VARIOUS - 'ALL THE YOUNG DROIDS - JUNKSHOP SYNTH POP 1978-85'

Formats

• RVSN003G - 2xLPs

  5061041821752

• RVSN003CD - 2xCDs

  5061041820199

Details

REPRESSED ON GREEN VINYL - ONE OF THE COMPS OF '25 Uncut Magazine's Compilation of the Year!! 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 already-storied 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 Reed-style 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?

Tracks

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

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ALEX KOZOBOLIS - 'ASYMMETRY'

Formats

• ALT002LP - LP

  5061041821660

Details

• The album features a re-interpretation of Debussy’s Clair de Lune • Also features Eternal Sunshine of the Spotless Mind-inspired porous, amnesic, revisiting of previous composition ‘Barcelona' Asymmetry marks an attempt to chronicle lived experiences, both personal and beyond, but also to acknowledge,lament, make peace with - and in some cases even celebrate - the complex reality that sometimes things just don’t make sense. These are responses to a life lived and a world engaged with- distilled fragments from the broad spectrum of human experience- songs not only of dislocation and struggle but of consolation and hope. Born in London in 1984 Alex Kozobolis is an English / Greek,self-taught composer and visual artist, based in London /Brighton UK.Alex discovered the piano in his late teens - falling in love with the sound of it in hip hop +garage samples and, most influentially, through first hearing Thelonious Monk’s“Monk’s Dream”.Alex would find unused piano sat school and sneak in during break times- exploring and slowly learning, through trial and error, how to play the instrument As a composer, singer, and producer he has released several solo albums [amassing over fifty million streams globally , collaborative work across multiple genres (see:Impossible Germany, To Move,The Arteries of New York City).He has scored multiple award award-winning short films as well as several campaigns for Ralph Lauren.Pieces from his previous solo albums Weightless, Somewhere Else, The Seasons Are Not Four have received support and airplay across radio including KEXP, BBC Radio 6,BBC Radio 3 + NTS radio

Tracks

01. Lost Hours 02. Terminal 03. Asymmetry 04. At Least Now We Talk 05. Stones Will Cry Out 06. Moonlight 07. From Montju?c 08. Red Threads Over Grey 09. Where Are They Now? 10. Icarus 11. A Garden For Fellini 12. Which Way Is Up? 13. ?When This Is Over?

Press

A collection of solo piano compositions with one foot in the jazz world and the other in the classical.

Audio & Video

PLOSIVS - 'YELL AT CLOUD'

Formats

• SWA165 - LP (COLOURED)

  657628456711

• SWA165CD - CD

  657628457329

Details

**ON SWIRL COLOURED VINYL** Over four years in the making, Yell At Cloud is the follow up to the PLOSIVS critically hailed debut (RollingStone.biz said “best new release of the week” in 2021). Why so long between releases, you ask? Nov. 2020 the band was invited to be the first guinea pigs at No Fun Club recording studio in Winnipeg, Canada and baptize the brand new facility. The band would live and record in the studio and be densely immersed in the forming of this new record. It was still during the days of COVID lockdowns and the earliest stages of permitted, international travel. Producer, engineer and studio designer Mike Bridavsky (Deerhoof, Magnolia Electric Co., The Cowboys, Durand Jones & The Indications, Half Japanese, The Residents) welcomed us with open arms and helmed the controls. Unfortunately, a massive Arctic storm (even by Winnipeg standards) descended. The compound was without power for the first five days. Using generators running on diesel and heat powered by sheep tallow, the band had to resort to using as little electricity as possible. Most of what you hear on Yell At Cloud was recorded in the dark or by candlelight in below freezing conditions. It wasn’t as romantic as it sounds. Due to Canada’s regulations for foreign travelers during the pandemic, we had to forge out on foot once a day in blizzard-like conditions to a clinic a mile away where we had to be swabbed nasally, between the toes and in the groin area in order to be tested for COVID so we could be allowed to stay in the country for another 24 hours. Imagine a band trying making a record in John Carpenter’s The Thing. This had a massive influence on the material and the way it was captured to tape. Finally the sessions became so intense the band members could no longer sustain focus to completion and decided to return home to finish the record at a later date. Months turned to years. Drummer Atom Willard was now the full time member of the Alkaline Trio. Guitarist John Reis focused on Hot Snakes and his solo recordings and shows with Swami John Reis. Singer and guitarist Rob Crow continued with Pinback and a myriad of projects both musical and visual. Bassist Jordan Clark reconnected with his band The Frights and began touring and recording with them once again. There was such a massive emotional dust cloud kicked up during the recording of Yell At Cloud that it took four years to settle. Finally, Ben Moore (who recorded and mixed the bands debut) stepped in and mixed Yell At Cloud. In order to a create seamless continuity with the original tracks, Ben mixed the majority of these files in the dark with the brightness of his screen turned to the lowest setting. The result is a claustrophobic album that searches for an oasis within. From lurching dissonance to uplifting harmonic convergences Yell At Cloud is a stark, black and white departure from their debut.

