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Reissue on vinyl of the fourth PJ Harvey studio album Is This Desire?. Produced by PJ Harvey with Flood and Head, and originally released in September 1998, Is This Desire? features the singles ‘A Perfect Day Elise’ and ‘The Wind’. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.

You could think of the collection of tracks here as a library record of sorts, and each track inhabits its own universe. Tropical fits various moods and situations, and it could soundtrack any number of activities at home or on a dancefloor - whether real, imaginary, or hallucinated. Strangely enough, it sounds like it could have been constructed from obscure Italian library breaks, when instead every instrument has been played and panned, several times over, across magnetic tape.

The genesis of many of these tracks began when CV Vision moved to Berlin in 2014. His flat had a small chamber where he could fit a drum set, so he treated the walls with foam, and in true DIY style, dived headfirst into recording these tracks. It was the natural next step on an audio adventure that first began when CV Vision picked up the guitar in his teens, and a couple years later started recording with friends in his home town of Bayreuth. Fast forward ten years and here is his debut - a culmination of practising chops and learning instruments, mastering recording techniques and fine-tuning the CV Vision sound.

It’s a sound that condenses elements of acid rock, psych soul, library funk and new wave oddities into a movie soundtrack for your mind. It’s a journey from ‘60s west coast LSD-drenched excursions to ‘80s synth and post-punk mutations. Tropical is a plunge into another time, another music you can simply swim around in and explore.

Side A opens up with Tropical Tune In, which rides in on a clave and a warm wind, blowing a distinctly herbal aroma and recalling exotica dons like Les Baxter and Martin Denny. Following on with the aural equivalent of a sea breeze through your mind, Spaziergang am Meer blows away the cobwebs and conjures some nice library moments like Stringtronics or F eelings . Next, Ba_c_k(Lava) bounces out of a cold wave post-punk melting pot and crashes through the speakers like a blazed Zebedee, with some sweet eastern synths for added flavour, before the rolling bass licks of Der Böse Schamane take us into another dimension, landing somewhere between a psych rock freak out and a Black Ark dub session. Mr Maze channels the arpeggiators of synth outsiders like Mort Garson and Bruce Haack, creating a glorious interlock of robotic electronics and freakbeat vocals. The side comes to a close with the guitars of Der Strand (außer Rand und Band) letting loose like syrupy springs, and setting a languid mood like the bedroom scene in Bedazzled (1967 version). Side B kicks off with Parallel Universum, which comes through like a woozy krautrock workout, all ducking synths with big chord shifts to create an epic deranged beehive of a soundtrack. Im Land der Ameisen evokes the spirit if not the sound of White Rabbit, when logic and proportion have fallen sloppy dead, before waking up and wandering through the side alleys of Marrakech with the West Coast Pop Art Ensemble and the Electric Prunes, as Ritual (No. 4) blares out the speakers of passing tuk tuks. Ein Wasserfall plumbs the deep synth depths, like Raymond Scott in scuba gear, modular rack strapped to his back delivering oxygen as he swims between connector cables and seaweed forests through a watery underworld. Banana King sounds like a lost soundtrack to Donkey Kong or Mario Cart, if the cart radio was tuned into a synth

documentary hosted by James Pants, while Das Kloster am Berg takes the baton from Brenda Ray and her Naffi cohorts, all dubbed-out niceness and post punk swagger. The LP closes out with Tropical Drop Out, a dreamscape rather than a wake up call, coaxing you deeper into the trek across the desert of your mind.

And that’s Tropical in its essence: capsules from another time, snapshots of another sound, messages from another mind - all in the service of inducing the visions in your head.

