Techno / House

Taking off from Beaugars Seck’s foundational sabar drum rhythms — recorded by Sam in Dakar in February 2020 — Shackleton has constructed a trio of intricately layered, luminous, enchanted, epic excursions. The second is more dazzled and meandering, with jellied bass, insectile detail, and discombobulated jabbering; the third is more liquid, fleet of foot, and psychedelic, with a grooving b-line and funky keyboard stabs, scrambled eastern strings and hypnotic vocalese. The harmonium in The Overwhelming Yes sounds like Nico blowing in chillily from up the desert shore. The overall mood is wondrous, twinkling with light, onwards-and-upwards; an uncanny, dubwise mix of the ancient and the futuristic. Mark Ernestus’ Version is stripped, trepidatious, mystical, and stranger still, with just a snatch of the original melody, extra distortion and delay, and crystal-clear drum sound. Twenty minutes of startlingly original music, with Shackleton the maestro at the top of his game, and a characteristically evilous dub by Mark Ernestus. Mastered by Rashad Becker; handsomely sleeved. Sick to the nth. Love 4 Ever.

Over the past decade, Chaos In The CBD, the brotherly production duo of Louis and Ben Helliker-Hales, have captivated global audiences with their spectral, jazz-inflected deep house sound. With over 100 million streams worldwide, the New Zealand-born, London-based artists are set to release their highly anticipated debut album, A Deeper Life on May 9, 2025 via the label head’s very own In Dust We Trust imprint.

To celebrate the announcement, Chaos In The CBD have shared the atmospheric lead single ‘Love Language’, featuring fellow New Zealander Nathan Haines on Saxophone. It’s an undeniable standout moment on the album—moody, ethereal, and naturally soothing. Speaking on the track, Chaos In The CBD explains: “‘Love Language’ is a track that suits almost any setting, evoking the laid-back, easygoing rhythm of life in New Zealand. Perfect for a road trip to the beach or those magical moments at an after party when the sun reappears. Love Language feels like a reflection of the journey that brought it to life and we hope you enjoy it as much as we do.”

The 14 track LP marks a significant evolution in Chaos In The CBD’s artistic journey. Known for their signature sound epitomised by their breakout EP Midnight In Peckham on Rhythm Section, the duo’s debut album unites live instrumentation and vocal collaborations for the first time, fusing together key musical influences such as Ambient, Soulful house, R&B, Jazz & Balearic into a melting pot of an epic journey that will surely become a future classic. If Midnight In Peckham was the duo’s coming of age; then their debut album is Chaos In The CBD coming full circle. It features contributions from legendary figures such as Josh Milan of Blaze, Lee Pearson Jr., Stephanie Cooke and UK grime MC Novelist, among others.

Though they’ve been based in London for over a decade, Louis and Ben (aka Beans) have never stopped feeling at one with their homeland. A Deeper Life is nostalgic for their nature-filled youth, exploring the magical coastline and lush rainforest of New Zealand. “The title refers to our childhood, which was idyllic,” says Ben. “It was just the sun, the sand, the sea, waterfalls, birds and fish...” The result is an international dance sound that feels unmistakably like Chaos and ebbs and flows from the beach party to the club to the afterhours. “It’s laid-back but still driving at the same time; it’s club ready, but still deep,” Ben explains. It’s also distinctly Balearic: The brothers found a particular affinity with 90s Ibiza chillout music, being from such a “chill place” themselves. “In its own way, New Zealand is incredibly Balearic, but without the party side” says Ben.

The brothers hope that their debut evidences their deep appreciation of 90s house music, from David Morales’s Red Zone mixes and Kerri Chandler to DJ Sprinkles, Larry Heard and beyond. “We didn’t go to the school of hard knocks, we went to the school of Carl Cox,” they wrote in one of their typically hilarious posts on Instagram. But while they’ve built a meme-driven online personality for their social media accounts, their album shows a deeper side to them too. “We joke around but we want this album to be taken seriously,” says Louis. “It’s music from all around the globe, and there’s a deep meaning to how it flows and sticks together”.

