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No Other Voice And Artist Influenced And Basically Created The Female Fronted Symphonic Metal Genre As Much As Tarja. A Pioneer In Goth And Symphonic Metal, The Classically Trained Finn Rose To Fame With The Band Nightwish, Whose Face And Voice She Had Been For 9 Years. Tarja, Whose Vocal Range Goes As Far As Three Octaves, Started Her Solo Career After Stepping Out Of Nightwish In 2004.
Releasing Several Very Successful Solo Albums, Awarded Gold And Platinum In Various Countries, Such As Germany, Poland, Czech Republic Or Finland, Tarja Turunen Has Been Touring The World With Her New Band. The Most Successful Finnish Solo Artist Is One Of The Most Versatile And Passionate Musicians Originating From But Not Limited To The Heavy Music Scene: Her Pure Classical Work 'ave Maria - En Plein Air' Charted In The Classical Charts In Germany And Has Led To Sold Out Classical Concerts All Over Europe. Adored By Many Fans As Their 'goddess', The Finnish Soprano Has The Skill To Carry Her Fans Away Just By Her Presence - Probably More Than Any Other Female Artist In This Genre. When Classic Meets Rock And Heavy Metal, It Inevitably Leads To Tarja

Filmed during Tarja's world tour 'The Shadow Shows', during which the influential heavy rock singer circled the world 7 ½ times with over 300.000 km travelled and played over 200 shows in 40 countries in front of 1 million people, 'Act II' consists of the singer's very intimate 75 minute set filmed and recorded live at the Metropolis Studio in London, UK and the breathtaking live performance of one of her shows in Milan, Italy, and previously unreleased interviews and photo galleries. The theatrical rock adventure 'Act II' combines two incredible, yet slightly different live performances on video: The first chapter, 'Metropolis Alive', has been filmed two months prior to the release of Tarja's 2016 success 'The Shadow Self'. 20 winners from all over Europe were lucky to witness Tarja's intimate, yet rocking 75 minute set at renowned Metropolis Studios in London, UK where the singer performed songs from her then unreleased album - for the first time in front of an audience. 'Act II's' second chapter has been recorded on November 29th, 2016 at the magnificent Teatro della Luna Allago in Milan, Italy and includes numerous hits from all four Tarja albums such as 'Innocence', 'Die Alive', 'Until My Last Breath' as well as an incredible cover of Muse's classic 'Supremacy'. That night's set list also enchants the soprano's
long-time fans with a medley consisting of the distinctive Nightwish evergreens 'Ever Dream', 'Slaying The Dreamer' and 'The Riddler'. All topped off with a remarkable acoustic set which presents Tarja classics in a brand new way. Even though the shows deliberately differ in look, sound, approach to the music and adrenalin, both have one thing in common: from the very first to the very last tune, the state of the art production displays Tarja's energetic performance and her graceful, charming presence.
'Act II' is going to be released as 2CD digipak, 3LP Gatefold (180g, black), DVD, Blu-ray, Limited Mediabook 2CD+2BD (incl. two full live shows filmed at Hellfest in France and Woodstock Festival in Poland as bonus) and Digital.
'ACT I', Tarja's first ever live release, charted Top 10 all over Europe as well as almost all over the world, with a sensational #5 in Germany's General Charts. The video version even remained for over two months at the peak of the Finnish music video charts.

This concert from 2016 marks the first time Heart played at London’s famous Royal Albert Hall.

To make the sold-out night even more special, the band was accompanied by the Royal Philharmonic Orchestra, who added further depth and an epic scale to Heart’s songs.

The set included hits, fan favourites and both new and reinterpreted tracks from their most recent album at that time: “Beautiful Broken”. The chemistry between the band and orchestra added a truly magical quality to a concert that will live long in the memory of those Heart fans lucky enough to have been present.

Formed in 1968, British band Yes belongs to the giants of progressive
rock/artrock. “Magnification” is their 2nd album with a full symphony orchestra. Recorded without a keyboardist, the album features a 60-piece orchestra conducted by Larry Group . Furthermore, it is the only album in the band’s history involving only four members. Now available via earMUSIC as heavyweight double vinyl gatefold edition.

Clear Vinyl

Repressed! Get On Down proudly present Mecca And The Soul Brother, the critically acclaimed 1992 full-length debut from Pete Rock & CL Smooth. The album is considered as one of the greatest Hip Hop albums of all time. Boasting tracks such as the first single, “They Reminisce Over You (T.R.O.Y.)”, a dedication to their deceased friend; “Trouble T-Roy”, which went on to become not only their signature hit, but also one of Hip Hop’s all-time great songs. The album is propelled forward by Rock’s quick, soulful interludes; usually bits of old R&B tunes layered with his signature trumpet and sax loops. Smooth’s liquid freestyle delivery pieces together the perfect vocal match that, together, creates a sprawling, nearly 80-minute-long album on which not a single song or interlude is a throwaway or a superfluous piece.
Mecca And The Soul Brother has stood the test of time. The release has been named one of the essential recordings of the 90s by Rolling Stone, appears on Ego Trips listing of the Top 25 Hip Hop albums released from 1980-1998, and appeared on The Source’s 100 Greatest Rap Albums of all time.

This is the first ever solo album from the legendary cult singer Attila Csihar, known for his work in Mayhem, SUNN O))), Plasma Pool and Tormentor. For this album Attila traveled to the Monolith of Baalbek archeological site in Lebanon and conducted two sessions. The first was an all night session situated directly across from the massive trillion stones of the Temple of Jupiter. For the second session he recorded directly on one of the 900 tons trillions a few km from the temple site. A work in progress for ten years, I am deeply honoured to have the chance to present Attila's work on Ideologic Organ. He has continued to be an inspiration of what is possible to surprise and develop within the extreme sides of music, in a radical and intelligent way. To say he has been a fundamental inspiration of art music creation is an understatement.

AWEH is back to present Shukuma, the highly anticipated collaboration between label head Esa and South African Kwaito legend Kamazu from Soweto. This record, created between 2020 and 2022, is a testament to the power of musical synergy and South African cultural aweh-ness.

As part of Shukuma, the title track and the EP also lies the future Kwaito classic, Muntu. This dance floor banger not only showcases the creative prowess of Esa and Kamazu but also features a collaboration with Dirty Bungalow, adding a unique touch to the overall EP. Muntu has already been featured in the esteemed podcast series, The Invisible Hand.

To further enhance the experience, Esa has collaborated with talented artists Floating B_strd and Sanoy to create an exquisite art piece that perfectly captures the essence of Shukuma. The final artwork will be revealed on the official release day, adding an element of surprise and anticipation. This is a Kwaai Collab you don't want to miss.

On the occasion of its exceptional evening at the Cabaret Sauvage, Tricatel is releasing a superb vinyl compilation of thirteen tracks, including several previously unreleased ones. It's a collector's item for long-time fans and for those who want to discover the label.

The Tricatel Machine compilation pays tribute to this unique evening, including each artist present at the party. But not only that! Of the thirteen tracks, many are new or unreleased on vinyl.

Omformer is the collaborative project from Ute cornerstones Mikkel Rev and Oprofessionell. Mostly focusing on the live act they still have managed to build an impressive catalogue covering everything from one-hour long ambient tracks to loopy psychedelic peak time weapons.

And for their long overdue debut EP you can expect no less, presenting four summer ready trance excursions extracted straight from previous live sets and jam sessions.

Dive into their most maximalist, drama inducing and dancefloor-shattering project to date. Get lost in layered psychedelic trance endlessly looping arpeggios, mind bending squelching resonances and big melodies best consumed under the forest canopy.

Flatlife Records 3x12" Sales Pack including:

- V/A - The Factory 001 (FACTORY001RP)
- V/A - De Missie Various Artists 01 (DMVA01)
- V/A - Jack Wax Presents: Flat Acid Compilation Volume 5 (FLAT019RP)

Following nearly 20 years of working together as a trio, and numerous cross-collaborations in different configuration between them, Ideologic Organ presents Placelessness, the debut full-length by Chris Abrahams, Oren Ambarchi, and Robbie Avenaim, comprising two long-form works at juncture of ambient music, minimalism, rigorous experimentalism and improvisation, and machine music. Having carved distinct pathways across a diverse number of musical idioms for decades, Chris Abrahams, Oren Ambarchi, and Robbie Avenaim are each, respectively, among the most noteworthy and groundbreaking figures to have emerged from Australia's thriving experimental music scene. Ambarchi and Avenaim first encountered Abrahams when seeing the Necks - the project that has served as the primary vehicle for his singular approach to the piano since its founding in 1987 - together during the late 1980s, not long after having met in Sydney's underground music community. The pair's collaborations date back more than 35 years, criss-crossing Ambarchi's pioneering solo and ensemble work for guitar and Avenaim's visionary efforts for SARPS (Semi Automated Robotic Percussion System), robotic and kinetic extensions to his drum kit. In 2004, fate brought the three together in a trio performance at the What Is Music? Festival, the annual touring showcase of experimental music founded and run by Ambarchi and Avenaim between 1994-2012. For the nearly two decades since, Abrahams, Ambarchi, and Avenaim have intermittently reformed in exclusively live contexts, in Australia and abroad, cultivating and refining the fertile ground first tilled in that early meeting. Placelessness is the first album to present this remarkable trio's efforts in recorded form. Placelessness is the joining of three highly individualised streams, working in perfect harmony; the point at which friendship, mutual respect, and decades of creative exploration produce a singular spectrum of sound. Featuring Abrahams on piano, Ambarchi on guitar, and Avenaim on drums, the album's two sides draw on each artist's enduring dedication to long-form composition. Its two pieces, Placelessness I and Placelessness II, initially began as a single, 40 minute work, before being divided and reworked into distinct, complimentary gestures for the corresponding sides of the LP. Beginning with restrained clusters of reverberant piano tones, Placelessness I progresses at an almost glacial pace, with Abrahams' interventions increasing met by sparse responses, darting within vast ambiences, on guitar and percussion by Ambarchi and Avenaim. Remarkably conversational within its convergences of tonal, rhythmic, and textural abstraction, over the work's duration a progressive sense of tension unfurls and contracts, refusing release, as each of the ensemble's members contribute to an increasingly tangled sense of density at its resolve. While an entirely autonomous work, Placelessness II rapidly realises a distillation of the energy hinted at across the length of its predecessor. Following a luring passage of harmonious calm, Abrahams' launches into shimmering lines of repeating arpeggios, complimented at each escalation of tempo by Avenaim's machine gun fire percussion work and Ambarchi's masterful delivery of tonality and texture, as the trio collectively generate dense sheets of pointillistic ambience within which individual identity is almost lost, before slowly unspooling into unexpected abstractions and dissonances that deftly intervene with the work's inner logic and calm. What could easily be termed a maximalist take on Minimalism, Placelessness is a masterstroke of contemporary, real time composition, that blurs the boundaries between ambient music, experimentalism, free improvisation, and machine music. Drawing on Chris Abrahams, Oren Ambarchi, and Robbie Avenaim's decades of respective solo and collaborative practice, and the culmination of nearly twenty years of working together as a trio, it's two durational pieces - Placelessness I and Placelessness II - take form with a startling sense of effortlessness and grace, neither shying away from explicit beauty or rigorously tension within their forms.

Moving to England for its second release, Rant & Rave Records presents a proper EP from South Wales-based producer JoeFarr, known for his dancefloor jams on labels such as: 'SLAM', 'Arts', and his most recent success with 2019's epic 12" 'Death Becomes Us'. On the a-side 'In This Anger', which JoeFarr has written with Louisahhh, an anxiously dark, slowly developing atmosphere menaces behind a slow rolling, broken beat for maximum effect. This is punctuated by dark, slightly distorted female vocals with sporadic lyrics subtly encouraging its dance floors to move.. and think. Signature hard and bouncy grooves with infectious in-yer-face techno riffs dominate the rest of the EP with tracks 'Laced Up', 'You Can See Me' and 'You will See Me (Hardcore)', effortlessly weaving in and out of the pulsating groove with an interesting palette of machine sounding synths and heavily processed vocals.