written by Max Cole

Columbus, Ohio’s Rudolph Johnson drew comparisons to John Coltrane during his career; like the jazz legend in his later years, Johnson eschewed drugs or alcohol and spent his time every day either meditating and rehearsing on his horn. You can definitely hear
a little bit of Coltrane in Johnson’s playing on this, his 1971 debut release for the Black Jazz label, the first of two he recorded for the
imprint and the first he recorded as a leader after some sideman work (most notably for organist Jimmy McGriff); his ability to explore the upper registers and overtones of his tenor sax while retaining control is quite striking. Of course, this being a Black Jazz release, along with the bebop sounds of “Sylvia Ann” and the mid-‘60s Blue Note stylings of “Sylvia Ann,” there’s the soul jazz of “Diswa” and the groove funk of “Devon Jean,” all played by, as is typical on Black Jazz releases, by top-notch sidemen including drummer Raymond Pounds, who’s layed
with everybody from Stevie Wonder to Pharoah Sanders to Bob Dylan, and pianist John Barnes, whose work is very familiar to Motown fans (Supremes, Temptations, Marvin Gaye). Bassist Reggie Jackson, who appeared on the Walter Bishop, Jr. Coral Keys record we previously released, rounds out the quartet. First vinyl reissue of another stellar Black Jazz release!

Calvin Keys’s 1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists— Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash,
who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green. But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys has since become a fixture in the Bay Area jazz scene; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog!

First drop of 2021 from AE Productions is from New York legend Emskee. From solo releases to group projects with The Good People alongside Saint, plus a slew of guest features far and wide his catalogue is staggering! Emskee previously appeared on guest spots with AE Productions for the Cut Beetlez ‘What Beetlez?’ album in 2020 and Oxygen’s ‘Age Appropriate’ album from 2019 but AE and Emskee go way back to 2012 thanks to an introduction via mutual friends Diggers With Gratitude at their Marisco event.

Both tracks here are produced by AE boss Mr Fantastic but for this one turntable duties were shared between Emskee who is one of those rare creatures – a highly skilled MC and DJ, and supplied the timeless scratched in vocal chorus feel from a legendary old school gem for 'Wall To Wall', and Mr Fantastic who supplies the question and answer style cuts for ‘Supernatural Force’ utilizing a couple of Emskee's prior releases as the source.

This is a heavyweight release - 12" black vinyl complete with Main Version, Instrumental and Radio Edit of both tracks - just how Hip Hop singles should be. We all love 45's but a big 12" with space for longer tracks and extra versions is historically where it's at for DJ's and with precious few released now it is a shame so we aim to remedy that here with at least one more new 12” release.

The full sleeve artwork adds to the class of this release with a huge nod back to the style of Blue Note Records’ heyday of the 50’s and 60’s thanks to Nick at Fine Print who has perfectly recreated the feel of those classic sleeve designs.

**400 ONLY REPRESS PHOTOLUMINESCENT COLOUR VINYL///!! 200 FOR EUROPE** “I was guzzling wine at my favorite bar in San Francisco, the Rite Spot, and the entertainment that night was some local opera singers singing along with a big video screen showing a collage of various operatic moments with subtitles. One particular subtitle, ‘Ah!-(etc)’ made me laugh, I thought it was a perfect description of life - the joy of existence against the etcetera of it all, the struggle. With a heavy head of rose’ it seemed like ecstatic poetry! I scribbled it on a napkin and thought it might make a good title for something” And so the mystery behind the title of Kelley Stoltz new record is solved. Less of a mystery is the quality contained therein… after 12 self-titled releases and a several more under pseudonyms, Stoltz is the word for “one-man-band-home-recording-pop-songs of idiosyncratic character.” A quick follow up to his more power pop and pub rock LP only “Hard Feelings” offering in the summer, “Ah-(etc)” finds Stoltz returning to his sweet spot, writing songs that never were, but should have been in the 60’s and 80’s.

As with other LPs Stoltz makes virtually every noise on the album which was written and recorded in 2019 at his Electric Duck Studio in. San Francisco. A few friends popped in to play along… Stoltz former bandmate, Echo & the Bunnymen’s Will Sergeant adds electric guitar to “The Quiet Ones” a sort of Scott Walker lyrical take on strangers and neighbors. Karina Denike formerly of Dance Hall Crashers adds gorgeous vocals on the bossanova groover “Moon Shy”, where Sergeant pops up again in a spoken word role on the outro. Allyson Baker of SF’s Dirty Ghosts sings on “She Like Noise”, a song Stoltz wrote for her in celebration of her love of seeing live bands.

The album was mastered by Mikey Young in Australia.