For Chaos In The CBD, A Deeper Life is more than an album—it’s a celebration of their roots, their community, and their enduring bond as brothers. “This is a love letter to home and the feeling of being within nature,” says Louis. “It’s also an ode to a slower pace of life.” The album is an invitation to journey through their world: from the beaches of New Zealand to the heart of London’s dancefloors, and everywhere in between. A Deeper Life is set to be both a club-ready triumph and a reflective escape for listeners worldwide.

'MAIDEN' is Laurine Frost's third instalment of the 'LENA' series (2020) - where the narrative conceptually revolves around the fictional musical journey of his imaginary daughter over the course of a series of albums. ‘MAIDEN' is deemed to be the most intense piece of the series yet, with the figure of the unstable, hesitant protagonist teetering between light and shadow. Dramatic depths and heights, often dark tones, composed chaos and rumbling polyrhythmia - somewhere far on the edge of jazz and rusty contemporary electronica. Notes by Laurine Frost: „The thematic focus of this album draws from multiple sources. A utopistic self-revelation that has the purpose to paint imaginary landscapes and surreal scenes, to talk about the past and the future that never occurred or never will, to describe the pure human nature in its most honest and instinctive form – much like in our dreams.” – Says the original guide that is meant to help the listener understand the structure and the basic idea behind this series, which is like a portrait that's meant to illustrate a naive artistic narrative of a woman's life, from childhood to old age. Desiring freedom, craving commitment. MAIDEN aims to represent a woman in her peak with many contradictions and uncertainties. Oppressed by expectations and struggling with the throbbing desire for liberation, the character portrays a convulsive attachment to something imaginary and intangible. The slow but sure deterioration of her outer beauty cries out for an inner virtue with humility. I undertake the most difficult task: to shape the woman. Over the course of 5 pieces I tend to enchant and then frighten the listener with all that concise content, stubborn will and instinctive existence that keeps us all alive in one way or another.

Proto-house classic 'Nightgruv' gets a re-release and includes a longer unreleased edit! James Mason is mostly known for his late 70's album 'Rhythm Of Life', which is a soul-jazz classic. Soon after music trends shifted to (electronic) disco and James' music became out of fashion, leaving 'Rhythm Of Life' to be the only album he released to date. The early early 80′s saw him have a few studio sessions from which more electronic output like Wuf Ticket’s ‘The Key (Prelude Records) resulted. James also produced various disco acts like Disco 3, Earl Flint and Brenda Bayton. However, most of his early 80s studio sessions have remained unreleased until today. ‘Nightgruv’, which was recorded in 1984, did eventually get a release when it was picked up 12 years later (!) by a small UK indie label and was again reissued in 2000 by Soul Brother. Both pressings are still highly sought after and go for a lot of money on Discogs, mostly to do with the timeless nature of this proto house wonder, which sounds like a recording Larry Heard never made. A magically seductive groove, recorded at a time when house was still in its infant years. Not only is this release offering a remastered version of the original, it also includes an unreleased edit which stretches the original to a cool 6 minutes. The B-side features the epic 11 minute original version of 'I Want Your Love', a soul classic.