Antifreeze Green Vinyl. Black Market Brass is proud to present Hox, due out on Colemine Records on September 8, 2023. Their third LP is a new take on afrobeat that combines traditional grooves with heavy, hypnotic, sci-fi sounds that reflect the band's myriad of influences as record collectors across genres. "We didn't leave the traditional afro-beat sound behind, but we did allow ourselves to pull from different places with less hesitation." Shared saxophonist Cole Pulice. Like their previous albums, the 9-piece band recorded Hox live to tape. "The sound and aesthetic of the analog recording process is important for this kind of music," Pulice explained. "We're looking to capture lightning in a bottle." With that, the album features several sections of heavily processed synthesizers, harsh glitches, fuzzed out guitars, and a burning percussion section that pays homage to the traditional drumming cultures of Nigeria and Ghana. The performances are dynamic and confident. The grooves are infectious and hypnotic. BMB has pushed further into musical experimentalism, but at the end of the day, they're still making dance music. Krautrock, free-jazz, doom metal - the inspirations for Hox stem from all kinds of musical backgrounds, but the sound is far from scattered. It's a polished, innovative record that's sure to exceed expectations and keep the listener engaged from start to finish.

Curated by Reference Point residents Mark GV Taylor and George Arthur, this 15 track
compilation album features tracks the pair have played at their peripatetic, Europe wide
events since 2012.
Stretching from the 1970s to the present day the Reference Point compilation spans a whole
range of genres, tempos, languages and grooves where the quality of music is paramount
whether $1.00 bin records or $1000 rarities.
Reference Point, 'a place to hear the music', is a truly trans-global album with music from
Argentina, Brazil, Oakland, Detroit, Texas, London and more, including tracks from private
press albums, from artists who have played at Reference Point events and from current
artists such as MF Robots and Caixa Cubo.
Releasing as a CD, digital and a double LP, Reference Point is another essential compilation
from BBE Music and one that belongs in the collection of all collectors and lovers of great
music

Das neue Album "Brandy Clark" versammelt die unpoliertesten und intimsten Aufnahmen, die man von der CMA-Gewinnerin und 11-fach Grammy-Nominierten in den zehn Jahren gehört hat. Aufgenommen im berühmten Shangri-La-Studio in Malibu, produziert von Brandie Carlile und von einem Killer-Lineup von Musiker:innen eingespielt, mit dabei waren u.a. Derek Trucks, Lucius und Brandie Brandie Carlile. Mehr als je zuvor stellt Brandy Clark auf ihrem vierten Album ihre künstlerische Vielseitigkeit unter Beweis.

Die elf Tracks durchqueren das gesamte emotionale Spektrum - vom schonungslosen, fordernden Opener "Ain't Enough Rocks" über das dahinjagende, harmoniegetränkte "Tell Her You Don't Love Her" bis hin zur ausgelassenen Freude von "Northwest", einer Liebeserklärung an Clarks (und Carliles) Wurzeln. Ein Highlight ist auch ihre Kollaboration "Dear Insecurity", in der die beiden auf ebenso originelle wie lebensnahe Weise einen Blick auf die Dämonen werfen, mit denen wir uns alle tagtäglich herumschlagen.

Neben den Aufnahmen des Albums war Clark in den letzten Monaten auch anderweitig in große Projekte eingebunden, etwa die Proben für das mit Spannung erwartete Broadway-Musical Shucked , für das Clark und ihre angestammte Kreativpartnerin Shane McAnally die Musik geschrieben haben, und die Mitwirkung als Songwriterin und Sängerin auf dem All-Star-Country-Album Ashley McBryde Presents: Lindeville , das bei den diesjährigen Grammy Awards in der Kategorie "Best Country Album" nominiert war.

EACH COPY Personally SIGNED BY LEN FAKI

Len Faki has always been a defining character of the techno underground. His unique approach to DJing, the consistent work as a producer and the quality output of his label Figure has all shaped the current environment.
Starting out as a clubber in the 90's, his inspirations have always reached back to the first encounters with electronic music, when new worlds opened and everything seemed possible.

While these experiences have always influenced Faki's productions and used to be released under many different aliases back in the day, they have been waiting since to be made into a proper album under the Len Faki moniker.

After quickly climbing to the top of the international DJ circuit, busy touring schedules never quite allowed for it. Finally faced with the opportunity of a long overdue creative break, Faki decided tackle the life-time venture with the necessary dedication and focus.

Excited about the new project, he also took the time and energy needed to expand his production methods. Finding new techniques allowed him to truly bring all his different influences to the surface. The process was one of following his own heart, occasionally challenging and surprising himself. Naturally the result emerged as two parallel experiences, which are now presented across two discs. Both still carry all the signature features of Faki's style but with added layers of depth and detail. There's that special contrast of dark and heady grooves, paired with dreamy melodies that transport the listener to places beyond the mind. But we also see all strains of his previous work being incorporated, mixed and molded into something new altogether.

While the first disc focuses on the kind of techno, which Faki has been brought up by and given back to for so many years of his life, the second is more loose and experimental, with forays into house, ambient and broken beats - the sounds he has always kept very passionate about.

It creates two distinct experiences, showcasing the entire breadth of Faki's cosmos. Where some ideas stay straight and kick hard, like the neon bleep opener Tor 8 or joyfully booming Astra, others take the newfound freedom to inspire a wistful broken beat ballad such as Hymn (In the Name of Fantasy) or the soulfully subdued Drum & Bass closer Voices.
Many songs even exist as pairings, with their respective counterpart on the other disc. For example, the duo of Shri Yantra/Yantra, where similar soundscapes have been looked through different lenses, making for a more straight-laced or shuffled rhythm. Also noteworthy are Faki's appearance as a veritable house producer on Hymn (In the Name of Freedom) as well as the inclusion of two very personal pieces:
The Halide tracks were made in remembrance of Faki's late mother, who passed away during the final production stage of the EP. These delicate tracks capture the intense sadness Faki was feeling at the time and helped him to process his grief and eventually to finish off the album.

By doing so Faki has given us a complete artistic statement, one that proves him to be as curious and driven now as ever, taking his sound to all-new realms.

Echo Ladies are back with their second album after a quiet spell while the rest of the world turned upside down.
This music has been in development for quite a while, and you still find clear inspiration from some of the shoegaze greats such as Jesus and the Mary Chain, A Place To Bury Strangers, Slowdive, and many more.

This album is built on the same foundation that Echo Ladies curated during their past releases, but with a more unyielding presence. Echo Ladies have always tried to balance two emotions at the same time throughout their songs. While their past songs tried to convey the feeling of nostalgia and hope for the future, mixed with worries and anxieties about defining who you are and what you will become, this album instead tries to balance the emotions of sorrow and loneliness, with anger, frustration, and the determination to make a change for the better.

This album really carries the Echo Ladies mantra that "Nothing Ever Lasts". Good things can come to an end, but bad things will also pass.

ENG Jay-Jay Johanson released an EP around his new single « Amen » The song is a piano voice piece which turns out to sound like a classic that could come from the «Great american songbook ». Jay Jay talks about all the cultural exchanges that shapes & rhythm a love story, to be more accurate : a failed love story. In addition to the «Addictive Youth remix » of the song, 2 others remixes are featured on the EP produced by the french singer/composer Léonard Lasry . On « Romeo » we can hear his piano touch and his background vocals mixed with the presence of a funky guitar, rare in Jay Jay's discography. On « Why Wait until tomorrow » he has invited Amina for a great vocal featuring.

Working with Bat For Lashes producer David Kosten (aka Faultline), the recording of Man Alive was completed mainly in a chapel in North Wales. The album sounded unique. Nothing dates like the future, yet Man Alive sounds dateless, placeless, and as a result, stands up perfectly many years later.

Man Alive was only the beginning of the group's adventures in – to use their words – 'Mismatched styles of music mashed together.' The result is often exhilarating; there are Brazilian drums and a prog guitar breakdown in Schoolin', classical influences, as well. Its subject matter is often way outside the realms of conventional songwriting; MY KZ, UR BF explored the different Americas: the cosy self-centred domesticity of programmes such as Friends versus a foreign policy
based on killing; Qwerty Finger examines imperialism. Anglo Saxon guilt is also present.

The album's artwork was striking – a photograph of a fox by Swiss photographer, Laurent Geslin, reflecting the track Tin (The Manhole) which deals with the theme of depression, through, as the band said in 2010, "the story of an urban fox that ingests all our pollution and grows massively in a sort of dream sequence. We chose photos of an urban fox for this reason, but we partly attacked the code of the digital image to create a glitch distortion . . . a reference to digital manipulation and chaos as well as our modern lives online".

Released in August 2010, Man Alive made the UK Top 20 and was well reviewed.

For example, BBC Music commented that the group "know more than most how to craft a song, how to make an album. They know how to give it depth, light and dark, and they - crucially - know when to stop." Man Alive was shortlisted for the 20th Mercury Music Prize in 2011.

The original LP edition of the album is super- scarce, released before the 'vinyl revival' kicked in, hence the original pressing now selling in the high three figures.

This re-issue is presented with scrupulous attention to the detail of the original UK first pressing, complete with gatefold sleeve, poster and 8 page booklet. It is pressed on 140gm vinyl.

2-LP set 180g black vinyl.

Joined by a never-before-convened, top-of-the-pyramid rhythm section (Sullivan Fortner, piano; Larry Grenadier, bass; Tyshawn Sorey, drums) the 39- year- old presents ten far-flung originals that elicit the full measure of their creativity over the 68- minute program, spurring Lund - who makes ingenious use of effects within his flow - to some of his most dynamic and varied playing on record.

Lage Lund: guitar and effects
Sullivan Fortner: piano
Larry Grenadier: bass
Tyshawn Sorey: drums

Belgian jazz veterans W.E.R.F. records and JazzLab are celebrating their 30th anniversary together with three unique creation projects for which they are joining forces. One of them is with percussionist Chris Joris, a veteran of Belgian jazz who is releasing a haunting new project.

Until the Darkness Fades' immediately says something about Chris Joris' career path, in which the musical and the personal invariably overlap. This percussionist has written one of the most colorful chapters of Belgian jazz. For many years he was active within various genres, but is now mostly praised as the percussionist who constantly demolished boundaries. Not only between all those oppressive genre boxes - pop, experiment, theater, world music, jazz - but also between complete worlds.

Chris Joris was playing "world jazz" long before there was that term, and he signed on for some hot-blooded jazz classics, with "Out Of The Night" perhaps the best-known example. That album was originally released in 2003, was then unavailable for years, but is back on shelves in 2023 and on vinyl for the first time. And rightfully so. Joris also eagerly seized the prospect of a new tour and a brand new album for a musical self-portrait. With "Until the Darkness Fades," he highlights different aspects of his musical identity, both expected and unexpected.

Joris composed new material, but also keeps a prominent place for free improvisation. It will be a tantalizing dichotomy full of hybrid sounds, with familiar and less familiar sounds, between romanticism and uninhibited adventure. He explores these in the presence of notable associates on violin and cello. In this way, he combines earthy percussion with the freedom of jazz and the elegance of chamber music. Discover this story of a Belgian master who is far from finished.

DJ Robert Smith presents his first ever scratch 12” - ‘Double Jabbed’!!
Previously lacing the portablist and 45 spinning community with 2 instant 7” classics,
‘The Kure’ and ‘The Booster’, ‘Double Jabbed’ is ALL that and then some!


Remixed and remastered, Side A contains all 12 of the skip-proof phrases from ‘The Kure’
plus an additional section with these arranged in ultra-pitch. It concludes with a full
phrase containing all of the samples from sides A and B in regular speed, then in
ultra-pitch. Side B contains all 13 of the skip-proof phrases from ‘The Booster’ then again

a section with these as skip-proof ultra-pitch phrases.