Am 15.01.2021 erscheint das posthume Debütalbum „Shoot For The Stars, Aim For The Moon“ des New Yorker Rappers Pop Smoke erstmals auf Vinyl. Das Album debütierte auf #1 der US Albumcharts und schaffte es auch in Deutschland auf #9 der Charts. Über 20 Wochen nach Release befindet sich das Album immernoch in den Top 5 der US-Albumcharts. Unter anderem sind 50 Cent, DaBaby, Lil Baby, Roddy Ricch, Future, Quavo und Swae Lee auf dem Album vertreten

Monster grooves, driven by a perfect symbiosis of fiery oriental rhythms and the deep, relaxed heartbeat of the bass line, with virtuosic, intoxicating solos on bouzoukis, Farfisa organs, clarinets and violins. This is the sound of laika, Greek-oriental pop music from the 60s and early 70s that sets every dance floor on fire!

These 20 carefully selected songs serve as an introduction to this mind-blowing music for the non-aficionado, as it is the first album of its kind to be released outside of Greece or the Greek migrant communities. The extended and illustrated liner notes take you back to the heyday of Greek pop music and put this cultural movement into an historical perspective.

„Lamberts Musik bricht gängige Hörgewohnheiten“ – Die Welt Lambert ist ein Unikat, und das nicht etwa nur etwa deshalb, weil er seine Musik versteckt hinter einer in
Sardinien handgefertigten Ledermaske zum Besten gibt und kein Zuhörer sein Antlitz bislang zu Gesicht bekam. Bereits mit seinem letzten Album “True” ist der Berliner Pianist und Komponist Lambert ganz anonym in die unterschiedlichsten musikalische Identitäten geschlüpft. „Die Miniaturen von Lambert, der ausschließlich mit Maske auftritt, zeugen von einem enormen Gespür für Melodien.“ – Rolling Stone Nun erscheint mit “False” bereits das fünfte Album des inspirierenden Künstlers für welches er für jedes einzelne Stück ein besonderes Alter Ego kreierte, um das Verwirrspiel um seine Identität perfekt zu machen.
Bei Lambert hat diese Verhüllung etwas poetisches, das sein meditativ impressionistisches Klavierspiel im
Niemandsland zwischen Klassik, Jazz und Pop noch etwas entrückter und verzauberter klingen lässt. Lamberts Welt ist nicht nur geheimnisvoll, sondern auch randvoll mit genialer Musik, die sich mit jedem
Titel neu erfindet. 14 neue Kompositionen mit 14 verschiedenen Gesichtern — so erweitert Lambert sein
musikalisches Schaffen um eine breite Fülle stilistischer Einflüsse.

Chart topping international DJ and multi-instrumentalist Jax Jones returns with his new single ‘i miss u’ featuring Au/Ra. ‘i miss u’ is the latest musical offering to come from the Ivor, BRIT and GRAMMY nominated artist and follows the success of his debut album ‘Snacks’ being named the best-selling dance album of last year. With 5 billion streams, 2 billion video views and 40 million single sales all under his belt, ‘i miss u’ marks the next phase of Jax’s ascent as he continues to create genre-defying dance music. Returning to his club and underground roots, ‘i miss u’ is an emotive Jax Jones dance track that comprises colder sounding beats when compared to his hugely popular dance pop tracks. Underpinned by a hair raising vocal from German singer-songwriter Au/Ra, best known for her 2018 breakout hit ‘Panic Room’, Jax’s latest collaboration makes nod to his beginnings with a harder bassline and club ready tone.

Collection of Peggy Lee’s most famous tracks from the 50s and 60s.

repressed !

25 Years after it was released, the 16x platinum selling Bat Out of Hell II: Back Into Hell is to be repressed on vinyl for the first time since its initial release. Featuring the classic #1 single 'I Would Do Anything For Love (But I Won't Do That)'.
 And following on from the hugely successful Bat Out of Hell II: Back Into Hell, Welcome To the Neighbourhood is to be repressed on vinyl for the first time since its initial release in 1995. Featuring the hit single 'I'd Lie For You (and That's The Truth)'.

‘Giants of All Sizes’ was recorded at Hamburg’s Clouds Hill Studio, The Dairy in Brixton, 604 Studios in Vancouver and Blueprint Studios in Salford with additional recording taking place at various band member’s home studios spread across Manchester. As with their previous four studio albums, ‘Giants’ was produced and mixed by Craig Potter. Guests across the album include Jesca Hoop, The Plumedores and South London newcomer Chilli Chilton.