Back in 2015, Japanese deep house pioneer Soichi Terada stepped back into the limelight courtesy of Sounds From The Far East, a Rush Hour-released, Hunee curated retrospective of material released on his Far East Recording label in the 1990s and early 2000s. Buoyed by the positive response and renewed interest in his work, Terada went back into studio to record his first new album of house music for over 25 years, Asakusa Light. Developed over 18 months, Terada tried to recreate the mental and physical processes that led to the creation of his acclaimed earlier work. Those familiar with Terada’s celebrated, dancefloor-focused sound of the 1990s – a vibrant, atmospheric, and emotive take on deep house powered by the twin attractions of groove and melody – will find much to enjoy on Asakusa Light. “I tried to recall my feelings 30 years ago, but when I tried it, I found it super difficult,” he explains. “I didn’t even know what I thought about myself five years ago, and the mental metabolic cycle seems to be faster than I thought. I tried different methods, including digging up my old MIDI data and composing by remembering old experiences. With the help of Rush Hour, I found some of the light from my heart that I had 30 years ago. I nicknamed the light I found in my heart, ‘Asakusa Light’.” Produced using the very same synthesizers and drum machines that powered his 1990s work, the album is a joyous, colourful and life-affirming collection of timeless house music that not only recalls Terada’s own impeccable back catalogue, but also that of similarly celebrated contemporaries such as the Burrell Brothers or Ben Cenac (Dream 2 Science, Sha-Lor). Terada, who has spent much of the last two decades writing video game music, has always had a gift for combining warm, undulating synthesizer basslines and perfectly programmed machine drums with stirring chords, smile-inducing melodies and mellow musical flourishes. It’s this immersive, sun-kissed and tuneful trademark style that takes centre stage on Asakusa Light, an album for the ages. The set begins with the alien-sounding chords, soft-touch percussion and dawn-friendly warmth of ‘Silent Chord’ and ends on a high via the bouncing string stabs, starlight chords and thickset grooves of ‘Blinker’; in between, you’ll find a deluge of effortlessly feelgood music that’s the aural equivalent of a dopamine rush at sunrise. There are subtle variations aplenty throughout the album – see the 8-bit lead lines and pulsing electronic textures of ‘Takusambient’, the vintage Tony Humphries flex of ‘Diving Into Minds’ and the effortlessly funky ‘Marimbau’ – but it’s the uniquely atmospheric, vivid and tactile nature of Terada’s loved-up sound that resonates. After well over 30 years in house music, the light in his heart is shining brighter than ever.

Feedback Waves — the new imprint from independent label Rings of Neptune — is proud to present Trill, the first and only album by Palomatic. Almost thirty years after its original release on CD in 1995, this beautiful nine-track work is now available on vinyl for the first time. Palomatic is an alias of Koji Takahashi, an active member of the bubbling Japanese electronic music scene of the early-to-mid 90s. Besides his solo work, he was a core member of Takahashi Tektronix (with Nic Yoshizawa) and Mutron (with Kiyoshi Hazemoto, aka Interferon), as well as working as a synth programmer for supergroup Denki Groove. Following the release of his debut track ‘Halo’ on Syzygy Records in 1993, Takahashi made a series of contributions to compilations on the scene-defining Transonic label. His first and only full-length album, Trill, combined these tracks with original material to form an absorbing and versatile standalone statement of the Palomatic sound. From the oscillating lilt of ‘Flutter’, which opens proceedings at a measured 104bpm, through to the symphonic epilogue of ‘Soar’, Trill is rooted in the fertile territory between organic and synthetic sounds — ground that was nourishing the work of many likeminded producers worldwide at the time. West Coast psychedelia and East Coast funk, the moody bass weight of Bristol trip-hop and Sheffield bleep, and the chemical rush of German techno and Belgian trance: with a distinctly Japanese sensibility, Trill drew these strands together into an elegant musical tapestry. The result is timeless — indeed, album centrepiece ‘Foaming Waves’ would sound right at home on the faster-paced dancefloors of today.

This is a work synonymous with the Aphex Twin, featuring one of the most popular songs of their career, "Girl/Boy Song".

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.

Dj Sprinkles’ debut full length album,continues with themes from 1998’s “Sloppy 42nds: A tribute to the 42nd Street transsexual clubs destroyed by Walt Disney’s buyout of Times Square” (a track recently featured on Ame’s “Coast2Coast” DJ mix compilation for NRK Records).

While the world celebrates the revial of New York House Music, constructing utopian fictions about the genre as it goes along, DJ Sprinkles retreats deep into the bowels of house. This is the rhythm of empty midtown dancefloors resonating with the difficulties of transgendered sex work, black market hormones, drug & alcohol addiction, racism, gender & sexual crises, unemployment, and censorship.

