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Live albums are often a ‘hit or miss’ affair but ‘Live Oblivion’ 1 & 2 buck that trend, Recorded across 2 nights in 1974 at the Hollywood venue The Whisky A Go Go. The group were finishing off a huge US tour that had roared down the east coast then across the Midwest and by the time they hit LA, as Brian recalls “we were all absolutely performing at our height. So I decided that I really needed to record the band live at that point”. Utilising the Wally Heider Mobile Truck, the scene was set for one of the greatest jazz-fusion live recordings to be made. The show opens with a hyper fast version of Beginning Again due to drummer Steve Ferrone being almost an hour late and running high on adrenaline, Brian remembers thinking “I don’t even know if I can play it that fast!” Fortunately, he and the Oblivion Express including stellar vocalist Alex Ligertwood rise to the challenge and the result is akin to some frenetic jazzy drum & bass but also pushes the group onto another level altogether for the rest of the show. Across both volumes there are no fillers and the highlights are many - Bumpin’ On Sunset, Freedom Jazz Dance, and Inner City Blues are all stunning, but especially the epic version of Maiden Voyage which Mos Def sampled on his 1997 'If You Can Huh! You Can Hear', and both DJ Mitsu in 2004 and 2017 Crimeapple both dipped into Live Oblivion to sample that fire for their own projects.

Das Vancouver-Duo Potatohead People (Nick Wisdom & AstroLogical) knüpft auf seinem vierten Album "Eat Your Heart Out" an die sauberen und musikalischen Produktionssensibilitäten an, für die es im letzten Jahrzehnt gefeiert wurde. Gleichzeitig treten die beiden J Dilla- und Madlib-Fans aus ihren Schatten heraus und als eigenständige Sänger, Songwriter und Musiker ins Rampenlicht ein. Begleitet werden sie u.a. von Redman, Kapok, Abstract Rude, t3 und Kendra Dias, während Kaytranada, Soulection, Nightmares On Wax, Pomo, Exmag, Big Boi, Phife Dawg und FM4 Radio zu ihren Fans zählen.

It's time! The Dark Master, III Machine, Signal 2 Noise, Known Unknown - Dom & Roland lands on Samurai Music for his first single for the label.

A foundation Drum and Bass artist, Dom's productions have retained their distinctive identity as his music progressed through his storied career for most of the genres most influential labels. Dom has made his fair share of the most important records in the genre and continues to do so with his dedication to the craft unwavering after 30 years.

His Samurai debut harnesses his experience and prowess with two capsule examples of raw Dom and Roland power.

The Beaches zeigen uns auf ihrem zweiten Studioalbum "Blame My Ex", das ursprünglich im September 2023 veröffentlicht wurde, dass eine Trennung manchmal ein Durchbruch sein kann. Nach ihrem mit dem Juno Award ausgezeichneten Album Sisters Not Twins (The Professional Lovers Album) sind The Beaches zurück und lassen auf "Blame My Ex" ihre fröhliche, freche Schale fallen, um ihr verletzliches Inneres zum Vorschein zu bringen.

Eliza Enman-McDaniel (Schlagzeug), Leandra Earl (Keyboard und Gitarre) und die Schwestern Jordan und Kylie Miller (Gesang/Bass bzw. Gitarre) lassen sich von einem echten Herzschmerz leiten. The Beaches haben sich mit dem ausführenden Produzenten Lowell (Beyonce, Madison Beer, Nessa Barrett), dem Juno-nominierten Produzenten Gus Van Go (Arkells, Sam Roberts) und dem Produzenten Sam Willows (Ruby Waters) zusammengetan. Sie haben sich ganz auf das Songwriting und die Melodie konzentriert, um ihre Live-Energie in dieses Album einfließen zu lassen und einen
authentischen Sound zu schaffen.

The third major release from deadbeat Records – East London’s newest home for delinquent house, techno and breaks – sees I Love Acid heads Posthuman swagger out of the shadows with a wry smile, packing a full clip and one in the chamber.

