Brazilian references and geniality with bright musical sounds, Afrobeat strength and hypnotic, infinite groove. Includes a remix by Robin Leduc.

A collaboration between Items & Things label boss Marc Houle and techno/electro legend Miss Kittin. This six-track EP features two original tracks, as well as remixes from Dubfire, John Foxx & The Maths, and with two further edits from Miss Kittin herself. Building on the disco-not-disco, industrial and new wave influences of Houle's Items & Things album Undercover, the two originals on Where Is Kittin? demonstrate the wide-ranging influences and potent pairing of the production duo.

Bleaching Agent makes his Komisch debut with an unforgettable three-tracker. "Compere" sees the shadowy producer stray into a space inhabited by Shed's "Equalized" project, but Bleaching Agent's blasts of icy chords and insistent percussion, coupled with its wiry, skipping rhythm make for a more forceful, austere result. "Jain" has shades of classic Beltram as a ferocious low-end writhes menacingly over waves of jittery hi-hats and percussive ticks. "Twwpk" sees Bleaching Agent pare back his sound; spooky stabs and cheesewire percussion build and drop.

Olympic were given their name in 1963 while they were regularly performing at one of the "hippest" venues in Prague of that time, the music club Olympik. They were no newcomers, though. Since the late 1950s they had been playing in legendary rock'n'roll groups like Sputnici, Samuels, and later Karkulka. In June 1963, the Big Beat Quintet -- an offspring of Sputnici featuring three future Olympic members -- had even recorded one of the first genuine rock'n'roll singles for the Supraphon label. But the actual launch of their unprecedented professional career was November 11, 1963 when Olympic debuted as the house band for the first rock'n'roll musical "Ondrá? podotýká" at the renowned Semafor Theatre. This early line-up comprised about seven musicians, including a saxophonist. In the spring of 1964 Olympic entered the Supraphon recording studios for the first time, and they instantly made Czech music history again. The resulting "big beat" series of 7" singles was released in collaboration with the popular Mladý svet (trans. Young World) magazine, with Olympic backing top Czech vocalists on four records out of five, including Eva Pilarová and Karel Gott. Olympic initially continued to work for Supraphon as a backing band on several singles whenever the fashionable rock backbeat was required. Yet for themselves they had chosen another pioneering path: instead of slavishly performing cover versions of Western hits like the majority of other Czech beat groups, they began to write and sing their own songs with Czech lyrics. In 1967, the group was offered to record the first-ever Czechoslovak profile beat album. The recording sessions took place between January and October 1967, and the LP was released in early 1968. The second Supraphon album, Pták Rosomák (trans. The Bird Wolverine), was recorded in December 1968 and January 1969. Apart from loads of hip psychedelia, it also included earlier hits like "Krásná neznámá" and the title-track, and again it was an enormous success on the domestic market. Later that spring, the bassist and main lyricist quit the group. He was replaced by Jan "Papírek" Hauser. The band revisited France to work on a new record but it was eventually cancelled (it remained unreleased until 2011). After considering emigration at first, Olympic returned to Prague in August 1969, in spite of the cheerless political situation. Since they weren't a band with many "offending" messages or with an overly rebellious attitude, the communist censors let them carry on. "Kufr" was a hit in late 1969, and even bigger hits followed in 1970 in the form of more pop-oriented songs. Jedeme, jedeme (trans. "Riding On, Riding On") was their third album for Supraphon, recorded in September 1970. It contained fresh versions of several songs originally written for the previously-cancelled French LP, and it shows a slight shift towards progressive rock. Compiled and annotated by Luká Machata.

LP version with a 12-page full-color booklet with extensive notes and unseen photos. "With only six singles released between 1965 and 1966, and from an apparently remote place such as Lima, Peru, Los Saicos created a raw, wild and visceral sound, the Southern Hemisphere equivalent of the garage rock that was coming out of the U.S. Northwest at the same time. Theirs is the same DNA shared by The Sonics, The Cramps and Black Lips. This release compiles all their recordings and tells their amazing story. This snarling maelstrom of nihilism was cut in Lima when the rest of the world was wetting itself over The Beatles, direct links to both The Stooges and The Cramps here and several more equally-enthralling combos. The latter spawned several generations of individuals who would dig deep to previously (mostly) unheard seams of music and other forms of culture that have since become part of the mainstream fabric. Another strong case of the same kind of happenstance to my mind is that which preceded the much-vaunted 'punk' explosion of the '70s. The unhinged nature of the song titles is one thing, but after you become acclimatized to the inherent strangeness, other aspects become apparent. The rhythms and the way the guitars chime and twang to offset the howling are no mere approximations or interpretation. Chemistry is by far a more important factor in the gestation of sound than proficiency or ability. There's a point where nature takes over and in kicks the call of the wild. The individuals have no other option than to just go with it. I don't know about you, but I have an intense dislike of artists that are nothing more than a modular, cookery book approximation of what somebody reckons might be a hipster record collection. This is decidedly not a case of that. Primitive to the point of primordial, Los Saicos are an important benchmark. Not were. Who ever thought there could be a combo out there in Peru that would make The Sonics sound like Simon and bloody Garfunkel? There is quite possibly some other music out there, someplace, that could well make us re-address this consideration, but until then, cherish this short course of Saicotherapy." --Lindsay Hutton

"'Gawlo' is a rolling, resplendent tribute to griot life. 'Gawlo' is Fula for 'griot.' Spear-headed by none other than Baaba Maal. Superbly expressive interjections by a trio of talking drums are especially lucid on the instrumental version. On the flip, 'Lignou Mome' is an exhilarating straight-no-chaser of galloping drums, bad-minded bass and layered guitar; before 'Ndeye Gueye' wraps up proceedings with a third instrumental, propelled by terse, hypnotic figures on guitar and marimba synth. With the drum-kit unattended, octogenarian legend Doudou Ndiaye Rose features on lead sabar."

Rolando releases his second 12" for Ostgut Ton, serving up three new tracks that solidify his reputation as someone who still pushes forward. "D & N's" proves that the loop-master is still true to his Detroit heritage, even though he resides in Scotland now. "We Will" embodies a mantra-like magic -- nervous, penetrating and restless, it's a stirring techno gem. "Filthy" is an elaborate devil of a club track that puts a deep final marker onto this well-rounded EP.

"First of all six Rudimentary Peni releases to be reissued, remastered from the original analog tapes. Pope Adrian 37th Psychristiatric is a concept album by the band Rudimentary Peni, originally released in 1995. It has been rumored that the album was written while lead singer/guitarist Nick Blinko was being detained in a psychiatric hospital. The subject matter of the album is purported to be based on the delusions Blinko was experiencing at the time, particularly the idea that he was to assume the Papcy, and become Pope Adrian 37th, the second English pope in history. CD comes in gatefold wallet with 16 page art book."

London trio Vondelpark have received accolades for their debut full-length album Seabed. Now DJ Koze calls upon Robag Wruhme's magic touch to bring the band's hushed tones out of the bedroom and onto the dancefloor. With "Moppa Habax NB," Robag takes certain elements of the original of "California Analog Dream" -- most notably the bittersweet vocals and gentle guitar strumming -- and weaves them around a functional house stomp. Robag shifts Vondelpark's pop tune further into dubbed-out DJ tool territory with "Habay Latoff NB."