Tracks

Tracklist: 1. Death Kicks In 2. Falls Equivalency 3. Metacine 4. Civilized 5. Hello Gallows 6. Storm Machine 7. Lady For a Day 8. Apartment For Monsters 9. Destroyed By Touch 10. Vintage Dated

Press

Four years later, supergroup featuring Rob Crow (Pinback, Heavy Vegetable etc), John Reis (Hot Snakes, Rocket From The Crypt etc), Atom Willard (Against Me etc), and Jordan Clark (Mrs Magician etc) returns

Audio & Video

OSEES - 'LIVE AT THE BROAD'

Formats

• DG007UK - 2xLP (COLOURED)

  657628455608

• DG007 - 2xLPs

  657628455615

• DG007CD - CD

  657628455622

Details

HUUUUMANOIDS OF THE DEEP AND DARK WASTELAND, Here is a 2xLP of the Broad Museum show A bunch of Krauty jams we’ve never played live before and a couple old favs. Right in time for record store day delivery late Nov. Mixed by JPD Mastered by the guru JJ Golden . Here is a slab to burn one to while you jettison any garbage (good riddance) out the hatch…onward and upward.

Tracks

1. Don't Blow Your Experiment 2. Dark Weald 3. I Got A Lot 4. Encrypted Bounce 5. C 6. Gong Experiment

Press

**LTD 500 COPIES UK EDITION ON BLUE JAY & NEON ORANGE COLOURED VINYL**

Audio & Video

BREAKUP HAIRCUT - 'NO WORRIES IF NOT'

Formats

• INH004CD - CD

  5056828967273

Details

Acclaimed punk-pop pioneers Breakup Haircut return with a second album that pushes their sound further: sharper and tighter, but stays messy in all the right places. This is about leaning into joy, silliness, and trust: in each other, in the process, in the songs. They recorded it in a literal garage (mummified, decaying bird and all), recording DIY-style with their longtime engineer Marvin living on-site for a week of chaos, cowbells, and comfort food. The result is a punchy and emotionally layered collection that ricochets from resentment to resilience, from burnouts to breakups. Throughout, the band blends high-impact hooks with unexpectedly vulnerable songwriting, making it clear they’re not afraid to be loud and honest. No Worries If Not! is a love letter to the messy, joyful, exhausting, chaotic experience of making music with your friends. "It’s garage rock. We mean that literally. We recorded it in a garage. A week before we started, Jordan cleared it out and found a mummified bird and a thriving ecosystem of mould. Classic omen. We scrubbed it out, built a massive blanket fort to record in, and then Marvin (our ride-or-die sound engineer) told us the fort was sonically cursed and made us tear it down and rebuild it. He was right. It hurt. "A lot of this record came from thinking about the weird life cycle of being in a band. The highs, the lows, the late-night group chats, the mild existential crises, the snack runs. We spent a lot of time reflecting on why we do this and what it means to make music with your friends and how to keep that fun and grounded, even when it’s a lot of work. "We’re trying to move away from chasing gold stars and more toward joy, silliness, and being in the flow. Improving our craft in a way that feels playful, not punishing. We also wanted to open the door a bit wider and grow beyond the DIY scene without forgetting where we came from. Accept inspiration from outside, say yes when people offer help, and let ourselves dream a little bigger while still keeping things weird." Breakup Haircut are a sometimes-pop-sometimes-punk band. They formed for First Timers 2019, a fest where every band plays its first ever show, with two goals: being friends and playing fast. They’ve since been playing shows, making pals, and solving mysteries left and right. Their music is defined by humorously relatable lyrics and boppin’ basslines - and they’ve received positive and uplifting coverage from Loud Women, Gal-Dem, Pirate, Louder Than War, Clash, Get In Her Ears, Echoes and Dust, and numerous other publications - and played a variety of slots from festivals and sold out dayers to supporting DIY scene legends like Big Joanie and The Wedding Present. They’re extremely involved in the London DIY community, acting as organisers in First Timers Fest, Decolonise Fest, and Girls Rock! London (efforts to diversify the London music scene and demystify music-making), and representing in various queer sports teams across London. For fans of: The Beths, The Mountain Goats, Blink-182, Yeah Yeah Yeahs