The title song of track1&2 is a real “strictly rhythm” house music. It’s a simple 4/4 beat with piano loop.maybe this is a real minimal house! Third track “Ball’r (madonna-free zone)” is a euphoric mid tempo house.this track reminds jan jelinek or larry heard.

Fourth track “Brenda’s $20 Dilemma” is a sequel of his fag jazz style.check the beautiful kuniyuki remix of this song(mule musiq 34). Fifth track “House Music Is Controllable Desire You Can Own” is a classic new york house style.if you like the record of jus-ed or that kind of artist,you like this song.

Sixth track “Sisters, I Don’t Know What This World Is Coming To” is a one of the highlight song on the album. Actually this track is not 4/4 beat house but very emotional powerfull music. Seventh track “Reverse Rotation” is a deep and madness beautiful song.When you listen this song,you associate the music of theo parrish or pepe bradock.

Eighth&nineth track are main songs of this album. “Grand Central, Pt. I (Deep Into the Bowel of House)” is associated the sound of jungle wonz or virgo. but this song is filled with somthing sadness.check the story about this album from terre,you will see…. http://www.comatonse.com/releases/midtown120blues.html This album is for a real house music lovers.

視聴-Midtown 120 Intro・ミッドタウン１２０イントロ
視聴-Midtown 120 Blues・ミッドタウン１２０ブルース
視聴-Reverse Rotation・後戻り
視聴-Grand Central, Pt. II (72 hrs. by Rail from Missouri)・グランドセントラル駅　パート２（列車でミズーリ州から72時間）

A wave of global critical reappraisal is building around Japan's definitive techno label, TRANSONIC RECORDS. To mark the occasion, a two-disc compilation album showcasing the dawn of Japanese 90s techno is set for release.

01.Skylark on 303 / Masaaki Kikuchi
02.The Acid Coming / ACIDWHITEHOUSE
03.Sevnwn / Yuri Suzuki
04.Got Drunk / CHERRYBOY FUNCTION
05.Freq Out / Sigh Society
06.Screaming Bassline (distortional addict) / AcidGelge
07.GROTTO / QUEER NATIONS
08.Cut the Midrange Drop the Acieeed Bass / MUTRON
09.BOWWOW / ACID TAMIYA 346
10.Victim Kid / kuknacke
11.Do It / NASCA CAR

‘Workaround’ is the lucidly playful and ambitious solo debut album by rhythm-obsessive musician and DJ, Beatrice Dillon for PAN. It combines her love of UK club music’s syncopated suss and Afro-Caribbean influences with a gamely experimental approach to modern composition and stylistic fusion, using inventive sampling and luminous mixing techniques adapted from modern pop to express fresh ideas about groove-driven music and perpetuate its form with timeless, future-proofed clarity.

Recorded over 2017-19 between studios in London, Berlin and New York, ‘Workaround’ renders a hypnotic series of polymetric permutations at a fixed 150bpm tempo. Mixing meticulous FM synthesis and harmonics with crisply edited acoustic samples from a wide range of guests including UK Bhangra pioneer Kuljit Bhamra (tabla); Pharoah Sanders Band’s Jonny Lam (pedal steel guitar); techno innovators Laurel Halo (synth/vocal) and Batu (samples); Senegalese Griot Kadialy Kouyaté (Kora), Hemlock’s Untold and new music specialist Lucy Railton (cello); amongst others, Dillon deftly absorbs their distinct instrumental colours and melody into 14
bright and spacious computerised frameworks that suggest immersive, nuanced options for dancers, DJs and domestic play.

‘Workaround’ evolves Dillon’s notions in a coolly unfolding manner that speaks directly to the album’s literary and visual inspirations, ranging from James P. Carse’s book ‘Finite And Infinite Games’ to the abstract drawings of Tomma Abts or Jorinde Voigt as well as painter Bridget Riley’s essays on grids and colour. Operating inside this rooted but mutable theoretical wireframe, Dillon’s ideas come to life as interrelated, efficient patterns in a self-sufficient system.