DBR003 offers 4 peak cuts of early-hours madness. Pure and simple. And we are not talking fucking beautiful sunrises here. This is 4am, sanity wearing off, blurred vision, locked jaw, pumped fist, heart in your mouth kind of music. Where Extender drops in hard upfront with its jacked, high energy rave stabs,

Head Wrench’s relentless acid worm burrows a little deeper into your amygdala before splitting it wide open. On the flipside, Wobble Tool’s suitably drippy hook oozes over a brooding, proggy baseline, but only after Builder growls out the gate, an irresistible dancefloor-melting monster with an appetite for destruction

Melbourne pop eccentric Gregor releases his fourth album Satanic Lullabies, his deepest and darkest record yet. In the years since his first album, 2016's Thoughts & Faults, Gregor's music has got progressively odder, more challenging and more rewarding. The spacious, acerbic pop of Silver Drop (2018), featuring touching single A Song About Holding Hands, was followed by the lovesick Destiny (2020), which put Gregor's inquisitive pop through a warped filter. Now Satanic Lullabies has polar extremes of wide-eyed innocence and deep despair. There are moments of great musical beauty that segue into harsh, bleak soundscapes. "I'm seeking to draw attention to the similarities between heaven and hell," says Gregor, "and to comfort anyone who recognises these." Satanic Lullabies is a modern epic, a bedroom odyssey, like if pre-MAGA Kanye made a Disney soundtrack. Gregor's live show ranges from solo mode up to a ten piece band, and he has played festivals such as Golden Plains, Dark Mofo, Inner Varnika, Boogie and The Others Way (NZ). He was nominated for Best Album and Best Solo Artist in the 2019 Music Victoria Awards, and Best Pop Act in 2021.

"Back Home - Complete Leiden 1984 Concert is the live album by Golden Earring which features the live recordings of their legendary sold-out show at the Groenoordhallen in Leiden. The recordings are available on vinyl in its entirety. Dick Maas (famous Dutch filmmaker, Amsterdamned o.a.) and his crew were present to film the concert that became known as 'Live from the Twilight Zone'. It was broadcast in the USA by MTV, then still in its early days. Back Home - The Complete Leiden 1984 Concert contains remastered audio and is available on black vinyl, housed in a gatefold sleeve with liner notes.

stay with me, everything bad,
madmen in wooden houses
without windows,
lost words.

Runar Magnusson is an Icelandic/Danish sound artist and musician, currently based in Austria. With a masters degree in Electronic Music Composition from The Royal Academy of Music, Aarhus, Denmark, he is inspired by the sounds of nature, noise, and meditation. Magnusson specialises in atmospheric disturbances through minimalist compositions. A sly humour cuts through the dark hues of his works.

Magnusson writes: "The two works which make up "Inside Out of Chaos" are somewhat related. They were made at the same time and share the same source materials somewhat – a pool of sounds I had been experimenting with for a couple of years. Two separate projects created the opportunities for me to realise them in these finished forms.

At the beginning of 2020 I was invited to participate in an acousmatic concert series at the Traktorfabrikken in Vienna. Curated by Austrian composer Christian Tschinkel and performed on his Akusmonautikum sound system this particular event, titled Kill & Kaoss, was the last in the series. I named my piece after the event and dedicated it to Tschinkel´s Akusmonautikum system. Without my knowing, I had witnessed this system in action half a year earlier at a concert at the Hermann Nitsch Museum in Mistelbach, with Hermann Nitch playing the organ and Tschinkel operating the sound system – a profoundly enjoyable performance. I was very happy when I connected the dots soon after the invitation to participate. I intended my work for Kill & Kaoss to be a way to greet the new lunar year of the rat – a year which held many surprises… The event took place on 22nd of February 2020 at Traktorfabrikken, Vienna.

"Inside Out (for Trattner)" was composed for Austrian artist Josef Trattner. It was the soundtrack for a film that was a part of his exhibition "Inside Out" at the Kiesler Foundation in Vienna, 2020. I assisted with the installation of the exhibition, itself a filmed action that evolved into the movie of which this is the score. The installation was a very hard physical process that left me bloody and blistered. It was also a fascinating, trance-inducing experience. Mining with ones bare hands, digging out this huge structure and creating a womblike cave, a tunnel system, a playground, a hideaway while experiencing ever-increasing pain in the fingers and hands. The exhibition ran from 27 February 2020 until 23 December 2020.

I consider this release as the final part of a trilogy I refer to as "the three sisters of sorrow". These three releases are an insight into my state of mind at the time – a mental collapse, somewhat triggered by a move to a new country, the death of my friend Jóhann Jóhannsson and the loss of my father a year later. Between 2018 and 2021 I had the trilogy almost ready but had not been able to finish them. I sought professional help to lift me up from the deep and was diagnosed with ADHD, which explained many things in my life. Only after the darkness had lifted could I see that these three releases were connected. They depicted both the mental state I had been in – an incapacitating downward spiral, a crushing chaos – and also my search for the light, a way out of the maze and my path up to the surface."

Runar Magnusson, Vienna, 13 November 2023

Samo DJ's label Sattaoja is back with 2 mesmerising strokes of genius from Beau Wanzer. Strictly limited to 200 copies worldwide (100 copies through our distro) and made with love in Sweden. You'd better hurry!