Tracks

1 Spite! Spite! Spite! 2 I?m Okay (I Lied) 3 Don?t Get Eaten Up 4 Pit Culture 5 Imposter Syndrome 6 Entropy 7 Two Spaghetti Meals 8 A Place That?s Mine 9 I?m A Waste Of Time 9 I?m A Waste Of Time 11 The Algorithm Is Trying To Kill Me 12 Remy

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Audio & Video

OLD & IN THE WAY - 'LIVE AT SONOMA'

Formats

• JGFRR1065 - 2xLPs

  880882675714

Details

Live at Sonoma State presents one of the last live performances by the legendary bluegrass supergroup Old & In The Way. The November 4th, 1973 performance featured a line-up of Jerry Garcia, David Grisman, Peter Rowan, John Kahn and Vassar Clements. The group is in exceptionally fine form throughout, singing and playing 19 classic tunes in their inimitable style. Also included are two songs with special guest “Ramblin’" Jack Elliott, who was also on the bill that day. The performances are pressed to 2xLPs in a limited edition of 5,500 and presented in gatefold packaging featuring artwork designed by D.Norsen and Taylor W. Rushing. 

Tracks

Tracklist:
Going to the Races
Catfish John
Eating Out of Your Hand
Lonesome Fiddle Blues
Land of the Navajo
Old & in the Way Breakdown
Panama Red
Pig in a Pen
Fanny Hill
The Hobo Song
Wild Horses
White Dove
Drifting Too Far from the Shore
Uncle Pen
High Lonesome Sound
Tramp On the Street*
Waiting for a Train*
Midnight Moonlight
Orange Blossom Special

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Audio & Video

TIM HILL - 'LEVIATHAN WHISPERS'

Formats

• BUTR140 - LP

  N/A

Details

Leviathan Whispers is an album of longings, laments, deliriums and drones, savage and sublime. Within are breaths, hums and bone songs for shadows and fl ames to dance to. Tim Hill is an inspirational fi gure within the UK arts, jazz, noise and improv world. A shapeshifting maverick exploring Britain's diverse musical traditions, from rough music to industrial folk, free jazz to dub, post-punk to avant-rock, incorporating ambient electronics, hymns and noise. Having worked with pioneering arts company Welfare State International, Tim’s performed inside Stonehenge, on the back of trucks at Notting Hill Carnival, leading giants through the streets of London, Dublin and Galway, at Olympic Torch events, celebratory feasts and leading humanist funerals. Tim is also festival director for The Sound of the Streets, a charity promoting outdoor music and musical director of the Wye Valley River Festival where he helps street bands across the country including The Big Noise in Taunton and Horns of Plenty in Oxford. Leviathan Whispers is a spectral, contemplative selection of Tim's recorded work, including material created for art installations, outdoor projects, solo performances and personal meditations. Inspired by landscape and the eternal pull of Blake's Albion, baritone, alto and soprano saxophones are mixed with tape loops, old synths, recycled live recordings, woodwinds and reeds. Other sounds are processed by Colin Potter (Nurse With Wound) and drone artist Jonathan Coleclough. The album artwork and accompanying videos feature sound sculptures by Michael Fairfax (Royal Society of Sculptors) alongside unsettling visuals by fi lm-maker and junk-alchemist David Young. "an amazing player - there's a weight to his music with a wonderfully dark edge" Corey Mwamba / BBC Radio 3 Fans of Colin Stetson, John Surman, Anna Von Hausswolff , William Basinski and La Monte Young will fi nd much to savour on this new 12" LP. LAUNCH PARTY: we're holding a special launch event with a live performance and talk by Tim Hill on Saturday, 15th November inside a beautiful Victorian chapel beneath Royal Berks Hospital, Reading. For guest list please email: info@thedelawareroad.com