Given such bleak, if ultimately redeemed, subject matter, it is also, perversely, the most relaxed record which elbow have made in some time. On ‘Giants of All Sizes’, each band member extended their usual process of working on demos alone and followed their vision to its conclusion rather than, as Craig Potter puts it, ‘taking the edges off things to find compromise’. In tandem with this, they returned to playing live in the studio, encouraged to experiment with the banks of analogue equipment at Clouds Hill in Northern Germany, giving songs a looser, more live feel. The result is the most starkly dynamic record from the band in recent times, “Sonically unabashed”, as Guy would have it. Whilst album closer ‘Weightless’ has the gossamer melodies and communal harmonies for which the band have latterly been known, this album echoes earlier elbow work at times whilst also breaking new ground.

‘White Noise White Heat’ is motorik, metal machine soul driven by a vocal that is rage incarnate, ‘Doldrums’ mixes John Carpenter with The Plastic Ono Band to brilliantly disturbing effect and ‘On Deronda Road’ hitches stark bass beats and glitches to an ad-hoc choir. ‘Empires’ delivers dark resignation via an insidious melody and ‘Seven Veils’ continues the subversion by inverting the perception of elbow as a band for lovers into a band for haters, a double-barrelled fuck-you song par excellence. ‘The Delayed 3:15’ marries mariarchi guitars to jazz dynamics, Morricone via Buddy Rich, and ‘My Trouble’ is a clockwork, analogue shuffle housing a delicate melody that builds over the course of the song into a fragile monolith to the power of love.

Lead track, ‘Dexter & Sinister’, released on 10” ahead of the album, encapsulates the whole. A seven-minute musical journey that blends deep bass grooves, sudden keyboard stabs, dislocated piano and guitar runs and soul stylings then abruptly shifts gear, parts the storm clouds and takes wing, flying towards the heat of the sun. It is the soundtrack for these ‘hope free, faith free, charity free days’, a denial of the divine and a reconciliation, two songs in one song, two emotions for one emotion, human, fragile and brilliant like the album which it opens.

Hyperspace will be Beck’s 14th album, following 2017’s Colors, which won Best Alternative Music Album and Best Engineered Album, Non-Classical at the 61st GRAMMY Awards earlier this year. Hyperspace’s new dimensions in sound are the result of Beck’s most collaborative efforts to date. Seven of the album's 11 tracks—including single “Uneventful Days” and “Saw Lightning” (as featured in the Beats by Dr. Dre Powerbeats Pro campaign and also included with pre-orders)—feature co-writing and co-production from Pharrell Williams. Elsewhere in Hyperspace, “See Through” is co-written/co-produced by frequent Beck collaborator Greg Kurstin, “Star” is co-written/co-produced by Paul Epworth, “Stratosphere” features back-up from Chris Martin, the album’s title track features guest vocals from Terrell Hines, and “Die Waiting” is co-written/co-produced by Cole M.G.N. with backing vocals from Sky Ferreira. Longtime Beck bandmates Jason Falkner, Smokey Hormel and Roger Manning Jr. feature on much of the album as well.

Back in stock !

This is Sixties Rock n Roll at its best! A fantastic 2 sider!

A Mod Beat Band playing Rock n Roll is the best way to describe it,,, great Dance floor fillers, both 50s and 60s fans love this record

Sonor Music Editions presents the first commercial release on vinyl (shortly followed by a CD edition) of Ennio Morricone's soundtrack to the film "I DUE EVASI DI SING SING" from 1964, directed by the legendary Lucio Fulci and starring the famed Italian comedy characters Franco Franchi and Ciccio Ingrassia. A bit away from what would have been his 92° birthday, the label presents a pseudo unreleased gem by the greatest all-time composer at the beginning of his career. This stunning recovery was possible thanks to the work of the producer Lorenzo Fabrizi (head of Sonor Music Editions) and the collaboration of Claudio Fuiano and Daniel Winkler, two significant connoisseurs in the field and maestro Morricone's discography. The album was originally released on an impossible-to-find promo-only library release in the late '60s with different titles, due to that the score remained concealed until now. With the recoup of the original MONO tapes Sonor was able to work with the original soundtrack sequence adding two bonus tracks from the original sessions. The music enhances the stories of two sloppy thiefs (Franchi and Ingrassia) in the styles of orchestral Jazz and Bossa Nova, with more sweet and cheerful themes built around the bewitching character of Gloria Paul.