Pressed on premium black vinyl, the full colour picture sleeve is again illustrated by skate
industry legend Mark ‘Fos’ Foster (Heroin, Baker, Toy Machine, Santa Cruz, Element and
more).

Their 2018 debut Pink Noise (released on Sonic Cathedral) gained them a spot on Rough Trade's best album of the year list and praise from Drowned in Sound, CLASH Magazine, BBC Radio 6 and more.

This music has been in development for quite a while, and you still find clear inspiration from some of the shoegaze greats such as Jesus and the Mary Chain, A Place To Bury Strangers, Slowdive, and many more. This album is built on the same foundation that Echo Ladies curated during their past releases, but with a more unyielding presence.

Echo Ladies have always tried to balance two emotions at the same time throughout their songs. While their past songs tried to convey the feeling of nostalgia and hope for the future, mixed with worries and anxieties about defining who you are and what you will become, this album instead tries to balance the emotions of sorrow and loneliness, with anger, frustration, and the determination to make a change for the better.

After 25 years of living his dream as one of hip hop’s most respected producers, Hi-Tek is digging back into his roots with a brand new trio of instrumental vinyl LPs in 2023. “Beatbox Studios (1995 MPC 60II)” is the first of the series, each featuring a selection of restored and remastered beats, carefully chosen from an archive of DAT tapes. These LPs manage to both provide a window into Tek’s development and to shine light on the work of an already enormously-talented musician whose beats would’ve sounded right at home on classic releases from the mid-1990s.

Having learned to make beats off of borrowed equipment as a teenager, the aspiring DJ/producer born as Tony Cottrell achieved a break of sorts when he was hired in 1995 to manage one of the rooms at Beatbox Studios, a sprawling complex in the Clifton neighborhood in Cincinnati. It became the go-to-spot in town for emerging talent, giving him a chance to learn about the intricacies of recording and to sharpen his communication skills with artists to maximize their performance The gig also gave Tek plenty of down time to practice on and to master the studio’s Akai MPC 60II while making his own music. It was around this time he began to collaborate with the top rap talent in Cincinnati, and he started regularly visiting New York City to plant seeds for new relationships in the industry.

Though his work eventually evolved far beyond the styles present on “Beatbox Studios,” here you’ll find many signature elements of that era’s contemporary New York sound: some snappy drums reminiscent of A Tribe Called Quest or Easy Mo Bee, plenty of horn stabs a la Pete Rock or Lord Finesse, and the kind of dark pianos and filtered bass lines that producers like the Beatminerz were steadily employing. These were his biggest influences at the time, and that was the sound of 1995. As it turns out, that classic sound remains in demand today, and while Hi-Tek was not a well-known name in hip hop circles at that time, the calibre of beats on “Beatbox Studios” prove that he was a talent to be reckoned with, even then.

Antifreeze Green Vinyl. Black Market Brass is proud to present Hox, due out on Colemine Records on September 8, 2023. Their third LP is a new take on afrobeat that combines traditional grooves with heavy, hypnotic, sci-fi sounds that reflect the band's myriad of influences as record collectors across genres. "We didn't leave the traditional afro-beat sound behind, but we did allow ourselves to pull from different places with less hesitation." Shared saxophonist Cole Pulice. Like their previous albums, the 9-piece band recorded Hox live to tape. "The sound and aesthetic of the analog recording process is important for this kind of music," Pulice explained. "We're looking to capture lightning in a bottle." With that, the album features several sections of heavily processed synthesizers, harsh glitches, fuzzed out guitars, and a burning percussion section that pays homage to the traditional drumming cultures of Nigeria and Ghana. The performances are dynamic and confident. The grooves are infectious and hypnotic. BMB has pushed further into musical experimentalism, but at the end of the day, they're still making dance music. Krautrock, free-jazz, doom metal - the inspirations for Hox stem from all kinds of musical backgrounds, but the sound is far from scattered. It's a polished, innovative record that's sure to exceed expectations and keep the listener engaged from start to finish.

Love Love Records are honoured to present two interstellar remixes from the recent album from HENGE, ‘ExoKosm’ which was self-released last year by the band during the pandemic. Acid pioneers and Madchester legends 808 State rework the track ‘Exo’ in their signature ‘acid-house meets rave-hardcore’ big band sound that fits seamlessly amongst their own back catalogue. The second is a heavily clubbed up twist of ‘Goldilocks’ from Brain Rays & Quiet, a spacey slab of sub-slung broken power-house with a sleazy groove like an alien abduction straight to the engine room of the UFO.

Eight years after its original release in 2015, and sold out upon release, Umor Rex finally presents a vinyl repress of Sirens, by Kara-Lis Coverdale and LXV. This new edition is limited to 500 copies and comes with revised artwork.

Inspired by the link between seduction and violence, Sirens comprises a series of timbrally vast anamorphic pieces that poise the voice as a newly imagined tool of multiplicity. Processes of sample manipulation, signal processing, routing, and source design inform instrumental writing and performance in feedback until intertwined, flickering between states of conflict and consonance. Apparitions of the schizophrenic voice are at one moment fractured and cold and at the next full of warmth and vivaciousness, embodying velvet rituals of romanticism in the digital age.

Ultimately, Sirens is music for ambitious dreamers: surreal sound portraits sound like the warmth of the world laid over an ice cold virtual altar. LXV’s vocal truncations and fleshy sound palettes depict the archivation of the breath and aural fantasies of the flesh which Coverdale sets amongst a vast and unconfined landscape of deeper and unknown force. Harmonically active and dynamic orchestrations underpin post-sacred tonalities while brooding pipe organs, sphinx flutes, and hailstorms of metallic percussion characterize uniquely disjointed discussions between disparate compositional ontologies. At times violent and at others serenely peaceful and seductive, these pieces, at their most powerful moments illuminate a felt space between cybernetic energy and the body.

Composed and recorded by Kara-Lis Coverdale and David Sutton. Mastered by John Tejada. Cover photograph by Cody Cobb. Layout by Daniel Castrejón.

The music heard on this album was originally the result of a commission to score the second half of the film Nico/Nico Crying made by Andy Warhol in 1966. The commission was made by Art Cinema OFFoff in collaboration with B.A.A.D.M for a screening of the film together with a live presentation of the score in September 2021 at Ancienne Belgique in Brussels. The recording presented here was made in the last week of that year and mixed soon after in January 2022. These recordings are essentially live-recordings performed by the composers together in the same room and recorded in a manner reminiscent of the record making process as it was in the late 1960s. The instrumentation used to make the sounds on this album consists of modular synthesis, zither, voice, contaminated field recordings and metal percussion.

Mats Erlandsson is a composer and musician part of the vibrantly re-emerging field of drone music in Stockholm, Sweden, and is associated with practices characterized by the extensive use of sustained sound. Erlandsson presents his work both as a solo artist and in collaborations, most notably together with Yair Elazar Glotman and Maria W Horn. Recent releases include Gyttjans Topografi on XKatedral, Minnesmärke on Hallow Ground and the collaboration Emanate made with Yair Elazar Glotman on the label 13070. In addition to his own artistic practice Erlandsson holds a position as studio technician and was temporarily, from October 2022 to September 2023, the acting studio director at Elektronmusikstudion in Stockholm.

The compositions of Maria W Horn implement synthetic sound, electroacoustic and acoustic instruments and audiovisual components, often devicing generative and algorithmic processes to control timbre, tuning and texture. She employs a varied instrumentation ranging from analog synthesizers to choir, string instruments, pipe organ and various chamber music formats. Acoustic instruments are often paired with digital synthesis techniques, in order to extend the instruments timbral capacities. Often based on minimalist structures, her music explores the inherent spectral properties of sound and their ability to transcend time and space, reality and dream.

Nous'klaer Audio presents Martinou - Chiral, the follow full-length up to his 2021 album Rift. This time nine tracks across two vinyls. An album flowing 'in a way' like Rift, but it's different: More outspoken, heavier sound design and it peaks on a blissful note. ''Open up the blinds and take me there. We'll break the surface tension. We'll dive in. I'm locked in your devotion. You give an inclination to our demise. It will be our exit. To bliss, we'll be its guardian. Once there was love. Clear as glassy water. No ripples, no waves. I followed while you led. Our arrival was warm. Hot, even. Stunning to a startling degree. Hands intwined, frolicking towards the blue. Hours passed, and white heat cede to an orange hue. We cooled down. Red. We rallied. Black. It began. Into the deep darkness we ran. White sand, it has a tendency to get everywhere. Salt water will only dehydrate you more. Shriveled and dry. Scratchy and coarse. More. And then we were lost. Fingers once locked grew distant. Morning, dear. Where have you gone? We looked. A glimpse from afar. Red. We rallied. Shall we share a bottle of wine? Black, lost again. Afternoon, friend. Where were you? Red. Alone. Black. We rallied. Shall we try somewhere new? Sand and salt. Evening, sir. Reservation for one? Reservations a plenty, I say. Evening, miss. Dining alone? Aren't we all? Dining, miss, not dying. Oh, yes, alone. Black. Sand and salt. I found you. No. No. Wait, do I know you? You feel like a dream. Don't touch me. Move along, sir. Who are you? Leave. Who are you? Where did you go? Keep moving. I am, I will. Time to move on. I'm moving! Leave. Don't touch me. Leave. Why are you? Exit. Purple. Orange. Yellow. White. Blue. Morning, dear. Shall we have breakfast? I think I'll sleep some more. But it's our last day. I know. See you downstairs when you're ready. OK. I open up the blinds. A bird breaks the surface tension. Locked in. To Devotion? No. Demise. An inclination. Reverie. Take me there. Where? Exit (To Bliss) '' Text by Gregory Markus

Back by popular demand!! A re-jigged, loud-cut 2023 reissue of Roy of The Ravers’ long sold out Acid Waxa classic ‘2 Late 4 Love’ (ft. Emotinium) with bonus Easter egg tracks, presented in all its original hand-stamped glory. Don’t sleep on this one if you missed it the first time around!

Mysterious Dutch outfit Doxa Sinistra have been operating on the fringes of the industrial-experimental and sound collage tape scenes since the very early 1980s. Their output has long been coveted by fans of DIY and left-field music since their earliest transmissions, and this featured 1983 recording 'The Other Stranger' might well be one of their most known. A truly strange offering, the track is a cascading acidic and minimal stripped piece, bathed in disparate resonant sample sources that could possibly have been recorded straight from the TV set. Nobody really knows what it all means, but it doesn't matter as the end result is an engaging mesmerising hypnagogic masterpiece of sampling and rhythmic free sound. A true classic from the outer reaches of electronic music.

Midnight Drive label owner Brian Not Brian featured 'The Other Stranger' on his now infamous 'Holywell Session' cassette tape for the sadly missed Blackest Ever Black ever label in 2014, and the track was also a highlight of Boards Of Canada's cult 'Societas X Tape' for NTS in 2019. This special 7" vinyl only edition also features the more stripped back rhythm track version entitled 'Strange' on the b-side that is a slightly longer mix with a different arrangement and no samples, letting the minimalist acid and drum machine workout unfurl at its own steady woozy pace. This is the first time both versions have been remastered and have appeared together as a single and it is presented here with the blessing and involvement of Doxa Sinistra.

Setting out to create a future Balearic anthem while doffing a cap to street soul and synth-heavy Italo-disco B-sides of the early 1980s, Orbs of Light’s debut single, ‘Billion Days’ lands on Leng after a tip-off from Mind Fair duo Dean Meredith and Ben Shenton, who booked the duo to play live at their Rotation festival last summer.

