MUSIC

Some 30 years after they first met in the DJ booth of Tokyo's Spacelab Yellow nightclub, close friends François Kevorkian and Dimitri From Paris have finally joined forces in the studio. The result is The Nassau Excursion, a dazzlingly good three-track EP inspired by their joint love of disco and boogie-era dance records made at Island Records' Compass Point Studio in the Bahamas. Featuring Dimitri's regular collaborator DJ Rocca, its is an expressive and fiendishly dubbed-out exploration of this distinctive sound - think echo-laden vocal snippets, thickset synth bass. D-Train style echoing keyboard motifs, jazz-funk flecked Wally Badarou riffs, colourful chords, dubbed-out congas and punchy drum machine beats, expertly arranged to include the kind of stylistic mixing traits and dancefloor dub tropes liberally employed by François and Dimitri over the course of their careers.

Sensible Soccers return to 8mm Records with a remix EP that hands three standout tracks to a trio of cult producers. Tolouse Low Trax transforms ‘Efeito Zandinga’ into a hypnotic collision of afrobeat rhythms and stripped-back techno, while Danilo Plessow reworks ‘Saravá’ into a driving acid house cut that balances club energy with the warmth of the original. Peaking Lights close the record with a spacious reinterpretation of ‘Rosa Mota’, drawing out its dub and psychedelic elements into a drifting, cosmic finale. Together, the three remixes offer contrasting perspectives on Sensible Soccers’ sound, connecting psychedelic dub, afro-futurist rhythms and adventurous dance music.

2024 Repress. Essential stuff from Finnish legend, Mika Vaino ( Ø, Pan Sonic ++ + +).
One for the headphone amp / hi fi sound system crew.

Minimal & reduced nordic techno and electronics - Mika Vaino's second album from 1996 - only released on vinyl for the first time in 2019.

Written and produced by Mika Vainio in Turku in 1993
Muutaja is written and produced by Mika Vainio and Ilpo Väisänen

A pivotal 2006 work from the late Mika Vainio—renowned as one half of Pan Sonic and a towering figure in experimental and electronic sound—returns on Sähkö under his solo alias Ø. Born from the underground of Helsinki, Finland’s experimental stronghold, Aste documents a coldly precise yet exploratory approach to electronic sound that left a decisive mark on the minimal techno scene. Metallic austerity and mysterious silence coexist here, as sharpened structural beauty and ruthless reduction of sound deliver an overwhelming tension that still resonates today. A definitive statement from the outermost edge of electronic music.

Following his critically acclaimed collections Electronic Music from the Seventies and Eighties and Electronic Music from the Eighties and Nineties, Carl Stone pairs Baroo (March 2019) with a double-LP album of recent works, including the final section of "Fujiken", his epic journey through southeast Asian field recordings and street cassette culture. On all six tracks, composed between 2013 and 2019, Stone’s pan-global playground of looping synths and Asian pop culture remains as fertile as ever, digitally shattered into unimagined patterns and gestures, either through the MAX programming language or (in the case of "Kikanbou") by generating live loops within an Elektron Octatrack sampler.The title track is the first recorded release from Stone’s ongoing collaboration with the Japanese vocalist Akaihirume. Elsewhere new influences come from rock (the slow drum break of "Bia Bia"), disco (the Nile Rodgers-esque guitar riff "Kikanbou") and hip hop (the frenetic percussion loop of "Han Yan"). Their diversity only adds to Stone’s borderless musical vision, a world where rhythm becomes atmosphere, song becomes beat, and pop becomes art.