With a naturally fractal-not-fractional logic, Dillon’s rhythms unfold between unresolved 5/4 tresillo patterns, complex tabla strokes and spark-jumping tics in a fluid, tactile dance of dynamic contrasts between strong/light, sudden/restrained, and bound/free made in reference to the notational instructions of choreographer Rudolf Laban. Working in and around the beat and philosophy, the album’s freehand physics contract and expand between the lissom rolls of Bhamra’s tabla in the first, to a harmonious balance of hard drum angles and swooping FM synth cadence featuring additional synth and vocal from Laurel Halo in ‘Workaround Two’, while the extruded strings of Lucy Railton create a sublime tension at the album’s palatecleansing denouement, triggering a scintillating run of technoid pieces that riff on the kind of swung physics found in Artwork’s seminal ‘Basic G’, or Rian Treanor’s disruptive flux with a singularly tight yet loose motion and infectious joy.

Crucially, the album sees Dillon focus on dub music’s pliable emptiness, rather than the moody dematerialisation of reverb and echo. The substance of her music is rematerialised in supple, concise emotional curves and soberly freed to enact its ideas in balletic plies, rugged parries and sweeping, capoeira-like floor action. Applying deeply canny insight drawn from her years of practice as sound designer, musician and hugely knowledgable/intuitive DJ, ‘Workaround’ can be heard as Dillon’s ingenious solution or key to unlocking to perceptions of stiffness, darkness or grid-locked rigidity in electronic music. And as such it speaks to an ideal of rhythm-based and experimental music ranging from the hypnotic senegalese mbalax of Mark Ernestus’ Ndagga Rhythm Force, through SND and, more currently, the hard drum torque of DJ Plead; to adroitly exert the sensation of weightlessness and freedom in the dance and personal headspace. 

In the midst of the UK house rave-olution of the early-’90s, London’s V4 Visions imprint documented the confluence of street soul, deep house, swingbeat, and jungle sounds emanating from the clubs and pirate radio signals. Over the course of half a decade, V4’s unparalleled 12” output referenced every significant Black British music scene; from lovers rock to jazz-funk, sound system reggae to hip hop, new jack swing to garage, from artists Ashaye, Julie Stapleton, Maureen Mason, Rohan Delano, The Wades, and Endangered Species. This 18-track double LP is the first critical overview of the label, with extensive notes by Simon Reynolds, era-defining photographs, and fresh remasters, all housed in a glorious foil-stamped gatefold tip-on sleeve. Is this a dream?

A rare collection of music that has been long awaited by Thaemlitz fans comes highly recommended by Meditations! He is a charismatic DJ, Terre Thaemlitz (=DJ Sprinkles), who has been active in New York's transexual clubs in the 90's, and is currently based in Japan, but travels around the world and continues to develop his artistic music with house music. He has been traveling around the world and developing his artistic music through house music. This is a best-of album that includes one-off compilation tracks as well as self-remixes related to his solo projects. Self-released on Comatonse Recordings, this 2-CD set comes in custom packaging assembled by the artist himself, and includes two double-sided insert cards (100mm x 100mm), a 4x4 panel poster insert (472mm x 472mm) printed on newsprint, and more. This is a great introductory title for this artist. This is a great introductory title for this artist. ....!!!

Viewing-ADMIT IT'S KILLING YOU (AND LEAVE) (SPRINKLES' DEAD END) (Excerpt)
Viewing-MEDITATION ON WAGE LABOR AND THE DEATH OF THE ALBUM (SPRINKLES'UNPAID OVERTIME) (Excerpt)

Part 2 of the jungle series, it's another 4-tracker for fuzzy Akai hardware samplers, Technics turntable, analog monosynth bass and wide stretches of polysynths. Built with strictly old-school hardware with a loose groove, it's somewhere to get lost, down those night roads, and early mornings in the sky. Soak it up, and let's let time move a little faster.