Orbs of Light’s Baz Bradley and A Girl Called Kate have been friends for decades and have collaborated musically in the past, though it was only a couple of years ago that they dreamed up this project. It was first trialled via a 2021 remix for Andres y Xavi on Hollis Recordings (‘Perfect Timing’) on which Kate added new vocals to Bradley’s interpretation of the track. Since then, regular recording sessions have taken place, with the duo first crafting tight instrumental tracks before – in Bradley’s words – “dream up the best songs we can” with “melodies that will hopefully stay in your head all day”.

It would be fair to say that they’ve achieved that goal on ‘Billion Days’, a hooky and addictive affair whose vocal hooks and strong chorus could well inspire Balearic sing-alongs in the months ahead. Their original mix (B1 on the vinyl version of the EP, track 2 on the digital EP) is joyous, cheery and kaleidoscopic, with steel pan style melodies, bouncy synth stabs, jaunty lead lines and Kate’s wonderful lead vocal riding a shuffling, post street soul beat and a bubbly bassline.

The accompanying remix package is naturally very strong too. San Francisco crew 40 Thieves, fresh from dropping a killer single of their own on Leng (‘The Gift’, with disco legends Gary Davis and Cinnamon Jones), step up first with a take that stretches out and builds on Orbs of Light’s original mix – think wobbly nu-disco synth bass, fresh flute sounds, dubbed-out vocal snippets and a locked-in groove that’s just perfect for sun-soaked alfresco dancing.

Fittingly, the second and final revision comes from Mind Fair, whose email to Leng HQ about Orbs of Light got the ball rolling. Opting for a rubbery, body-popping beat inspired by vintage electro, they deliver a joyful, effects-laden Balearic dancefloor ‘Dub Mix’ that somehow makes a genuinely life-affirming record even more loved-up and saucer-eyed – despite the presence of only a fraction of Kate’s addictive lead vocal.

A new EP by The Untouchables is always a treat to be savoured, but the opening track of their latest for DNO is so deliciously tense, so foaming at the mouth with anticipation, that it’s hard not to gulp down the whole release in one go. A minute and a half of sinister notes trying to jab their way through a thick filter and there’s no doubting ‘Emu’ is gonna be one hell of a ride — and it doesn’t disappoint, revealing the stabs in all their gritty darkcore glory, and unleashing a torrent of system-shaking subs.

As per, the Belgian duo present a masterclass in merging dub’s unparalleled spaciousness with techno’s unrelenting drive, and delivering it all at a drum & bass tempo.
On ‘Punjab Chant’, a South Asian vocal call and various wind and percussive instrumentation from the region are pulled apart, lashed with delay, and layered over rubbery subs, resulting in an intense intercontinental dubwise belter.

‘Ragga Ting’ goes full digi dancehall, maintaining pace while employing sultry dembow-style syncopation and a hefty droning bassline that seems to loop ad infinitum. It’s an innovative move and one that’s sure to get hips swinging in the dance.

And the final track on wax, ‘86 Dread’, is pure bass weight, its boxy drums almost swallowed up by the sullen low-end, with only crisp shakers and the odd sonic squiggle poking above the gloom.

Digital bonus track ‘Planetarium Space’ brings the tempo down, but fills the mix with the hurried tick of hi-hats and pattering congas, dollops of reverse bass that add slippery off-kilter movement, and a rogues’ gallery of ghostly organ and other haunted samples and synths that wouldn’t feel out of place in an ‘80s horror flick.

Always taking a leftfield route to rattle your ribcage, The Untouchables and DNO once again prove they’re a perfect pairing. Yum, yum.

Rhythms of postmodern realism at the very bottom of the DNO.

London based label Natural Selection present their forthcoming release in the form of a 4-track 12" EP, courtesy of Versalife (aka Conforce), entitled "Genetic Cluster EP". Mastered by Dadub Studios, Berlin and cut by Simon at The Exchange Vinyl.

Based in Rotterdam, Versalife has seen his music released by the most highly esteemed of Electro labels such as Frustrated Funk, Clone, Delsin & TRUST. Versalife returns to Natural Selection after releasing with the label via their inaugral VA compilation release "NS001" in 2021, with his track "Nostalgia", which has gained support by some of the most respected DJ's worldwide, inc. Dave Clarke, Plant43 & more.

Genetic Cluster is an impeccably crafted Electro release that maintains bite and aggression, whilst its textures and atmospheres spiral into the ether, taking the listener on an unpredictable emotional journey.

After forming a close connection to Natural Selection in recent years, Versalife has now cemented himself as one of the main front-line artists within the London based imprint.

After another long hiatus, BEAM is excited to present the vinyl debut from rising star and nebulous neurocranker, al dente. Over 4 tracks, ‘Running and Falling Over’ captures the stylistic fluidity we have come to know and love from Naarm/Melbourne. Ever present traces of Dozzy refract through millennium-bug tech-house, summoning atmospheres of deep yet ever playful psychedelia. Opening the A-side on ‘Ripple Effect’, pulsating drones and echoes of organic percussion slither through the undergrowth. ‘Soft Steps’ explores fractal resonance amid expansive, evolving textures. Flipping to the B-side, ‘Unfold’ melds paranoiac psy with a wiggly tek swagger. Slow-burner ‘Blue Trial’ closes out the EP – a proggy roller for the eternal sunrise.

Mixed by Declan Vadasz
Mastered by Marco Pellegrino @ AnalogCut
Artwork by Rudi Schmidt
Type by Studio Joel

Pleasure Zone welcomes Brizman to the label family!
We are very happy to present you "Takes Its Tool EP" on our 42nd edition.
A beatuful warm-grooved, fluffy and silky peace of music!
Highy recommended!

Scannoir & Sneaker, aka “GOTT”, explore, transform and mutate. This unique collaboration embodies the perfect symbiosis of passion. “Die Deutsch-Schweizerische Freundschaft” is still profound and continues to have an effect. Now the two exceptional artists present their latest work: GOTT – MUTATIO on the Zurich based label Mattoni Pazzi.

“Alles wird gut” was the motto of the occupied Wohlgroth-Areal in Zurich in 1993, where Sonic Violence was invited to the concert of their “Transfixion” album tour. Industrial beats, dark samples, guitar riffs and moshing punks dominated the scene. At the ticket booth there were CDs to take away: “Sonic Violence – Transfixion”!

A template that now, 30 years later, adorns this memory with the selected track “Malice” in a new guise. GOTT mutates the original into a dark hell ride.

Enter the realm of the Fields of the Nephilim! The guardian waits, a lifetime. Profound and melancholic, he is transformed by GOTT. Dark souls remain dark souls. Daringly and nevertheless tradition-consciously they march through the black terrain. Interwoven by GOTT, guarded by GOTT. Well – GOTT is the guard! Experience this unique metamorphosis with GOTT – MUTATIO.

Reel People Music are excited to present a limited edition 7” Vinyl release of the Opolopo remixes of Mothers Favorite Child & Saeeda Wright’s “Purple Funk, a tribute to the legendary Prince. Of course it had to be pressed on a stunning translucent purple disc !

Music producer and songwriter Paris Toon, founder of Mothers Favorite Child, has teamed up with the ever so soulful vocalist Saeeda Wright for this updated version of Purple Funk. Saeeda Wright who previously performed and recorded with PRINCE adds delightful new layers of depth and nuance with her stylish vocals whilst the one and only Swedish fire starter Opolopo steps forward in real style to deliver his classic bounce to a remix that is set to shake global dancefloors for many a year to come.

The fourth EP from HOMO-CENTRIC Records presents GIDEÖN's broad musical vision, with tracks that span genres such as house and techno, as well as other influences, and includes his latest offering, “A Road Called Destiny”, his headiest offering yet and hot on the heels of previous anthem “Brighter Day”. This latest gospel belter has been tearing up dancefloors all summer and the track reaches euphoric heights comparable with the Baptist sermons featured in the house classics from the likes of Kerry Chandler and Robert Hood. "Hector’s Revenge" is a dark sleazy queer techno anthem already slaying Berghain’s main floor, "Vasquez Goes East" is a "raw basement cut that tips its hat to Junior Vasquez’s Sound Factory classic "Get Your Hands Off My Man” whilst “Fridays” serves up classic Swing 52 style chopped-up vocal cuts straight from vintage 90s NYC. Scope, range and diversity, but all quintessentially GIDEÖN

A label sampler showcasing the best of Winspear’s releases from its early days to the present day. The sampler features cuts from Barrie, Divino Niño, Slow Pulp, Video Age, and more. Digital download included with the LP includes never before heard b-sides and rarities from across the label roster. Winspear Volume 01 is a label sampler from Winspear. It’s a collection of standout songs from the label’s catalog, spanning from their early years to the present day. Featuring tracks by Barrie, Divino Niño, Slow Pulp, Video Age, and more. The digital version of the label sampler (including the digital download that comes with each physical album purchase), will include never before heard demos, b-sides, and rarities from across the label roster. The release of the sampler will be celebrated at a label showcase at Thalia Hall in Chicago. The event, Winspear Review, is happening for the 4th time in the label’s history

RIYL: Sigur Ros, Explosions in the Sky, Bark Psychosis, Caspian, Mogwai, This Will Destroy You. Exclusive vinyl colour (Opaque Mix Hellfire), limited to 1000 copies, and features a gatefold jacket, printed two-sided Euro sleeves, four art prints, and download code. Breaking from the strange monotony and abnormal norms that took hold during two years of pandemic life, Hammock returns with Love in the Void, an album that looks to the future, seizes the present, and unabashedly relishes the experiences and bonds that bring meaning to our days. Known for crafting orchestral works of stirring cinematic ambience, on Love in the Void the Nashville-based duo of Marc Byrd and Andrew Thompson bring guitar-forward, heart-pounding urgency to songs that shout through and shatter the static of complacency. Since forming as Hammock in 2003, Byrd and Thompson have released 14 critically-acclaimed albums and are renowned for their unique talent for bringing inexpressible emotion to life. The Covid-19 pandemic followed closely after one of Hammock’s career-defining works, the Mysterium, Universalis, and Silencia trilogy that chronicled the incomprehensible loss of Byrd’s 20-year old nephew. At their homes and apart, Byrd and Thompson then recorded Elsewhere, an album of shimmering ambience that channelled alienated longing and displacement into avenues that gave way to worlds and possibilities yet realized. Shaken awake and needing to break free of frustrations and longings, Love in the Void pulses with an unbridled spirit for action and experience and a burning desire for connection. Across songs that hammer home the keenly felt emotions of life’s highs and lows, Byrd and Thompson crest soaring crescendos awash in reverb and delve to keenly felt moments of quiet introspection, with unflinching lyrics on tracks like “Undoing” and “Denial of Endings’’ that weigh choices made and circumstances that can’t be changed. Lush and dramatic string orchestration from Matt Kidd (Slow Meadow) and emphatic drumming from Jake Finch heighten the stakes in play, and Christine Byrd’s (Lumenette) ethereal vocals leave mysteries lingering in the haze. Love in the Void is Hammock’s loudest album to date, embracing daring and vulnerability with palpable vitality at its core, and moving into an unknown future without fear.