"I have always been searching for a way to articulate the intangible area between the recognizable and the unfathomable, a feeling perhaps informed by some long-abandoned experiments with psychedelics. This has been a continued pursuit starting with my tape experiments in the 1970’s until the present, with technological evolution driving new ways of expression. With the exception of Xé May, which is performed on an Elektron Octatrack, these pieces were constructed for live performance using a laptop computer running programs I have built in the MAX programming language. Okajouki and Xé May were composed in 2011, all the rest are from 2018. The pieces use a technique of time slicing that I first started doing back in the 90's, notably with my piece Mom’s, wherein sound files are metaphorically shattered in time like glass and then reorganized into mosaic patterns. The technique used to require laborious preparation outside of real-time before the files could be brought onstage. Now not only can it be done spontaneously while performing, but also with a degree of flexibility that I find quite liberating. They are a lot of fun to play and hopefully to listen." - Carl Stone

Forma by Lucy Railton, is a work that burrows deep inside. It disorientates and teases, without malice. Its beauty lies in gentle projections, which, though subtle, leave deep impressions, like the wings of a nocturnal moth reflecting dark light. Its path, too, is unpredictable, but such disorientation is not a reflection of chaos. Instead, a mysterious intention appears through an imperious unfolding - its logic escapes us, but nevertheless captivates us. It is the story of a becoming of forms, as well as of their fading away and their appearance as a disappearance . Metabolist Meter (Foster, Cottin, Caetani and a Fly), by Max Eilbacher is a teeming piece, a matrix where textures and structures merge together, where the polyrhythmic instances become timbre, where the formal abstraction of the harmonic volutes coagulates around a vibrating form that is actualized in the dramatic reality of a dying fly. And this formal mastery is not disembodied in Max Eilbacher’s work and the kaleidoscopic forms of the sound spectra that he has deployed know how to resonate in the sensations and experiences of each one. These works, each with their own agenda, evolve with grace and inspiration in their exploration of vast sound worlds, and it is with great pride that we present them in the new collection. Released in association with Editions Mego. Coordination GRM: François Bonnet, Jules Négrier 
Executive Production: Peter Rehberg

Shutting Down Here is a special work. Symbolically, it covers a period of thirty years, between two visits by Jim O'Rourke to the GRM, the first, as a young man fascinated by the institution and his repertoire, the second, as an accomplished musician, influential and imbued with an aura of mystery. Shutting Down Here is a piece shaped like an universe, a heterogeneous world in which collides the multiple musical facets of Jim O'Rourke: instrumental writing, field recordings, electronic textures and cybernetic becomings, dynamic spaces, harmonic spaces, silent spans . This variety of approach, strangely, does not in any way weaken the coherence of the whole and this is the talent of Jim O'Rourke, a talent, properly speaking, of composition, where all the sound elements compete and participate to stakes that exceed them and of a common destiny, that is to say of an apparition.

アルバムについて Following the jazzy library vibes of 2023’s collaborative Dolphin LP with Greg Foat and Moses Boyd, the venetian maestro Gigi Masin returns to the ambience for which he is renowned, with Movement - his first solo full-length since 2020’s Calypso, and his Sacred Bones Records debut. Fuelled by creative reinvention and rhythmic motion, he moves seamlessly between melancholy electronic notes, technoid robotics, groovy liminal cloudscapes, and fathoms-deep ambient aquatics. Since early beginnings in obscurity, his 1986 debut album Wind slowly built an organic following on late night radio, later bolstered when “Clouds” was sampled by artists like Björk, Post Malone, and more. He now counts Oneohtrix Point Never, Devendra Banhart, Caroline Polachek, and the late Kenny Wheeler as fans. The new album Movement reflects on Masin’s place within the pantheon of ambient masters, his ongoing artistic ambitions, and his aspirations for a scene which he’s seen grow exponentially from humble beginnings. The LP is also an ode to literal movement, both in nature, and in human physical expressions to sound. Masin strived to make ambient music for movement, not in the standard dance music sense, but “dynamic music, with a beating heart full of love.” Reconfiguring ambient’s association with solitary listening and cold academia, Gigi went outwards, channeling something somatic that connects with the body, not just the mind. “Bed on Mars” sets the titular tone for Masin’s renewed curiosity, with cosmic atmospherics evoking the sensation of waking up on a new planet unafraid, whilst the poignant synthesized trumpet and suspended liminal limbo of “Lost” feels like floating adrift in an unknown sea. Delving further into off-centre beats is the celestial techno funk of “Deception Dance,” which sounds like Sun Electric jamming with Carl Craig and Kraftwerk. The bright beaming light of “Golden” radiates warmth, sounding like the bossa nova brother of Göttsching’s Balearic classic E2 E4. Despite the passing of his wife after a long illness, and losing his musical archive in a flood, Gigi remains pure-at-heart and positive, pouring his soul into the pursuit of beauty. The latest in a slow starting but steadily building career, Movement sees Masin continue to secure his seat at the table of true ambient greats.