And so we come to round 4 of the Long Trax series, the pivotal moment of truth. Four new deep cuts spread across 4 sides of vinyl in dual sleeves, and spun onto disc. An all-analog, hardware machine affair, full of glazed pads and spicy stabs, rhythm composure (composer) sequences, round booming basslines, and narrators from beyond. It’s the real thing, still chugging along.

Two new A/B trax pressed to wax, in a limited edition. Inspired by the activist and legend Steve Biko, "Look Anew" gives two dubs, one deep and the other dubby. Where do we go from here? Packaged in a classic reverse board sleeve, with original artwork by Tsuji Aiko, pressed on 180g black wax. Mastered by Stephan Mathieu.

Arriving at the third edition of the jungle series, we're relying yet once again on oldschool techniques, limited memory, and an absolute defiance of progression, unless we consider consistent values of anarchy a benchmark. A testament to tenement tagging, with bulletin synth lines, rubberized basslines, and an ever-changing palette of drum breaks, here we arrive at a place where we once were, and never were. Limited edition 12", mastered by Stephan Mathieu, Edition of 200 copies.

A double-CD set compiling all of DJ Sprinkles & Mark Fell's collaborative 12-inches on the first disc, combined with a second disc filled with ten previously unreleased outtakes from the Complete Spiral EP sessions. As the album title suggests, listeners get an "incomplete insight" into the mixing and editing methods of these two very different electronic audio producers united by their histories with, and love of, classic deep house. (Track tip: out of this entire set, DJ Sprinkles' personal favorite for mixing on the dancefloor is "Incomplete Spiral 4.") Self-released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes two CDs in an archival vinyl pouch with two double-sided insert cards (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 1)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 2)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 3)
視聴-dj sprinkles & mark fell incomplete insight (2012-2015)(Excerpt 4)

A special reissue of "Fagjazz," the double CD originally released in 2000 that introduced the world to the expression 「ベリー・ファッキング重低音」. Disc 1 compiles tracks from various Comatonse releases, many of which had previously only been available on vinyl. However, the real centerpiece of the release is Disc 2 "Superbonus," an hour long ambient-jazz track in 5/4 time only found here, for which Thaemlitz received an Honorable Mention in Digital Musics from the 1999 ORF Prix Ars Electronica competition. For the collectors, the versions of "Sloppy 42nds" and "Thirty Shades of Grey" found here are different than those found on Terre's Neu Wuss Fusion "Recalls" (C.030, 2021). Self-released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes two CDs in an archival vinyl pouch with one double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).
sample-Terre Thaemlitz & Funk Shui: Superbonus(Excerpt)
sample-Chugga: Deep Space Probe(Excerpt)
sample-Comatonse.000: Pretty Mouth (He's Got One) (Excerpt)
sample-Terre's Neu Wuss Fusion: She's Hard (Excerpt)

Comatonse.000 was the project name, EP title, and catalog number of Terre Thaemlitz' 1993 debut 12-inch featuring the NY Loft classic A-side "Raw Through a Straw," and the bass-heavy ambient B-side that captured the attention of producers like Bill Laswell and Mixmaster Morris, "Tranquilizer." This CD compiles all Comatonse.000 related releases to date, including that other Comatonse EP working the "Scorpio" break so important to the early Loft house scene, Social Material's, Class/Consciousness. This is the first time "Consciousness" has been made available in digital format. The disc also includes a previously unreleased demo version of "Tranquilizer" as a hidden bonus track. Self- released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes one CD in an archival vinyl pouch with one double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).
視聴-comatonse.000 comatonse.000.r3(Excerpt 1)
視聴-comatonse.000 comatonse.000.r3(Excerpt 2)
視聴-comatonse.000 comatonse.000.r3(Excerpt 3)
視聴-comatonse.000 comatonse.000.r3(Excerpt 4)
視聴-comatonse.000 comatonse.000.r3(Excerpt 5)
視聴-comatonse.000 comatonse.000.r3(Excerpt 6)
視聴-comatonse.000 comatonse.000.r3(Excerpt 7)
視聴-comatonse.000 comatonse.000.r3(Excerpt 8)