Tracks

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Audio & Video

PAPIR - 'IX'

Formats

• PSYCHOBABBLE141 - 2xLPs

  4015698876789

• PSYCHOBABBLE141CD - CD

  4015698501179

Details

*VINYL OUT OF STOCK* Utilizing only guitar, bass and drums, Papir conjure vast and melodic soundscapes while still maintaining a krautrock drive. One of the most unique bands in the modern European psych rock scene, they continue to innovate as they refine their sound with each album. Copenhagen’s foremost aural travelers are back and bearing new music. True to their distinct sound, Papir return with another chapter in their ongoing sonic journey. Terms like post-rock, ambient rock, psychedelia, and krautrock may circle their sound, but none quite capture its shimmering, elusive magic. IX is a wide-open record in every sense. From the flowing compositions – which linger but never overstay, jam and unfold organically – to the wonderful airy production, you get the sense of being both in studio with the band and simultaneously on the beach with wind blowing through your hair. In addition to the ever free-flowing nature of the band’s live recordings, additions such as synthesizer or extra percussion appear always tastefully right when needed, adding the perfect seasoning on top. Available on 180gr. black 2LP including download code and on CD.

Tracks

1. IX. I 2. IX.II 3. IX.III 4. IX.IIII 5. IX.IIIII 6. IX.IIIIII 7. IX.IIIIIII

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Audio & Video

LOS CAMPESINOS! - 'A LOS CAMPESINOS! CHRISTMAS'

Formats

• HS008LP - LP (COLOURED)

  5061041821585

• HS008CD - CD

  5061041821554

Details

LIMITED: CHECK ALLOCATION WITH REP  **UK COPIES COMES WITH AN EXCLUSIVE CHRISTMAS CARD** Repressed for the first time since its original 2014 release, ‘A Los Campesinos! Christmas’ has been freshly remastered for the 2025 festive season and will be available on CD and a record store exclusive Evergreen colourway vinyl. The EP features four Los Campesinos! originals, plus a modern take on the traditional ‘the Holly & the Ivy’ and their somehow even more sorrowful cover of the Mud sob-along classic ‘Lonely this Christmas’. Available on CD for the first time ever and on vinyl for the first time in over 10 years, this EP is ready to cement its rightful place in the Christmas canon, and become a tradition for a new generation of fans. • Exclusive Evergreen colourway for retail - includes lyric sheet and remastered audio. Limited 500 copies • Available on vinyl for the first time since its original 2014 release - the original pressing is highly sought after by fans • Available on CD for the first time ever - includes lyric sheet and remastered audio. • Follows the release of the band’s most successful album to date, All Hell (#14 Official Albums Chart) and the band selling out their biggest shows to date in the UK. • Recent press coverage includes Stereogum, Pitchfork, Brooklyn Vegan, DIY, The Guardian & more. • Recent radio support from BBC 6 Music, BBC Radio Wales, Radio X & more. • Los Campesinos! have just announced their longest UK headline tour since 2017 to mark their 20th anniversary next year. 

Tracks

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