A full instrumental version of ‘Garbology’, the 2021 collaboration between American rapper Aesop Rock and hip-hop producer Blockhead. On-and-off creative foils for each other’s work going back years, the pair complemented each other perfectly on the original album, but this slate fully exposes Blockhead’s sparse and often desolate production work.

Perhaps the most interesting PAN in a minute; ‘Lila’ is the label debut from Paris-based Algerian Mohamed Bourouissa, best known as a visual artist but now offering a glimpse into his musical practice for the first time, blending highly unusual ambient pulses with autotuned, low-lit vocals, recorded on the fly using a keyboard, mixer, microphone and effects. It runs like some lost 1980’s private press, tipped FFO early Yves Tumor, Yungwebster, Space Afrika, AYYA, Future, Kareem Lotfy. Bourouissa’s first solo album finds the 48 year old artist capturing the permeable membrane between Paris' various communities through a dream diary of hazed ambient reflections, cloud rap inversions and bass-heavy club malfunctions. It follows his work over decades incorporating music as a phantom thread of his practice in photography, sculpture, and video, and perfectly conveys a sense of longing and melancholy central to Arabic classical and pop songs mediated via an electronic hypermodernism . The album is an intimate, sometimes unsettling experience, aptly described as “hypnagogic” by PAN, as heard in its tendency to dreamlike slowness and the layered haze of FX and xenharmonic chords that shroud and wreath his melismatic woes. The dozen tracks play out through autotuned vocal plumes familiar from work by Ayshay, Rainy Miller or Future, crossed with the type of deep blooz oozing from that superb Taymour x Bareetlblad turn on the diy label earlier this year. Each track taps a different pole into the album's landscape, one beatless, and one filled with machinegun toms and explosive snares. The beatless tracks are peculiarly stirring and the heavier, noisier moments somehow vanish into the same aether. Bourouissa peppers the album with wild twists and turns, hitting a dark alley on the anxiety-inducing 'NMB' and descending corrugated steps to a members-only basement on 'MN'. The relief comes with the title track, a collaboration with Fanigliulo (aka Mushy) that's a tender, hopeful moment - a clouded love song that injects some hope into the darkness.

Super sweet sleepover core from the turn of the millennium. When not at the mall or elementary school, Jessica, Ayden, Janet, and Mary created a suburban Spice World all their own, singing, dancing, and making videos in anticipation of a global pop takeover. Summer 2000 expands their home-burned Y2K CD-R Stardust, encapsulating girl group R&B, trip hop, Eurofunk, and pool party heartbreak into a revealing portrait of millennial girlhood. Party til 2, sleep til 1, come on baby let's have some fun.

Tirez Tirez’s Story of the Year documents a key transitional period as bandleader Mikel Rouse moved from Kansas City’s underground scene to downtown New York. Formed in the mid-1970s, Tirez Tirez blended new wave, minimalism and experimental pop, earning early attention while opening for Talking Heads and gaining support from figures including David Byrne.Originally released on Les Disques du Crépuscule, Story of the Year combines earlier Tirez Tirez material with later sessions recorded in New York and Brussels. The album captures Rouse’s early system-based approach, using layered rhythms and phased repetition that would later inform his development of totalism. Positioned between post-punk and contemporary composition, it catches a band in transition and an artist on the verge of a new direction.