A CD compiling all of K-S.H.E's 12-inch and one-off releases to date beyond the 2006 debut album Routes not Roots (one of the few albums to ever receive a full 5-star rating from Resident Advisor, and precursor to DJ Sprinkles' Midtown 120 Blues). This is the first time for many of these tracks to be available in digital format. Includes K-S.H.E's previously unreleased original version of "Reverse Rotation," which was later dramatically re-tempo'ed and re-worked for release on DJ Sprinkles' album. Self-released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes one CD in an archival vinyl pouch with one double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).
視聴-k-s.h.e spirits, lose your hold(Excerpt 1)
視聴-k-s.h.e spirits, lose your hold(Excerpt 2)
視聴-k-s.h.e spirits, lose your hold(Excerpt 3)
視聴-k-s.h.e spirits, lose your hold(Excerpt 4)
視聴-k-s.h.e spirits, lose your hold(Excerpt 5)
視聴-k-s.h.e spirits, lose your hold(Excerpt 6)
視聴-k-s.h.e spirits, lose your hold(Excerpt 7)

A CD compiling all of Terre's Neu Wuss Fusion's releases to date. Includes previously unreleased and alternate versions of tracks found elsewhere (such as on DJ Sprinkles "Gayest Tits & Greyest Shits" and "Fagjazz"), so this CD will still be of interest to collectors who might already have those other items. Self-released on Comatonse Recordings with custom packaging hand assembled by Terre herself, the package includes one CD in an archival vinyl pouch with two double-sided insert cards (100mm x 100mm), phonograph style anti-static inner sleeve, and 4x4 panel poster insert printed on newsprint (472mm x 472mm).

sample-She's Hard (2007 Archive of Silence Mix)(Excerpt)
sample-A Crippled Left Wing Soars With the Right (Steal This Record Club Mix)(Excerpt)
sample-Thirty Shades of Grey (Demo Version) (Excerpt)
sample-Sloppy 42nds (Terre's New Wuss Fusion Edit)(Excerpt)

A highly collectable compilation first released as a double-CD by Mule Musiq in 2013, now updated and expanded to a triple-CD set of 21 remixes clocking in at almost 4 hours. Self-released on Sprinkles' own Comatonse Recordings, Queerifications & Ruins: Collected Remixes by DJ Sprinkles Expanded Edition compiles the bulk of DJ Sprinkles' third-party remix work produced between 2006 and 2017. Discs 1 and 2 are essentially identical to the first edition, featuring reworks of tracks by Leftroom boss Matt Tolfrey, Japanese producer Kuniyuki, Chicago producer Area, Ojo De Apolo founder Jorge C., and French DJ Hardrock Striker. Disc 3 adds long sought after remixes of Scissor & Thread boss Francis Harris, UK media sweetheart Simon Fisher Turner, regular Comatonse collaborator Will Long, the late US composer John Cage, and even "that" remix of The Mole everyone bitched about not being on the original compilation despite it not even existing yet. Unfortunately, one of our audio producer friends couldn't join us this time around, so the opening two tracks on Disc 1 have been "demixed" into new DJ Sprinkles tracks exclusive to this compilation, "Empty Dancefloor" and "Lost Dancefloor." (Okay, track 1 sounds the same as before because it consisted of only Sprinkles' parts to begin with, but track 2 brings in some changes.) All copies are hand assembled by Sprinkles herself, with the packaging including three CDs in an archival vinyl pouch, a double-sided insert card (100mm x 100mm), phonograph style anti-static inner sleeves, and a 4x4 panel poster insert printed on newsprint (472mm x 472mm) featuring Emi Winter's painting, "Lady."