The Beaches zeigen uns auf ihrem zweiten Studioalbum "Blame My Ex", das ursprünglich im September 2023 veröffentlicht wurde, dass eine Trennung manchmal ein Durchbruch sein kann. Nach ihrem mit dem Juno Award ausgezeichneten Album Sisters Not Twins (The Professional Lovers Album) sind The Beaches zurück und lassen auf "Blame My Ex" ihre fröhliche, freche Schale fallen, um ihr verletzliches Inneres zum Vorschein zu bringen.

Eliza Enman-McDaniel (Schlagzeug), Leandra Earl (Keyboard und Gitarre) und die Schwestern Jordan und Kylie Miller (Gesang/Bass bzw. Gitarre) lassen sich von einem echten Herzschmerz leiten. The Beaches haben sich mit dem ausführenden Produzenten Lowell (Beyonce, Madison Beer, Nessa Barrett), dem Juno-nominierten Produzenten Gus Van Go (Arkells, Sam Roberts) und dem Produzenten Sam Willows (Ruby Waters) zusammengetan. Sie haben sich ganz auf das Songwriting und die Melodie konzentriert, um ihre Live-Energie in dieses Album einfließen zu lassen und einen
authentischen Sound zu schaffen.

Red vinyl, limited to 500 copies. Never Return is a fantastic successor to Vancouver based, melodic black metal outfit, Svneatr's previous album, Chinook, employing stellar performances all around that balance melody, fury, and riffs through its next-level songwriting. Seamless transitions between galloping riffs and blackened madness are nearly perfect, as well as its melodies and clean singing.

"Named for the band’s third lease on life, Third Wind finds Gulfer at a unique moment in their ten-plus year career. When they started in 2011, Gulfer played scrappy, complex math rock influenced by the emo revival. But in 2024 they’ve emerged almost unrecognizable, while still retaining the spirit of what made them all fall in love with Gulfer in the first place.

Third Wind’s stylistic turns are emphasized by deeper texture and simpler songwriting, influenced by the reemergence of 90s alternative and shoegaze. With a new emphasis on atmosphere and more straightforward composition, Gulfer give themselves space to explore audaciously.

Album opener “Clean” gets as close to pop as the band has ever been, where “No Brainer” dabbles deftly in downer rock that asks “what even is my fucking place in the world? "Bold juxtapositions feature elsewhere on Third Wind: pop-punk bruiser “Too Slow” stops on a dime before evolving into a slow burning drum n bass passage, all within two minutes. And then there’s “Heartshape”, a downright love song shrouded in virtuosic performance and electric-acoustic counterpoint. Although these contrasts could be construed as aimless fiddling, their seamlessness is the true essence of Third Wind, indicative of a sage band with a renewed love for what they do."

The phrase "Once in a lifetime" is sometimes used carelessly to accentuate the importance of an event. But it was truly a unique occasion when the orchestras of Duke Ellington and Count Basie got together in the studio to record together for the first (and last) time. The Duke Ellington and Count Basie (both playing the piano) orchestras had already been competitors for 25 years but the leaders' mutual admiration (Ellington was one of Basie's main idols) and some brilliant planning made this a very successful and surprisingly uncrowded encounter. The result is almost an embarrassment of riches. Limited edition on solid orange & solid white vinyl. "First Time! The Count Meets The Duke" includes the following tracks: "Take The "A" Train", "Wild Man (Wild Man Moore)", "B D B" and more.

As former member of the Miles Davis sextet Bill Evans made a strong impression with his first trio, which included the innovative bassist Scott LaFaro and drummer Paul Motian. Their 1961 live ‘Sunday At The Village Vanguard’ set the standard for interactive trio work and is still regarded as a jazz classic. Tragically, LaFaro was killed in a car accident 10 days after that historic session. There followed a succession of rhythm tandems until Evans found another inspired pairing in 1968 with bassist Eddie Gomez and drummer Marty Morell who remained together for seven years. Limited edition on blue transparent vinyl. "Autumn Leaves - In Concert" includes the following tracks: "Quiet Now", "Very Early", "What Are You Doing The Rest Of Your Life?", "Some Other Time" and more.