Martin Khanja (aka Lord Spike Heart) and Sam Karugu emerge from Nairobi's flourishing underground metal scene as former members of the bands Lust of a Dying Breed and Seeds of Datura. Together in 2019 they formed Duma (Darkness in Kikuyu) with Sam abandoning bass for production and guitars and Lord Spike Heart providing extreme vocals to the project. 

Recorded at Nyege Nyege Studios in Kampala over three months in mid 2019 their self-titled debut album fuses the frenetic euphoria, unrelenting physicality and rebellious attitude of hardcore punk and trash metal with bone-crunching breakcore and raw, nihilist industrial noise through a claustrophobic vortex of visceral screams. 

The savant mix of brutally adrenalized drums, caustic industrial trap, shredding grindcore inspired guitars and abrupt speed changes create a darkly atmospheric menace and is lethal on tracks like the opener "Angels and Abysses" , "Omni" or "Uganda with Sam". 

The gruelling slow techno dirges and monolithic vocals on "Pembe 666" or "Sin Nature" add a pinch of dramatic inevitability bringing a new sense of theatricality and terrifying fate awaiting into the record's progression. 

A sinister sonic aggression of feral intensity with disregard for styles, Duma promises to impact the burgeoning African metal scene moving it into totally new, boundary-challenging experimental territories. 

The Space Lady began her odyssey on the streets of San Francisco in the late ‘70s, playing versions of contemporary pop music an accordion and dressed flamboyantly, transmitting messages of peace and harmony. Following the theft of her accordion, The Space Lady invested in a then-new Casio keyboard, birthing an otherworldly new dimension to popular song that has captured the imaginations of the underground and its lead exponents ever since, with the likes of John Maus, Erol Alkan and Kutmah being devotees.  Of her early street sets, only one recording was made, self-released originally on cassette and then transferred to a home-made CD. The Space Lady’s Greatest Hits (LSSN021) features the best of these recordings―mostly covers but with some originals―pressed on vinyl for the first time and features archival photographs and liner notes from The Space Lady herself. Greatest Hits contains The Space Lady’s personal favourites; her haunting take on The Electric Prunes’ “I Had Too Much To Dream (Last Night),” a frantic “Ballroom Blitz” amidst other reconstructed pop music. Included are also four originals that easily match for the Pop canon. Following the release of this archive, The Space Lady will be issuing new material and travelling the world to present her message outside the United States for the first time.   In the mid ‘90s The Space Lady packed away her Casio synth and silenced her distinctive voice, retiring from the streets of San Francisco. Now, more than 30 years after her initial forays on Haight Ashbury, she has surfaced with the first ever official release of her timeless, startling music and, even more remarkably, has re-started her live career. Now in Colorado, The Space Lady continues to spread her message of peace, harmony and love. 