In Rumi's poem A Great Wagon he writes of a place of total acceptance. "Out beyond ideas of wrongdoing and rightdoing, there is a field. I'll meet you there," It is a boundless, liminal space where we can release the judgments we make and carry of ourselves, and the comparisons to others. When we think of this field, there is a sense of tranquility that only comes when we are undisturbed by the shadow self and see existence as neither bright nor dim, white nor black. But as lead singer Greg Bertens explains, arriving there is a whole different story. "This is a poem I've returned to over the years, and I love the idea of this place, but getting there is life's journey." Bertens adds "I think the longing for and elusiveness of this field is a recurring theme in our music." Field is enveloped by themes of regret, disconnection and frustration but with the space to understand that these feelings are a natural part of the struggle between reconciling the inner and outer self. The Los Angeles/San Francisco-based group have been indie shoegaze stalwarts since their formation in 2001. After two decades and a handful of line-up changes, their extensive discography presents a dynamically textural, lush psychedelic rock that has featured guest appearances by members of Pavement, My Bloody Valentine, and Snow Patrol, among others. 2021's LP We Weren't Here was hailed for its dense instrumental blanket, where unrelenting hi-hats and heavy kicks exist alongside dreamy drone guitar. This propulsive nature permeates Field, as members Bertens, Noël Brydebell (vocals), Nyles Lannon (guitar), Jason Ruck (synths), Justin LaBo (bass), and Adam Wade (drums) produce a kaleidoscopic sonic landscape. Patient, sprawling instrumentation builds a foundation in which Bertens' themes of endurance, perseverance and clarity can bloom with a considered poise. As a lyricist who writes in response to the instrumental arrangements, rather than a focus on a specific theme or person, Field is a testament to Film School's ability to create in the moment, and to showcase the magic that stems from when we are truly present. Album opener "Tape Rewind" is a swirling rush of color, as sustained guitars, darkened bass lines and urgent, percussive swells dance alongside each other. "This is the newest of all the songs on the record and feels like a new level of heaviness for the band," Bertens explains, noting that its lyrical context of struggling to move past trauma adds to its cathartic essence. Field is bookended by heavier themes, with closer "All I'll Ever Be" taking on the perspective of those we hurt when we embrace our own toxic behaviors. Originally written to be a simple acoustic guitar and vocals song soon turned into an ethereal, effects-laden composition, with Noël's hazy lead vocals ushering in a new-found acceptance. "It's all I want / To be released / And all I can be," she laments, cementing Field's message of accepting ourselves in whatever form we find ourselves in. "Defending Ruins" is a murky relentless underworld, inspired by the freewheeling tones of Texas-based band Holy Wave. "Defending the ruins, defending remains," Bertens spits, among a richly-layered outro. "Don't You Ever" confirms Film School's ability to merge both delicate and growling instrumentation throughout the album, with the song's softly spoken section hovering above sparkling guitar. "Is This A Hotel" bends towards the electronic aspects of the band, with wailing synths accompanying a story of bitter desire. With over two decades in the industry, Field cements Film School as a distinct, dominant force in the shoegaze scene. Soaked in an emotionally open, imaginative atmosphere, the album is both singular and expansive, and leaves the door open for a constantly evolving interpretation. Film School have never confined themselves to the rigidity of specifics, and it's on Field that they urge us to look beyond the binary of certainty, and to take a second look

Wewantsounds Is Pursuing Its Ambitious Akiko Yano Reissue Program With The Release Of "japanese Girl", Her Landmark Debut Album From 1976. Backed By Little Feat With Lowell George And By The Cream Of Japanese Musicians (including Haruomi Hosono), Japanese Girl Is One Of The Most Important Japanese Albums Of The 70s, Mixing Pop, Rock, Japanese Folk Together With Little Feat's Superb Classic Sound. This Is The Very First Time The Album Is Released Internationally. The Deluxe Lp Edition Includes Remastered Sound, Tip-on Lp Sleeve, Download Card Plus The Original 4-page Insert With Lyrics And Full Line-up!
When Akiko Suzuki Left Her Home Town Of Aomori For Tokyo In The Early 70s Aged Just 15 To Become A Professional Musician, She Quickly Started Making Waves On The Local Music Scene Performing At The Jazz Club Rob Roy. In 1973 She Released A 7" With The Group Zariba And Caught The Attention Of A&r Man Koki Miura. She Then Recorded One Song, "oinaru Shiino-ki" With Haruomi Hosono On Bass And Drummer Tatsuo Hayashi (who Features On Many Hosono Albums And Also Hiroshi Sato's 1979 Album Orient) With A Full Album In Mind.

After A Marriage With Musician/producer Makoto Yano And The Birth Of Her Son (named Fuuta), Yano And Her Team Resumed The Recording Of The Album And Decided To Pitch Little Feat For A Collaboration As She Loved The Group. Against All Odds They Said Yes And Yano Left Tokyo For Los Angeles In March 1976 To Record A Full Side With Them. The Legend Has It They Found It So Difficult To Keep Up With Yano's Compositions They Returned Some Of Their Fee. The Session Was Nevertheless Stunning And Lowell George Even Compared Yano To Stevie Wonder. The Little Feat Blend Of New Orleans Groove Matched Yano's Melodies Perfectly, As Witnessed On "funamachi-uta Part 2." Originally A Traditional Song From The Nebuta Festival In Her Hometown Of Aomori (part I On Side 2 Gives A Good Idea Of What The Original Form Sounds Like), The Little Feat Version Is A Formidable Slow-funk Workout Not Dissimilar To Their Classic, "spanish Moon", Serving Yano's Beautiful Vocals And Sense Of Groove To Perfection. The Whole Side Is A Match Made In Heaven, Showcasing The Classic Little Feat Line Up At Their Funkiest With Yano's Unique Japanese Twist.

The Japanese Side On The Album Gives A Great Snapshot Of The Tokyo Music Scene Of The 70s With Many Musicians Gravitating Around Haruomi Hosono (and Present On His 1973 Classic Album 'hosono House' Including Sound Engineer Kinji Yoshino) And Also Several Musicians From Japanese Band, The Moonriders.

Recorded At The Legendary Onkyo Haus Studio In Tokyo, The Sessions Mix Singer-songwriter Sensitivity And Pop With Traditional Japanese Sounds And Instruments Like The Shinobue Transverse Flute, The Koto String Instrument Or The Tsuzumi Hand Drum As Played On "hekoriputaa" By The Legendary Percussionist Kisaku Katada Who Was Appointed Living National Treasure By The Japanese State In 1999; Together They Create A Beautiful East-meets-west Mix Masterfully Driven By Yano's Creativity And Unique Talent.

A Breathtaking Debut Album That Made Akiko Yano One Of The Most Important Artists To Emerge From The 70s, Japanese Girl Has Since Become A Milestone In Japanese Music With A Recent Documentary On Nhk Tv Telling The Whole Story Behind This Classic. Wewantsounds Is Now Proud To Present This Essential Album To The Rest Of The World.

YMO DRUMMER YUKIHIRO TAKAHASHI'S SOPHISTICATED CITY FUNK CLASSIC FROM 1978 CO-PRODUCED BY RYUICHI SAKAMOTO AND FEATURING HARUOMI HOSONO, MINAKO YOSHIDA AND TATSURO YAMASHITA. RELEASED FOR THE FIRST TIME OUTSIDE OF JAPAN - WITH REMASTERED AUDIO, LP COMES WITH OBI AND FOUR PAGE INSERT

Wewantsounds is delighted to announce the release of Yukihiro Takahashi's debut solo album 'Saravah!'. One of the key Japanese albums of the 70s, it was released in 1978 at a key time when, following his tenure with Sadistic Mika Band, Takahashi had just joined the nascent line up of Yellow Magic Orchestra. A sophisticated mix of Disco Funk, synth Pop, Ambient, French Exotica and Bossa Nova, the album has the stylish feel of a night out clubbing in Paris circa 1978. It’s the missing link between the City Pop scene of the late 70s and the synth sound of YMO which was about to revolutionise the world. Newly remastered by renowned engineer Mitsuo Koike, the LP features original artwork with photos by Masayoshi Sukita (David Bowie's Heroes), a 4-page insert and a new Introduction by Benjamin Barouh (Saravah records).
The month before recording the YMO debut album that would help alter the course of music, Yukihiro Takahashi entered the studio with his fellow band-members Ryuichi Sakamoto and Haruomi Hosono to record 'Saravah!' together with the cream of the Japanese scene. He drew his inspiration from globe-trotting French musician Pierre Barouh who had introduced Bossa Nova in France in 1966 with "Samba Saravah" (featured in soundtrack the Oscar Winner A Man And A Woman which he co-wrote) and subsequently launched Saravah Records.
'Saravah' starts off with a couple of French and Italian exotica classics ('Volare' and 'C'est Si Bon') with delicious touches of synth while 'Saravah!' a nod to Pierre Barouh, is a languid Bossa Nova with beautiful soulful strings arranged by Ryuichi Sakamoto. The album gets hotter with 'La Rosa' a superb mid tempo ambient funk featuring Takahashi's beat backed by Haruomi Hosono's bumping bass line, Sakamoto's Hammond Organ and Shigeru Suzuki's fluid guitar.
The first side ends with an amazing exotica-synth version of the standard 'Mood Indigo', announcing the midi revolution that was to come before things get funkier on Side Two starting with Ryuichi Sakamoto's superb up-tempo Disco instrumental ‘Elastic Dummy’ featuring soulful strings and horns with solos by Sakamoto and guitarist Tsunehide Matsuki. The album then moves on to the ambient synth pop of ‘Sunset’ before switching back to Disco Funk with 'Back Street Midnight Queen’ which. like 'Elastic Dummy' has become a dancefloor cult classic over the years.' Saravah! ends on a perfect note with the beautiful 'Present' a perfectly crafted pop song which Takahashi wanted to do in a City Pop mode, featuring a superb melody and high-class arrangements. The perfect soundtrack to an early morning stroll in the Paris streets as illustrated by Masayoshi Sukita's photos featured on the album cover.
A sophisticated album full of glitz and fun, 'Saravah!' gives a unique insight into the versatility the YMO musicians and how funky they could play under Yukihiro Takahashi's influence. This was a key time when the three musicians were just transitioning to a sound that would be dominated by synthesizers and 'Saravah' catch them just at that fascinating moment.

Following 2 acclaimed first editions, Stix Records presents the 3rd

volume of its Disco Reggae compilation series.
Like previous one, the 9 tracks comp is made both from productions
of the home labels now sold-out as vinyl, and from brand new
exclusive music by the like of Taggy Matcher, Mato or newcomer
Rosemary Martins, taking over classics titles from Donna Summer,
Stephen Encinas, Roberta Flack, Herbie Hancock, Steve Parks, or Inner City.
The perfect soundtrack to extend the summer!!

Factory Benelux presents a special 35th anniversary edition of Here Comes Everybody, the highly-regarded second album by Scottish group The Wake, originally released by Factory Records in 1985. Just 800 copies will be made available for Record Store Day on 18 April 2020, pressed in crystal clear vinyl with a bonus 7-inch single + digital copy.

The Wake formed in Glasgow in 1981 after singer/guitarist Caesar left Altered Images. Joining Factory the following year, the group toured with New Order and released popular mini-album Harmony. Trailed by sprightly single Talk About the Past in 1984, second album Here Comes Everybody was eventually recorded as a trio, combining dreampop melodies and wistful lyricism typified by standout track O Pamela (later interpreted by artful French new wave covers project Nouvelle Vague).

Praise for Here Comes Everybody: “Holds up as a touchstone for aching, atmospheric synth-pop, all slinky guitars, crispy percussion, textured keyboards and limber bass" (Pitchfork); “The album stands as a pillar of moody synth pop, still bearing passing resemblance to New Order while retaining the bounce of the Postcard label bands and the cavernous production of Closer-era Joy Division, covering it all in some of the heaviest synth wash this side of Klaus Schulze" (Dusted)

Newly re-mastered for this special 35th anniversary edition, the original 8 track album is now augmented by companion singles Talk About the Past and Of the Matter, pressed on a bonus 7-inch single in a picture sleeve. Here Comes Everybody itself is pressed on clear vinyl, housed in a white reverse board sleeve with printed inner bag containing lyrics, images and liner notes by band members Carolyn Allen and Caesar.

The contributions of the late Detroit producer James DeWitt Yancey -better known to the world as J Dilla- to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) After the success of Slum's 1997 studio debut, Fan-Tas-Tic Vol. 1, the group went to work on their follow up. Though the project was completed in '98, label turmoil kept the project on ice until 2000. By the time Fantastic Volume II hit Dilla was well on his way to his status as a hip hop legend having produced cuts for Common, Busta Rhymes, Erykah Badu, A Tribe Called Quest and many more. Later works from Slum Village may have had more of an impact sales-wise (in the immediate) but Fantastic Vol. 2 had fans and many critics saying that Slum Village, and Dilla in particular, may single-handedly save rap music.' Perhaps that statement is hyperbole but many consider Fantastic Volume II to be Slum Village's finest work ever to this day. Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved to maintain the legacy of this hip hop rap classic and maintain the legend of one of hip-hop's greatest beatsmiths.