• From the mod 60s the legendary Brunswick label had the cream of Chicago soul, with the hits by Jackie Wilson and The Chi-Lites to go with it. But beyond that, in the cracks and crevices they has some of the greatest and most influential rare soul, and this compilation brings you the best of that.
• So we have the classics which defined the genre by the likes of the Adam's Apples with their Don't Take It Out On This World, Marvin Smith with the Have More Time, Leroy Taylor with Oh Linda and of course Jackie Wilson's opener The Who Who Song.
• We have more recent discoveries such as Tony Drake's spectacular Suddenly, The Sweetest Thing by Channel 3 Billy Butler's pounding George Clinton written 'I'll Bet You', and Jackie again with the swaying Because Of You.
• In between we have rare and collectible records by The Artistics, Gene Chandler, Jackie Ross and more. Together original copies of the records contained on this LP would cost you thousands, all gathered here for the price of a round of drinks.
• Pressed on 140g black vinyl with new artwork and printed inner sleeve

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• Issued in 1967, “We Are Paintermen” was the only Creation LP released during their original 60s incarnation, and then only in Germany. With the exception of “Making Time” and “Try And Stop Me”, this release features the 2016 stereo mixes of Creation classics “Through My Eyes”, “Biff Bang Pow”, “Can I Join Your Band?” and “Painter Man” (as later covered with huge success by Boney M).
• Pressed on 140 gram clear vinyl, the inner sleeve features 60s photos of The Creation from the collection of designer Phil Smee.

• The Creation was formed in 1966 from beat combo The Mark Four, and was quickly signed to a production deal with Shel Talmy, The Who’s producer. The first release was the urgent “Making Time”, which featured guitarist Eddie Phillips playing his guitar with a violin bow, two years before Jimmy Page started doing so.
• Alongside the “We Are Paintermen” LP, “How Does It Feel To Feel” rounds up the remainder of the recordings they made with Shel Talmy. This LP features the 2016 stereo mixes of Creation classics “How Does It Feel To Feel” (both the UK and US versions), “Life Is Just Beginning” and “Sylvette”. The last 60s lineup of The Creation, which featured future Face and Rolling Stone Ron Wood, is represented by all four sides of their two single releases.
• Pressed on 140 gram clear vinyl, the inner sleeve features 60s photos of The Creation from the collection of designer Phil Smee.

a A1. How Does It Feel To Feel UK version


[d] A4. How Does It Feel To Feel [US version]

The Begotten is the brainchild of Jürgen De Blonde (Köhn/de portables) and Brecht Ameel (Razen), who initially performed a number of shows and released a CS under the moniker 'Kohier' - gleefully referencing the absurdity of Belgian tax systems and institutions.

On their debut LP "Temidden Laaghangende Wolken" they are joined by percussionist and improv-veteran Dirk Wachtelaer (Pablo's Eye/Vanishing Pictures), who locked with De Blonde and Ameel's post-reality continuum during a recording session at Les Ateliers Claus in Brussels. In this new trio format, The Begotten weaves a stripped-down set of after-hours, trancey observations on keys, baritone guitar and drums. Neon-lit bars are named Le Kheops or 60 Moons, streets are soaked in sheets of rain, people are staring at tax sheets and comets pass by unnoticed. Dub with tears; "Temidden Laaghangende Wolken" is the perfect backdrop of a strongly medicated game of Manillen during a 'Derrick' rerun.