MISSILES fire off their debut album "Weaponize Tomorrow" on Svart Records Malmö’s MISSILES are set to release their inaugural album, "Weaponize Tomorrow", on May 10, 2024, under the banner of Svart Records. The members of MISSILES are no new kids on the block. Coming from punk, rock, and metal, as well as surf and rather diverse backgrounds, they all answered to the call of their good friend Gabriel Forslund - sincerely interested in doing something new and exciting together. The band's trajectory began with a 7" single released by the Swedish label Fetish in 2016. Initially viewed as a project, MISSILES have organically evolved into a fully dedicated band with a laser-guided focus, causing shock waves in the underground with their jet-fuel genre-clash. Combining abandoned sounds with new inventions on “Weaponize Tomorrow”, MISSILES promises to both pat you on the head and stab you in the back, delivering a unique blend of post-punk with a touch of goth rock. The band’s lineup consists of: Gabriel Forslund (vocals and guitar) Jens Rasmussen (drums) Tobias Augustsson (synthesizers) Sebastian Gadd (guitar) Linus Larsson (bass) MISSILES claim their debut is a one-of-a-kind album, truly a loved bastard. ”Weaponize Tomorrow” will appeal to those who enjoyed the certain “je ne sais quoi” found in the New Wave movement, a line of thought that is liberating to hear today when artists go to the bank with a genre description. MISSILES couldn’t be bothered; it’s rock, it’s pop, its punk, it’s je ne sais quoi. Hard to pin down, but undeniable to freak out to, "Weaponize Tomorrow" is a high yield blast wave that will leave MISSILES hot on the tongues of those looking for a sudden and dramatic, incendiary kick. A gut smashing future shock that will resonate across diverse musical landscapes, “Weaponize Tomorrow” will be the perfect atomic cocktail for fans of Wipers, Dead Moon, The Birthday Party, The Gun Club and even modern iconoclasts Molchat Doma and Beastmilk. Keep your finger on the button for MISSILES‘ explosive debut out on May 10, 2024.

Third studio album by the American rock duo comprising Jack Black and Kyle Gass. The album features the eponymous single 'Rize of the Fenix' and debuted at #2 in the UK charts. This is a x13 trk, single Black LP Vinyl format. Both of these TENACIOUS D titles are being made available again, around the bands UK & European tour dates & subsiquent catalogue campaign. Marketing activity.

Pressed on limited edition purple rain vinyl. Wrote and produced by Colemine label owner, Terry Cole. Band consists of two members from The Jive Turkeys. The last recordings made at the basement Regent Drive studio in Middletown, OH finally making it to a dirty 45! The Tee See Connection is comprised of members of The Jive Turkeys (Rob Houk - drums, Matt Amburgy - keys, Terry Cole - bass). The A-side, "Skyline Chili Churner" is an organ burner with funky bass and blown out breakbeat style drums while the B-side is straight up boom bap with Matt Amburgy cookin' hard on the keys. Drums and all parts ripe for sampling!

Repress! PRESSED ON BLUE & WHITE SWIRL VINYL! Housed In A High Gloss Jacket With Each LP Tucked Into A Printed Inner Sleeve

Nasir "Nas" Jones' 2001 record Stillmatic was considered a major comeback for the 90s rap icon. It signalled a return to the gritty, urban chaos of his acclaimed debut album, after releasing record after record of gradually more mainstream material, and Nas' return to prominence in the highest echelons of hip-hop. In spite of this newfound critical clout, Stillmatic's release did nothing to squash his then ongoing feud with fellow New Yorker Jay-Z, who had gone so far as to challenge Nas to a pay-per-view rap battle. A challenge Nas rejected, stating "If Jay-Z wants to battle, he should drop his album the same day I do and let the people decide." Nas fans never would get the no-holds barred lyrical battle with Jay-Z many had speculated. What they got instead was one of Nas' most personal and introspective releases to date in 2002. Not long after Stillmatic's release, Nas spent much of his time away from the limelight to tend to his ill mother, who would pass on from breast cancer in 2002. His experiences with his mother's mortality as well as the fallout of his feud with Jay-Z, who continued to produce diss tracks as Nas tended to his mother, would inspire much of the lyrical material on his next record. God's Son was released in December of 2002, and like Stillmatic before it, was subject to major critical acclaim. On God's Son, Nas effectively took the battle-hardened demeanor he had cultivated and tore it down across 14 tracks that were emotionally insular, though still dusted in urban grit, and still finding time to shoot back at Jay-Z's potshots on tracks like "Last Real Nigga Alive" and "Mastermind." Assisting Nas was a slew of top-tier producers like The Alchemist, Eminem, Ron Browz, and Salaam Remi, over samples of James Brown, the Incredible Bongo Band, Fela Kuti, and Beethoven, and guest vocals from Alicia Keys, Kelis, Claudette Ortiz of City High, and even a posthumous 2Pac.