"One Sunday afternoon in 1990, I had a phone call from Keith saying that Sarah Records had received the demo cassette the two of us had recorded on a 4-track in a friend's shed and were interested in putting out two of the songs as a single. T

hey were Clearer and Alison. Delighted by this news, we booked some recording time with a studio we'd regularly used in our previous incarnation as Feverfew, the White House in Weston-super-Mare.

This was the first time we'd ever played a note of music that was using someone else's money, so the pressure was being felt. We recorded Clearer, Fearon and Chelsea Guitar, with Clearer becoming Sarah 55, the first of eight singles for the band across two labels. At that time, we were still toying with a name for ourselves and had settled with the Art Bunnies.

While driving us back home from Weston, though, I declared that I really couldn't see how people would take us seriously with a name like that. Disappointed, Keith (Girdler) then got out a piece of paper upon which he'd written several other contenders. These included Opal Trumpet, the Smiling Monarchs and (thankfully) Blueboy."

A Colourful Storm presents Blueboy's singles collection and the band's final retrospective release. Beautiful gatefold sleeve designed by Sarah Records' own Matt Haynes with original artwork insert, postcard and liner notes by Paul Stewart.

teely Dan's gold-selling third studio album Pretzel Logic, charted at No. 8 on the Billboard 200 and restored the group's radio presence with the single "Rikki Don't Lose That Number," which became the biggest pop hit of their career and peaked at No. 4 on the Billboard Hot 100. The 1974 album was produced by Gary Katz and was written primarily by Walter Becker (bass) and bandleader Donald Fagen (vocals, keyboards). The album marked the beginning of Becker and Fagen's roles as Steely Dan's principal members.

They enlisted prominent Los Angeles-based studio musicians to record Pretzel Logic, but used them only for occasional overdubs, except for drums, where founding drummer Jim Hodder was reduced to a backing singer, replaced by Jim Gordon and Jeff Porcaro on the drum kit for all of the songs on the album. Steely Dan's Jeff "Skunk" Baxter played pedal steel guitar and hand drums.

Pretzel Logic has shorter songs and fewer instrumental jams than the group's 1973 album Countdown to Ecstasy. Steely Dan considered it the band's attempt at complete musical statements within the three-minute pop-song format. The album's music is characterized by harmonies, counter-melodies, and bop phrasing. It also relies often on straightforward pop influences. The syncopated piano line that opens "Rikki Don't Lose That Number" develops into a pop melody, and the title track transitions from a blues song to a jazzy chorus.

Other standout tracks include "Any Major Dude Will Tell You," a reflective ballad with lush harmonies, and "Parker's Band," a playful ode to the jazz great Charlie Parker.

Lyrically, the album explores themes of nostalgia, lost love, and the struggles of the creative process. In "Barrytown," the band reflects on their early days as struggling musicians, while in "Through with Buzz," they offer a biting critique of the music industry and the pressure to conform to commercial expectations.

One of the defining characteristics of Pretzel Logic is its use of unusual chord progressions and unexpected musical twists and turns. The band's intricate arrangements and skilled musicianship are on full display throughout the album.

Rolling Stone praised the album, calling Steely Dan the "most improbable hit-singles band to emerge in ages."

"When the band doesn't undulate to samba rhythms (as it did on 'Do It Again,' its first Top Ten single), it pushes itself to a full gallop (as it did on 'Reelin' in the Years,' its second). These two rhythmic preferences persist and sometimes intermingle, as on 'Rikki Don't Lose That Number,' which jumps in mid-chorus from 'Hernando's Hideaway' into 'Honky Tonk Women.' Great transition." — the review said.

AllMusic gave the album 5 stars, with reviewer Stephen Thomas Erlewine noting that "instead of relying on easy hooks, Walter Becker and Donald Fagen assembled their most complex and cynical set of songs to date." Dense with harmonics, countermelodies, and bop phrasing, Pretzel Logic is vibrant with unpredictable musical juxtapositions and snide, but very funny, wordplay.

The album's cover photo featuring a New York pretzel vendor was taken by Raeanne Rubenstein, a photographer of musicians and Hollywood celebrities. She shot the photo on the west side of Fifth Avenue and 79th Street, just above the 79th Street Transverse (the road through Central Park), at the park entrance called "Miners' Gate."

After a brief battle with esophageal cancer, Walter Becker died on September 3, 2017 at the age of 67. Steely Dan has sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001. VH1 ranked Steely Dan at No. 82 on their list of the 100 Greatest Musical Artists of All Time. Rolling Stone ranked them No. 15 on its list of the 20 Greatest Duos of All Time.

This stereo UHQR reissue will be limited to 20,000 copies, with gold foil individually numbered jackets, housed in a premium slipcase with a wooden dowel spine.

Overall, Pretzel Logic is a standout album in Steely Dan's discography. The album's blend of catchy hooks, complex arrangements, and thoughtful lyrics has made it a favorite among fans of classic rock and pop music.

Made when mono was still king, Bob Dylan's self-titled 1962 debut is as understated of an entrance as any significant musician as ever made. Already well-versed in American roots music, Dylan simultaneously pays homage to tradition and extends it by putting his own stamp on classic material that metaphorically functions as the soil of our contemporary songs and styles. Free of ego, and performed with masterful conviction, Bob Dylan ranks with the debut efforts of similar artistic giants Elvis Presley and the Rolling Stones.

Mastered from the original master tapes, pressed at RTI, and limited to 3,000 copies, Mobile Fidelity's restored 180g mono 45RPM 2LP version brings the contents of this seminal release as closest as they've ever come to master tape-quality in the original mono configuration. Transparent to the source, the simple sounds of Dylan's voice, acoustic guitar, and harmonica take on lifelike perspective and directness – the "husk and bark" to which Robert Shelton referred in his now-legendary New York Times review of a Dylan appearance at Gerde's Folk City. MoFi has made possible an inexpensive time-traveling trip back to the Greenwich Village coffeehouses and folk clubs in which Dylan cut his teeth, albeit in much better fidelity and without any annoying background chatter. Wider grooves mean more information reaches your ears.

As the preferred mix at the time of the recording, the mono version presents Dylan as he and his producers originally intended. Since the separation of the stereo versions isn't as sharp, the mono edition places Dylan's vocals in the heart of the musical action and as one with the accompaniment. It paints listeners an incredibly accurate portrait of the attention-getting, concrete mass of sound that features no artificial panning and straight-ahead immersion into the music. This is how almost everyone first heard this timeless album – making the mono mix all the more historically valuable and truthful.

Much has been made of the commercial indifference that greeted the album upon its low-key release. Yet focusing on sales figures and the reaction of a public not yet hip to Dylan's name or music is to miss the forest for the trees. Distinguished from the era's other folk efforts by way of the determination, brazenness, and lived-through-this worldliness Dylan approaches the material and sings the songs, Dylan lays the groundwork for the path he'd soon trailblaze and everyone else would follow.

By nodding to Woody Guthrie at the same time he completely re-imagines a sobering tune such as Blind Lemon Jefferson's "See That My Grave Is Kept Clean," Dylan straddles the past and future. He also displays, with challenging authority and savant-like expertise, the ability to handle weighty topics such as death, sorrow, and lamentation with the vaudeville flair, bluesy mannerisms, and poignant command of an artist three times his age.



As Dylan scholar and pop-culture critic Greil Marcus observed in 2010, "Everybody knew Joan Baez and the Kingston Trio; if you knew Bob Dylan, you knew something other people didn't, something that soon enough everybody had to know. Within a year, an album could put an adjective in front of the singer's name as if it were already common coin." It all starts here.

Track List

RAWAX welcomes Reboot to the family! We are very happy to present you Frank's first release on our RWX-series in July!

Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl

Wow! Pierre-Alain Dahan & Mat Camison's Rythmiques is another iconic release in the hallowed Tele Music catalogue. First appearing in 1973, it features tense funk, blunted jazz and heavy breaks all the way. Considered the rightful sequel to Continental Pop Sound, it's a vital album for producers and DJs; and you can probably guess that RHYTHM is central to the record's presentation. And you can really taste what's rhythm, to borrow a phrase. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet whilst his partner here, Mat Camison, was a pioneering synth LORD. So, you know this Be With reissue is absolutely crucial.

The album picks up from where Continental Pop Sound left us, opening with the tense, stabbing thriller-funk of "Rythmiques N° 4". The dubbier "Rythmiques N° 5" is no less electric and definitely has a spacey air of wonky funk about it with the slightly off-kilter rolling piano. "Rythmiques N° 6" is more percussive-focussed with a brilliantly hypnotic opening that really stretches the drama out. “Rythmique N° 7” alternates between fast-paced, skipping drums and slo-mo funk, always with the clavinet high up in the mix. Wicked. The dope jazz of “Rythmique N° 8” truly mesmerises with licks of electric piano, funky bass flourishes and varied percussion. “Rythmique N° 9” has great, sloppy-yet-hard intro drums which sound like something Daft Punk could've pilfered circa Human After All, punctuated by a guitar rock refrain that repeats til the end but is never overdone. The A-Side closes with the beautiful, melancholic "Piano + Piano", a reflective jazzy piano track which could easily open a wide-ranging set this autumn and many after it. Stunning.

Opening Side B, "Auto Rythmiques" is a hectic yet compelling funk workout but it's all about the frankly devastating breakbeats on “Rythmiques N° 10 & N° 11” with effortlessly twisted funk bass lines over open drum breaks and enough tension and rhythmic switch-ups to keep your neck-snapping and your mind lifted. Downright essential. Taking leave from the heavy funk break action, the pastoral "Océan Horizon" is perhaps an unfairly overlooked highlight. A gorgeous, softly-aquatic, ambient gem, it's gently percussive with warm, floaty keys decorating the mellow rhythmic bed. The mercifully brief "Super Carrousel" is harmless fun-fair-funk but perhaps best skipped over whilst the intriguingly titled "Gay Shopping" is another throwaway exercise in inexcusable jaunt whilst. To close out this memorable set, thankfully, we're left with "Suspense N° 1" to get us back on course with its unsurprisingly tense mix of urgent stringed instruments that flirt with rhythm and melody yet the longer the track goes on. Deep.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Rythmiques has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

16 moderne krautige elektronische Tracks inspiriert von Kraftwerk, CAN, Neu, Rother Klaus Schulze und Konsorten. Kuratiert und kompiliert von Compost Künstler Fred und Luna. Seine Auswahl (mit sechs exklusiven Stücken!) zeigt, wie gut jüngere Künstler die Kraut-Szene beleben. Die langjährig Bekannteren wie Pyrolator, Sankt Otten, I:Cube, sowieso. Und Vol. 2 ist auch schon in der Mache, folgt im Winter 2023. Die Collage auf dem Cover ist von der fantastischen Künstlerin Norika Nienstedt extra für die FSOK angefertigt worden. Sie lebt in der Kraut Metropole Düsseldorf.

Intro: Future sounds of Kraut, what’s it all about? Keine Ahnung, I don’t know. Überraschung, where we go...Alles andere als einfach oder im Grunde unmöglich, die Begriffe „Krautrock“ oder „Kraut“ zu definieren. Dennoch begeben sich Compost Records und Fred und Luna auf eine Zeitreise, um die unterschiedlichen Elemente deutscher elektronischer Musik der 1970er und 1980er Jahre und ihre Auswirkungen auf die neuere deutsche und weltweite Musikszene zu entdecken. Auf „Future Sounds Of Kraut, Vol. 1“ präsentieren die beiden Kuratoren Fred und Luna als erste „Forschungsergebnisse“ hauptsächlich Bands, die vom repetitiven Charakter vergangener deutscher Elektronika à la Kraftwerk, Can, Neu!, Harmonia und Cluster, beeinflusst sind.