Canadian producer Dylan Khotin-Foote has kept his Khotin alias going for the better part of a decade; the impressionistic electronic project shifts with the movements in his life. Sometimes it leads, like when the club-friendly grooves of 2014’s Hello World immersed him in the heart of Vancouver’s underground dance scene, and sometimes it follows, like 2018’s Beautiful You, a downtempo salve for DJ fatigue. His melodic sensibility and playful ear for atmosphere remain the rippling core of the project’s fingerprint; whether beat-driven or ambient, a foggy smear or a dusted and pristine print, a Khotin track has a distinct and instantly recognizable swirl. During and after the 2020 release of Finds You Well, his second LP on Ghostly International, Khotin-Foote settled back into a slower vibe in his hometown of Edmonton. Even before the pandemic, his pivots to softer production, and away from DJing, left him with fewer opportunities in Vancouver and club bookings overall, and as a self-identifying introvert, he was fine with that. But the change of pace did open space for Khotin-Foote to grapple with concepts of adulthood and career. At his lowest, he almost walked off this musical path altogether; instead, he doubled down on the craft — the tone, pacing, and dynamism of new material — arriving at a definitive full-length. With Release Spirit, Khotin releases himself from the pressure of expectation, fusing and refining everything we know about his music. The warmth and familiarity of Khotin’s dreamy, dulcet style meet new ideas and frameworks, a natural progression, a modest revelation; Khotin confirms it is okay to move slowly and he’s never sounded better doing it. The album title borrows from the “release spirit” mechanic in the video game World of Warcraft. When players die, they are prompted to release their spirit and return as ghosts to find their corpses and come back to life. Khotin sees it as a worthy metaphor for the impending change his return home presented and the resulting process of purging artistic expectations to find his creative self again. On this go-around, he is freer, more playful, and more intentional within his palette of warped synth, breakbeats, and piano sounds — including the classic Casio SK-1 presets he’s used since the start — mingling with wistful samples, field recordings, and other abstract snippets. For the first time, he enlisted Nik Kozub to do the mix and assist with sequencing. Khotin-Foote has long worked with the Edmonton-based musician and engineer in the mastering phase, as well as their days co-running the label Normals Welcome, and this time was able to involve his ears earlier given their newfound proximity. “I think it’s my best sounding record to date.” We begin on “HV Road” or Happy Valley Road, where Khotin-Foote spent time during a family vacation in British Columbia’s Okanagan Lake. His plans to record crickets at night are quickly foiled by his younger siblings; the cute exchange orients the listener to a core memory of sorts, setting the tone of universally understood warmth and wonder that has defined some of Khotin’s most transportive tracks. Hazy percussion takes hold, and we are swept further into the wisp of “Lovely,” a grooving, melodic standout built on the interplay between the beat and human voice-like hums. Khotin knows this zone well; equally suited for a reverie or a club warm-up. The bubbling atmosphere and absurdity of “3 pz” offer a cosmic/comic interlude and also speak to reflections on his family’s move to Canada two generations ago, and the audio tutorials they used to learn English. “I can only imagine my grandparents repeating some of the bizarre phrases.” “Fountain, Growth” finds Khotin in collaboration with Montreal’s Tess Roby (Dawn to Dawn) for the project’s first-ever vocal track. Roby’s soft cadence echoes atop spiraling air pockets of rhythmic production, lending a breezy, almost shoegaze pop feel. Throughout the single and the album, wind gusts between the compositional layers, akin to the roaming spirits of its namesake, curving around the birdsong of “Life Mask” and seamlessly reaching “Unlimited <3.” The latter bumps in slow motion; disembodied whirrs from his Casio collide with 808 drums and sub-bass for a vibe that teeters on trap and instrumental hip-hop. Release Spirit rests in a dream sequence. Oscillating synth lines dance around the heartbeat of “Techno Creep,” a hyperactive REM state before the digitized ambient sprawl of “My Same Size.” In the final pass, Khotin imagines transcontinental travel from the glow of his screen. He recorded “Sound Gathering Trip” to soundtrack a genre of YouTube videos he’s taken to that follows train routes through Europe and Japan. The scene is serene and moving; piano keys warble as static-filled sound design shimmers off the rails, from cityscapes to the countryside, an introspective ride through a world beyond his bedroom. It doubles as an apt parting image for Khotin’s project as a whole: dreaming big but happiest when riffing on the details, shaping environments from the inside out. Over the last decade, he has stretched from his core in Edmonton, leaving a trace in Vancouver and beyond; but when all signs point home, he loops back to see it all from a different vantage, revitalized, refined, and free.