Viel Vergnügen und erfolgreiches Krautifizieren!

András Cséfalvay makes simple music with a potent atmosphere. A well-known figure in the Slovak underground (artistic, literary and music) scene, he returns after years of silence with a collection of intense songs. It's music which tackles both fantasy concepts and environmental trauma; Cséfalvay, armed only with the voice of a bard and his own hand-made guitar, will kindle your imagination and take you to the most unexpected corners of your mind.

More than a singer, on 'Future Role of the Church in the Forthcoming Enviromental Transformation' Cséfalvay acts like a narrator, wearing his heart on his sleeve. He sings of his hate of percussion instruments, Jupiter and other planets, tells tales of guns and love, nature and Mithrandir. His unique style is completely absorbing, despite the minimal, traditional set-up known from his live performances. Existential, yet light, these twelve songs mark a welcome return of a fascinating artist who presents his own vision of the past, present and future – it's bleak and existential, but also filled with purity and honesty that's impossible to resist.

'Future Role of the Church in the Forthcoming Environmental Transformation' is András Cséfalvay's second album, and his first for the sincere label Weltschmerzen.credits

Toying with the familiar but not afraid to break with expectations, AVEM presents a versatile range of works that make up his debut album.

Dream State was largely written and produced in times of the pandemic, specifically during lockdown periods — a context that grants the album an air of melancholic isolation. Offering seven songs on a double LP, it marks the collective imprint LOKD’s vinyl premiere. Merging sounds of Electronica, House and Techno, LOKDLP001 finds its place neatly outside of common categories.

In the past years, the Swiss DJ, producer and live act has made a name for himself with a steadily growing catalogue: not only through a handful of EPs, but also by releasing countless singles, remix- es and live recordings. In autumn of 2023, the Basel– based artist now reveals his first studio album.

Instrumentation ranges from studio percussion re- cordings, synthesizer & drum machine classics, all the way to ethereal piano and vocal performances; all performed and recorded by the artist himself.

Familiar structures of House and Techno are introduced, only to be broken again by gleam- ing twists and turns. A focus on percussion is ap- parent throughout the album, be it in the dynamic texture of drum recordings or in the evolving break- beat rhythms of a guiding bass drum.

Dream State tells an ephemeral tale of the uncertain, treading through an unique territory of opposites — from rapid progression to outright hypnosis, from weightless yearning all the way to euphoric catharsis.

In 1955, Chet Baker prepared the first European tour of his newly formed quartet. The tour began in Holland in September 1955 and continued with stops in Germany, Switzerland, and France. In Paris, pianist Dick Twardzik died from a heroin overdose in his hotel room on October 21, 1955. He was only 24-years old, and his early death was a tragedy for the jazz world. Chet was marked for life by this tragedy and from that point on his own addiction would haunt him forever. This album compiles material from three studio sessions made during that European tour. Side A presents music recorded right after Twardzik's death, and Side B has tunes from the only two studio sessions recorded by Baker with Twardzik.

It contains the product of two different sessions. The first date, which is actually the second chronologically, yielded just two tracks. Although, something new for the time, they were long enough to fill up one side of an LP. 5 Stars AllMusic: "The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm section: Horace Silver
(piano), Percy Heath (bass), and Kenny Clarke (drums). Walkin! is a thoroughly solid effort." 'I'll Remember April' from the same session, but not included on the original LP, has been added as a bonus.

Bill Evans spent late 1961 and most of 1962 participating on a variety of recording projects which featured him playing either solo or along with musicians with whom he rarely worked. Empathy was the first of only two albums Evans recorded with drummer Shelly Manne (their second collaboration, A Simple Matter of Conviction, was taped in 1966). It features the pianist and drummer in a trio format, with Monty Budwigon bass, and presents an unusual program, with four out of six tunes Evans would never record again in any format.

This release presents the very best performances from the legendary 1961 Village Vanguard sets by the Bill Evans Trio. It would be the last recording by this formation of the group, with Scott LaFaro on bass, and Paul Motian on drums, as LaFaro died ten days later in a car crash, on July 6, 1961, at the age of 25. Evans, who loved LaFaro's playing, would take a long hiatus before forming a new trio.

Canary features 10 new songs written, performed, recorded, and mastered by Jefferies during the COVID-19 lockdown. Inspired by Emily Bronte's spiritual beliefs, NZ's most famous racehorse, and the haunting timbre of a meticulouslyrestored Marxophone, Jefferies mesmerizes with perhaps his finest balladry yet. "Where Did We All Go Wrong?" and "Where Do We Run To Now?" wrestle with the challenges presented by pandemic isolation and uncertainty. Jefferies deftly examines the limited choices during lockdown, employing a bit of black humor and finger pointing to stir the soul, and bringing some much-needed levity to this unprecedented time.

Ethos Records is a new vinyl only record label based in Athens,GR.
It’s aim is to present music from carefully curated artists that are consistent & true to their sound regardless the current trends or hype.
For the first release Leonid delivers a deep & dubby, Detroit influenced 4 track EP.

The release will be a limited pressing with each record featuring a hand stamped number on the label.

In 2020, electronic musician Nina Pixel was offered a track on a compilation album of songs from the Liptov region. What started as a rearrangement of a single folk song eventually grew in scope and size, eventually becoming a series of releases. Titled Ancestral Archaeology, the series counts two self-released EPs, an audiovisual show in co-operation with Adrián Kriška, and now, after two years, a double LP published by Weltschmerzen. In this definitive form of an album, Ancestral Archaeology reveals itself as a musical reimagination of traditional historical Slovak culture at large.

Nina Pixel averts the perils of lapsing into inauthentic fakelore by building her music with, rather than on, the ethnographic riches of Slovakia. With the eagerness of a genuine archeological prospector, Ancestral Archaeology invokes the always present but seldom perceived linchpins of folklore culture: the desperate clinging to the memory of pre-Christian paganism and witchcraft, songs with narratives of beautiful innate wyrdness that is utterly unfit for mass culture, and superstition as the most serious longing for the balance between sense and irrationality.

If we acknowledge the truism of folklore as the shared way of expression in rural society, the techno music on Ancestral Archeology proposes that, in the urban society of ours, this role is served by raves. The argument isn't as much declared as it's implied // in music and in the spoken-word lyrics that are rife with historical and contemporary sources. An 18th-century recipe by the writer and priest Juraj Fándly proposes snorting the grounded flowers of the medicinal weed Valerian as a way of curing bad vision. "It is a proven remedy!" we are repeatedly assured, and it's not hard imagining Fándly and his parishioners, strung out on Valerian, moving almost involuntarily to the rhythms of their era just as we can move to Ancestral Archeology.

Nina Pixel is a Slovak music artist based in Berlin. Lyrics are inspired by Slovak folklore traditions, songs and shared beliefs.



Manifestation tools: cello, overtone flute koncovka, fujara, gong, metal bowls, sheep bell, field recordings of Slovak forests, Andreas's tom and various drum machines.

There are different ways to celebrate an anniversary. We can look back and reflect on where we've been and how far we've come. Or we can look forward towards future possibilities. Alternatively, we can simply pause for a moment and be present - right here, right now. Rather like we are aware and mindful of what is happening at this very moment when we're enjoying superb music, excellently recorded and played.

That's how Clearaudio is celebrating its 45th anniversary. To mark the occasion, Clearaudio are delighted to present an album of music that embodies their passion for perfection, for nuanced and detailed sound, and for an intimate marriage of creativity and technical finesse. In other words, an album that reflects the key principles by Clearaudio.

"Take the best, make it better - only then it is just good enough." This well-known quote is as valid today as it was 45 years ago, and has inspired a host of colleagues and collaborators along the way. Ever since the release of Delta and Sigma speakers in 1978 and the development of the first moving coil cartridges, not a day has passed when Clearaudio didn't strive to set new standards for higher fidelity. This mindset continues to underpin their work to this day.

No matter where you've come from or where you are going, if your heart beats to the drum of truly authentic sound, then you'll find Clearaudio spirit, will and drive in every single one of their products - from the most towering turntable to the smallest cable.

While some creators may be content with merely looking closely, Clearaudio has always looked and listened closely. Very closely - and at both ends of the spectrum, from top-quality record engineering to excellent playback. So the early stages of every Clearaudio musical recording begin with questions like: "Does it sound exactly like in a concert hall?" and "Does the music feel as was intended when it was written and composed?"

In addition to their own recordings, a number of their favourite legendary productions from Deutsche Grammophon have also found their way onto this album. So why not take a pause, "take five," and enjoy these moments of exceptional music, lovingly produced? And join Clearaudio in celebrating 45 years of loving music!

Following a greatest hits compilation in the late 90s the Human League signed to the Papillon label. The line-up
of Philip Oakey, Susan Sulley and Joanne Catherall recorded the “Secrets” album, with keyboard player Neil
Sutton, who co-wrote most of the songs with Oakey, and programmer David Beevers providing the trademark
Human League sound.
• The album’s release in 2001 was preceded by the single “All I Ever Wanted”, but both the single and album lost
promotion and sales when Papillon ran into financial difficulties and was closed shortly after the album’s release.
• This 2LP new edition has been expertly mastered by Cicely Balston at AIR Mastering from the original stereo
tapes using precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves
groove accuracy and transient information creating an incredibly detailed stereo image with a natural high
frequency response.
• Presented in its original sleeve, pressed on 2 x 180 gram heavyweight black vinyl, featuring an obi strip and
housed in a poly-lined inner sleeve, with all the lyrics and credits on the 4 page insert.

a 01. All I Ever Wanted Dave Bascombe Mix 3:31

[c] 03. Love Me Madly? [Dave Bascombe Mix] 4:08

The final U.S. show, a triumphant and blistering bookend to the storied career of one of the most influential bands in rock music, featuring a unique and expansive eighty-five minute set list that spans Sonic Youth’s nearly three decade catalog. Mixed from multitrack by longtime live engineer Aaron Mullan and mastered and cut by Carl Saff. On August 12, 2011 Sonic Youth played their final US show on an outdoor stage overlooking the East River at the Williamsburg Waterfront in Brooklyn. Fitting that their storied career would bookend with a panoramic view of New York City where it all began 30 years before, having left in their wake one of one of the most powerfully influential careers in rock music. Following incredible sets from Kurt Vile and Wild Flag, the band took the stage. As the sun went down over the city, Sonic Youth ripped through a 17 song set that spanned from deep cuts off their first studio album and highlighting many other albums all the way through to their last, like a band with everything to prove. Or as Brooklyn Vegan’s Andrew Sacher said at the time: “While most bands who are thirty years into their career are either fading away or living off of the nostalgia of their older material, Sonic Youth continue to sound and perform as fresh as ever.” Steve Shelley explains the uniquely career spanning set list of Live in Brooklyn 2011 and how it came to be, as well as the importance of outdoor NYC summer shows in Sonic Youth’s legacy: “This show was a culmination of a run of really special outdoor summertime shows in New York City for us, starting in ’92 with Summerstage in Central Park when we played with Sun Ra. For the Williamsburg Waterfront show I wrote out the set list to present to the band and it was a lot of material we hadn’t played in a while, a lot of deep cuts, so I wasn’t sure if everybody would feel like doing it. After worrying about which songs the band might say yes or no to, I threw those concerns out the window and I just made a list of songs that I thought would be a great set. We practiced the week of the show at our space in Hoboken and put the set together. First we’d try and make sure we had a guitar in the song’s tuning, then we’d try to remember the arrangement and try and put it together, sometimes re-learning bar by bar. In the end I think the whole song list made it through. Even as early as ’86 and ’87 we stopped playing ‘Death Valley 69’ and ‘Brave Men Run’ with any regularity. We’d just get excited about new material coming into the set and songs would get ‘retired’ and wouldn’t get played again for years. So on this particular night in Brooklyn a lot of those retired songs and deep cuts got dusted off and played for this show. It turned out to be a pretty special event with a really special song list.” The band would go on to fulfill a contracted festival run in South America a few months later but, by then, the group’s center was severed beyond repair and the festival appearances didn’t hold the same kind of weight. “The stage was facing the East River from the Williamsburg, Brooklyn waterfront, and I recall the sun going down in the west during our set. It was a pretty magical, if kinda weird day. Fitting, somehow, that our ‘last show’ should be in New York City, our home and where it all began…” Lee Ranaldo The Williamsburg Waterfront show would fondly become referred to as ‘The Last Show’ by fans and band alike, equally for its triumphant high energy performance, its unique and expansive set list and locale. Newly remixed and remastered, Live in Brooklyn 2011 is presented for the first time on 2xLP, 2Xcd, August 18, 2023.

Blackball Records presents the 20th anniversary edition of Jawbreaker's beloved 1990 debut album Unfun--twelve groundbreaking tracks (sixteen on the CD) that captured the very inception of emo's big band and launched a galaxy of young, earnest bands and the scenes that love them. Unfun has been remastered by John Golden from the original analog tapes; the increased sampling rate boosts some of the bottom end and mid-range. It sounds fucking awesome. The vinyl version is available for the first time since 1992, and the CD and download versions of the record include the three-song Whack & Blite EP, as well as the 7-inch mix of "Busy" as an unlisted bonus track. This reissue features restored original artwork, and all formats include additional band photos from the time of recording. "Want" and "Fine Day" were in heavy rotation on college radio back in the day, and remained set list staples throughout Jawbreaker's run. Unfun wound up on a lot of fanzine top ten lists, and even the mainstream press took notice. Rolling Stone called it "a feast of heavy melody and righteous braying that roars along with all the spit and spirit of Husker Du's New Day Rising."

Alternative rock, or abbreviated to just simply alternative, first came to present in the early ‘70s as independent underground music and gradually developed into the ‘90s as a reaction to the mainstream pop music from that era. Alternative music was represented by bands who were signed to independent labels, but major labels also picked up on the trend, which led to commercial success in the international music charts. The 2LP 90’s Alternative Collected highlights songs by bands such as Faith No More, Nick Cave & The Bad Seeds, Kula Shaker, Eels, R.E.M., Oasis, Live, Soundgarden, Fun Lovin’ Criminals, Smash Mouth, and many others

Blonde on Blonde: A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didn't know. Professor Sean Wilentz, historian-in-residence for Bob Dylan's Web site, comes as close to summing up its brilliance in his superb Bob Dylan In America as any who've tried: "The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beauty – in short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld." No lie.

As part of its Bob Dylan catalogue restoration series, we are thoroughly humbled to have the privilege of mastering the iconic LP from the master tapes and pressing it on 45RPM LPs at RTI. We feel that the end result is the very finest, most transparent edition of Blonde on Blonde ever produced. Forever renowned for what the Bard deemed "that thin, that wild mercury sound," the album's famed aural character lives and breathes on this superb version, with wider and deeper grooves affording playback of previously buried information and lifelike presentation of the studio sessions.

Prized for a unique sound that cultural critic Greil Marcus tagged "the most glamorous record imaginable; listening you can see the chequered jester's suit Dylan had worn on stage for the nine previous, furious months," Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylan's request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another.

The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashville's top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.

A year after its first edition, the Open Space series returns in order to keep exploring what ambient music might mean nowadays.

A breadth of fresh artists, some new to the label and others renowned for their more dance-centric works, the compilation aims to give each individual artist their creative freedom to explore the space.

Techno producers such as Arthur Robert or label head Len Faki himself keep the beats present but this time focus on evoking states of introspection rather than the shuffle of dancefloors.
On the other end of the spectrum, we find seasoned multi-instrumentalist Laraaji, who has been crafting deeply meditative soundscapes since the 80’s. Using the special opportunity, the label reaches outside its usual sphere, inviting artists like the modular synth expert Jeremy Wentorth or Jimmy LaValle’s band project The Album Leaf. All while still featuring some well known veteran producers the likes of John Beltran or Exos.

No matter their respective scene or background, all artists are using their unique approach to display something deeply emotive. Be it the warm, expansive electro of Future Beat Alliance or a bubbly cosmic arpride by Hamburg Duo Can Love Be Synth.

Truly living up to its name, the Open Space series aims to open up possibilities for artists to freely pursue their creativity in a completely undefined area, a space for exploration and connection.

RAWAX welcomes Ferdinand Steinbacher aka Brevis Bounce to the artist family! We are very happy to present you this great talent HOUSEWAX. After joining a RAWAX micro GARDEN FESTIVAL with Move D, Ferdinand went home and started (impressed from David's set) to jam. He uploaded the video on social media. Luckily we saw it and asked him to make us some tracks - the result is his first vinyl release called "Vibrant Remedy" which will be out in January.
Highly recommended!

Clear Vinyl So Far…The Best Of brings together the cream of Sinead O’Connor’s four album releases on the Chrysalis label.

Originally released in 1997, it features the Number 1 worldwide hit “Nothing Compares 2 U” as well as her early singles “Troy” and “Mandinka”, it showcases Sinead’s enormous talent and fearless uncompromising style.

This is the very first time that this album has appeared on vinyl, and is being released to coincide with National Album Day in the UK, with the emphasis on female artists.

The album is presented in a 5mm sleeve and includes the tracks “Success Has Made A Failure Of Our Home”, as well as “Heroine” and “Just Like U Said It Would B” which were previously only available on the US version. This is pressed on 2 x clear vinyl.

Unreleased at the time – “Something’s Wrong”, a long-time dance floor hit that was included in the 2013 Motown 7’s box set.

Now, 10 years on, thanks to Motown, we present the first ever stand-alone single coupled with her legendary version of the Frank Wilson classic “Do I Love You (Indeed I Do)”

Jackson Lee presents an analog anthology of seven synthesizer songs from the past and future, some resurrected from decaying cassette tape, some written yesterday.

Two ounces of deep house, one tablespoon of ambient and a zest of acid. Best enjoyed with Green Chartreuse on the rocks.

Demon Records presents a brand new original story, part of the Doom’s Day story arc presented on
Translucent Purple and Blue Vinyl.
Hired assassin Doom is on a mission to save her own life before Death catches up with her. If she can find
the Doctor they might be able to help her – but where in Space and Time are they?
These four missions - The Steel Cascade, The Martian Dilemma, An Ood Halloween and Dark Space - take
Doom to a Mediterranean cruise ship in 1966, the planet Mars in the distant past, San Francisco in 1999,
and finally a desolate planet in a dying solar system.
Along the way she meets former TARDIS travellers Ian and Barbara, the mighty Ice Warriors, and Brian the
Ood. But when a mysterious stranger with silver hair and sunglasses turns up, will he be Doom’s salvation?
Written by Darren Jones and read by Sooz Kempner, Jaye Griffiths and Silas Carson, these four original
adventures form part of the multi-platform Doom's Day adventure to celebrate Doctor Who’s 60th
anniversary.
2 x 140g Translucent Purple & Blue vinyl LPs, in fully illustrated inner bags, are presented in an attractive
‘Doom-laden’ wide-spine outer sleeve.

Sam Records and Saga present:

A never-before released Billy Harper 1975 live recordings.

First official release with the full permission and cooperation of the Billy Harper & INA (Institut National de l’Audiovisuel).

Billy Harper Quintet – Antibes ‘75

Two days after recording the first album ever issued on the Black Saint label, Billy Harper and his quintet were onstage at the Antibes Juan-Les-Pins jazz festival. Though Black Saint is a phenomenal album and is rightfully considered as one of the finest jazz releases of the period, Antibes ’75 shows that Billy and his men gathered momentum to push the boundaries of their studio effort even further.

That night, surrounded by stars, pine woods and a captivated audience, the quintet delivered a powerful and inspired performance. Never had Harper’s signature tunes “Cry of Hunger” and “Croquet Ballet” reached such a soulful expression, and we only wish that this moment of truth would have lasted a little longer.

We are honored to present to you this concert for the first time on record, a 180g LP including a 6-page insert with previously unseen photos by Gérard Rouy and Thierry Trombert and an essay by Bernard Loupias.

Virgil Jones (Trumpet)
Billy Harper (Tenor saxophone)
Joe Bonner (Piano, arranger)
David Friesen (Double Bass)
Malcolm Pinson (Drums)

In the early 2000s, Slum Village was riding high on the success of their Fantastic and Fantastic Vol. 2 releases and upped the ante with the release of Trinity (Past, Present And Future). Despite Jay Dee’s starting to pursue solo efforts, the production team assembled for Trinity kept the Slum vibe found on the Fantastic albums alive. Producers on the release include Hi-Tek, Waajeed, Scott Storch, Karriem Riggins, T3, Black Milk, Young R.J., Shelton ""Ess"" Rivers with a significant contribution from Jay Dee himself.

The whispers of the underworld told us to give the music of Yakuza: Like a Dragon (Ryū ga Gotoku 7: Hikari to Yami no Yukue) the wax treatment, and so we’re honoured to present this Laced-exclusive Limited Edition vinyl. The complete soundtrack has been specially mastered and will be pressed to heavyweight vinyl.

Yakuza: Like a Dragon’s EDM and rock soundtrack threw up some mighty music moments: few boss battle themes go as hard as dubstep banger “War Maker” (aka “Cold-Blooded”) as your rag-tag team finally get to take on Mabuchi; or “Receive You The Hyperactive” kicking into gear as Majima flips down the stairs with Saejima in tow.

It took an entire family of talent to produce the OST, led by RGG Studio stalwarts Hidenori Shoji and Chihiro Aoki. Other contributors included, among others, Hyd Lunch (YasuyukiMatsuzaki& Hiroaki Watanabe), Yuri Fukuda, 83key (ShunsukeYasaki) and ZENTA; while karaoke songs were created by Shoji-san, Fukuda-san, Kiyo and ZENTA with lyrics by Ryosuke Horii and vocals by Kazuhiro Nakaya, Nobuhiko Okamoto and SumireUesaka (performing as Ichiban, Zhao and Saeko, respectively.)























u D1 Yume Mita Sugata E [ Full Spec Edition]
[v] D2 Akuma No Jigokunabe [ Full Spec Edition]
[w] D3 Harukaze [ Full Spec Edition]

The whispers of the underworld told us to give the music of Yakuza: Like a Dragon (Ryū ga Gotoku 7: Hikari to Yami no Yukue) the wax treatment, and so we’re honoured to present this Laced-exclusive Limited Edition vinyl. The complete soundtrack has been specially mastered and will be pressed to heavyweight vinyl.

Yakuza: Like a Dragon’s EDM and rock soundtrack threw up some mighty music moments: few boss battle themes go as hard as dubstep banger “War Maker” (aka “Cold-Blooded”) as your rag-tag team finally get to take on Mabuchi; or “Receive You The Hyperactive” kicking into gear as Majima flips down the stairs with Saejima in tow.

It took an entire family of talent to produce the OST, led by RGG Studio stalwarts Hidenori Shoji and Chihiro Aoki. Other contributors included, among others, Hyd Lunch (YasuyukiMatsuzaki& Hiroaki Watanabe), Yuri Fukuda, 83key (ShunsukeYasaki) and ZENTA; while karaoke songs were created by Shoji-san, Fukuda-san, Kiyo and ZENTA with lyrics by Ryosuke Horii and vocals by Kazuhiro Nakaya, Nobuhiko Okamoto and SumireUesaka (performing as Ichiban, Zhao and Saeko, respectively.)





















u D1 Yume Mita Sugata E Full Spec Edition
[v] D2 Akuma No Jigokunabe [ Full Spec Edition]
[w] D3 Harukaze [ Full Spec Edition]