Since debuting his Khotin project in 2014, Edmonton’s Dylan Khotin-Foote has fine-tuned an impressionistic, dream-like style of music that straddles multiple sonic worlds. His output often sways from gentle synthesized atmospherics to hypnotic, dance-minded frameworks. His self-released 2018 LP, Beautiful You, offered a study on melody and memory; the album’s nostalgia-nudging use of passing environments, voices, and abstractions captivated a cult following, a rare 4.5 review in Resident Advisor and the attention of Ghostly International, who pressed the cassette on vinyl for wider circulation in 2019. Now, Khotin reveals his first collection of new material since the signing. The album is a fluid continuation of his blissful and melancholic songcraft, extended humbly and warmly, Finds You Well.

As tongue-in-cheek as the title may appear, the phrase has haunted the producer for some time. Most often seen at the start of correspondence, the words “I hope this email finds you well” can land with varying levels of sincerity, depending on context and mood. Khotin-Foote started to read the line more ominously during the onset of the pandemic. So, this set of music winks at both possibilities, mixing a platitude’s opaque optimism with lurking uncertainty.

Finds You Well can be heard in near-symmetrical halves: its 10 tracks represent the selections from a bounty of demos that, with less modesty, could have filled two records, one active and the other ambient. The resulting set isn’t an even split but it’s close. The A-side centers on the album’s steadiest sequence of beat-centric material. “Ivory Tower” is inextricably tied to benchmarks set by late ‘90s downtempo forerunners, spilling lucious and narcotic synth modulations across a sprinkler’s spray of breakbeats. Khotin’s sprightly melodic noodling brings that touchstone sound into vogue, bubbling up in free-form spurts. The sequence continues through the propulsive “Heavyball,” into “Groove 32,” which begins with a funky bit-clipped drum and bongo boogie. A tight bass-line plugs into place, building a grid for square-wave pads, shimmering melodic textures, and stuttering vocal samples to percolate in.

Khotin’s tone stabilizes on the B-side, balancing decidedly bucolic terrain with suspiciously eerie melancholy. Voices wander in the sprawling frequency sweeps. Organic textures sizzle and sputter in the clouds. “WEM Lagoon Jump” references local West Edmonton folklore, the time a kid jumped from a shopping mall's second-floor balcony into the main pavilion’s fountain. After the splash, we land in the record’s most satisfying stasis, “Your Favorite Building.” A brittle clave and muffled kick hover in a wobbly mist of organ chords; the building is gorgeous, but seen at night, and empty, and from this angle, those shadows seem to crop up more of those subdued tremors, those nostalgic creeps, those droll musings. From behind a wall of melody, a kid peeks their head and softly sings, “you must love the world because it’s wonderful,” the vocal snippet comes courtesy of Khotin-Foote’s sister, Amaris.

For much of Find You Well’s second half, Khotin dabbles in a dusty and slightly detuned piano sound, revealing an artist unafraid to change shapes but maintain course. This set of chimeric visions sidesteps the subdued bombast that fills the A-side; instead, it suggests a counterpoint emphasizing the uncanny overlap between well wishes and empty promises. 

ドイツのミュージシャン/作曲家のDaniel Rosenfeldが変名C418にて製作した傑作！物理世界とピクセル化された世界の両方で響くサウンドを描き上げた『マインクラフト』のオリジナルサウンドトラック盤『Minecraft Volume Beta』が〈Ghostly International〉からアナログ・リプレス。前作『Alpha』には未収録の楽曲だけでなく、ゲーム内では使用されたなかった楽曲も収録したC418自身のオリジナル・アルバム的一枚！牧歌的で穏やかなサウンドスケープに仕立てられた前作と比してよりダークで内省的な側面もクローズアップされた魅惑のアンビエント/エレクトロニック・ミュージックが収められています。

Khotin by Vancouver producer Dylan Khotin-Foote is a reissue of the cassette release that sold out instantly at bandcamp in 2018! The profound ambient sound is a chill-out refinement of the unfathomable depth of the previous work, which is both immersive and sleepy, and has been beautifully incorporated into the lo-fi feel of the artwork while maintaining the vibrancy of the spiritual & naturalistic sound world. This is a masterpiece of beauty that cannot be described in words, with a profound sound world that creates a dreamy fantasy land on a windowsill in broad daylight, only to sink into the border between Hades and reality. A masterpiece of unspeakable beauty. Highly recommended for all music lovers from new age to ambient and Balearic.

Minecraft - Volume Alpha is the work of German composer and musician Daniel Rosenfeld. Using C418 as his moniker, Rosenfeld crafted the sweeping soundtrack and vibrant sound design which helped breathe life into Minecraft's voxel-based universe. Fans and critics were universally enamored with his beatless, nuanced electronic pieces upon release. Popular gaming site Kotaku named it among The Best Game Music of 2011, calling the music "remarkably soothing," and The Guardian has compared Rosenfeld's delicate piano and sparse ambient motifs to legendary artists Erik Satie and Brian Eno. In an interview feature with C418, Polygon distilled Volume Alpha to its essence: "It's not bound by the retro aesthetic of Minecraft's graphics. It transcends them. The album is an attempt to uplift the combined game/music experience into the sublime."

Official remastered edition of COIL's 1998 drone/ambient masterpiece. “4 Tones to facilitate travel through time.” So begins the listeners’ journey into what has become one of the most treasured and revered pieces of COIL history ever released. Each of the four pieces on Time Machines is named after the chemical compound of the hallucinogenic drug that they were composed for, and the album was meticulously crafted to enable what John Balance referred to as "temporal slips" in time and space, allowing both the artist and audience to figuratively "dissolve time". Inspired by long form ceremonial music of Tibet and other religions, where the intent is to lose oneself in the music – to meditate or achieve a trance state – Time Machines became Drew McDowall, John Balance, and Peter Christopherson’s “electronic punk-primitive” answer to this tribal concept. Starting as a rough demo tape recorded solely by Coil member Drew McDowall, Time Machines started to take full form when McDowall enthusiastically delivered these demo recordings to Balance and Christopherson as sketches for a new Coil project with the primary goal of shifting Coil’s sound further into a more conceptually abstract direction. Largely recorded in 1997 using single takes with minimal post production, these four drones contain every intended fluctuation and tone, along with every glitch of the original – “Artifacts generated by your listening environment are an intrinsic part of the experience.”

The second instalment of Chapter Music’s acclaimed Australian post-punk compilation series Can’t Stop It! is released on vinyl for the first time as a deluxe double album on September 4, 2026. The compilation was originally released on CD in 2007, and presents an incredible array of inventive and often previously unheard music from the period 1979-1984. Now Chapter Music updates the compilation with six never before reissued bonus tracks, new remastering by Mikey Young, plus new liner notes, photos and layout. This is a fantastically rich and dynamic time in Australian music history, a time when Australia stepped out of the shadows of overseas influence and asserted its own musical identity for perhaps the first time. Can’t Stop It! #2 features tracks that have now become touchstones in Australia's post-punk history, including Lamborghini by Severed Heads and proto Oz-rap classic Do the Job by Use No Hooks, plus early works by the likes of Dead Can Dance’s Lisa Gerrard and Hunters & Collectors’ Mark Seymour. Bonus tracks include the astounding How by Brisbane's This Five Minutes, which pre-dates The Stone Roses' Fool's Gold by at least five years, the gorgeous Purple Hearts by Melbourne's mysterious Lachelle, and Tasmania's own performance punk Chainmale with his outlandish Freakout.

Senor Coconut's cult classic ‘El Baile Aleman’—one of Atom TM's many aliases—is reissued on vinyl for the first time in 25 years. Born from the half-joking idea that “if you're going to cover Kraftwerk, do it with cha-cha-cha or death metal,” this work reconstructs Kraftwerk's electronic minimalism through tropical imagination. It presents an original sound where cha-cha-cha, mambo, and cumbia intertwine with glitch and breakbeats.