The Master Scratch Band was first break-dance / hip-hop / electro funk band in Yugoslavia in 1984. The band members were Zoran Vracevic, Zoran Jevtic and Milutin Stoisiljevic, previously known as Data and Sizike. Jugoton, the biggest label in Yugoslavia, published Data 7'' and MSB's 'Degout' 12'' with limited edition cassette containing two bonus tracks. Impossible to find on the collectors market, Fox & His Friends team in collaboration with Jugoton / Croatia Records is releasing a full, complete version of the rare "The Breakwar" tape, with tracks "Tonight" and "Pocket" never pressed on vinyl. All tracks are sourced from original studio tapes. With the kind help of Zoran Vracevic on credit list and liner notes, this is now the ultimate Master Scratch Band album, released originally in a year 1984 when break-dance was in the peak of its popularity in Yugoslavia. While Data was synthpop, Sizike mellow synth-disco recorded in private studio, this release is pure breaks and hip-hop electro, done old-school way in one of the best studios in Yugoslavia, Enco Lesic's 'Druga maca' in Belgrade. MSB used impressive electronic gear and were helped by huge list of famous musicians and guests: Duca Markovic from hit-show 'Hit meseca' (Yugoslavian Top Of The Pops); Japanac on bass, Max Vincent of Max & Intro on synths, Dudu Vudu from Du-Du-A, Goranka Matic as photographer and many more. MSB sampling technique and choices are unique: from obscure industrial records to freestyle; from found-sounds to cut-up breaks and even real prank-calls. This is document of time that still sounds fresh and needs to find it's new, young audience of hip-hop history researchers, break-dancers, b-boys, b-girls and DJ's. When you know that it's produced in 1984 Yugoslavia, far away, but actually, so close to its USA & EU brothers and sisters, it's even more mind-boggling. Thanks to Fox & His Friends and Jugoton CR collaboration, this gem is waiting for your freezes, footwork and electric boogie moves. ----- Equipment used: Commodore 64 Computer, Roland MC-4B Microcomposer, Prophet Pro-One, RSF Cobol II Expander, Korg Mono-Poly Synthesizer, PPG Wave 2.3 Synthesizer, PPG Waveterm Computer, Boss DE-200 Digital Delay, Drumtraks Digital Drum Machine, Roland TR-808 Rhythm Composer, Electro Harmonix Vocoder, Linn Drum MKII, Juno 60, SH-101, SVC-350, VP-330 Vocoders, Polysix & MS10, Simmons drum module.

This album from the late 60's features Eddie Boyd backed by some of the best British blues musicians of the time. Player on this album include John Mayall, Tony McPhee, Peter Green, John McVie (Peter and John later known for their involvement with Fleetwood Mac) and Aynsley Dunbar - one of rock's most definitive drummers having played with John Mayall's Bluesbreakers, the Jeff Beck Group, Frank Zappa, and Journey before joining Jefferson Starship for three albums. The album was produced by the legendary Mike Vernon.

When Ajax Tow travels in his Pop Western landscapes, you can be sure there’s always a perfect 70’s road trip soundtrack. Italians cowboys meeting the legendary Miriam Makeba in Rennes suburbs... For his 3rd album The Soul Vegetable Orchestra, Ajax Tow is bringing us on a ten tracks sonic adventure, where many inspirations and references collide. The succession of tracks inspires many feels and moods from sipping a good old bourbon, dance in the kitchen, or gallops though the plains of Napoli.

We can found the influence of Danger Mouse paying hommage to the late Ennio Morricone (Roma, 2011), a cinematic side of Shawn Lee and Misha Panfilov, from music library à la Jean-Claude Vannier to the Band Voilaa, a little glimpse of pimped Ninja tune, a Reworked organic Mo’Wax vibe, all mixed up and spiced up with a Tricky style.

This album is also the result of a collaboration with Dan Voisin (Modul-Club, Eighty…) at the production and drums with Rennes city scene musicians who gives a hand on this album: Romain Baousson (Coupe Colonel, Bikini Machine…) on drums, Sax Machine and Racecar (Saxtoys Records) on horns and vocals, Dj Marrrtin (Funky Bijou, Lord Paramour) on beatmaking, Medline (My Bags) on Flûte.

As a special guest, the late and legendary Miriam Makeba appears on “Magic Miriam”. “Feel it” is definitely setting a west coast on the LP with a Jurassic 5 inspiration, accompanied by a spicy rhythm, MC Racecar (Sax Machine) flows and lyrics brings even more energy to the track. On “Movie” and “Silence”. Ajax Tow give us a nice taste of his favorite psychedelic blends, romantic and intimate at the same time, where we found back Fuzz guitar with 60’s Eric Clapton style (Cream era) and Pink Floyd synths Flavors. The cinematic style and first notes of “So What” reminds Air first EP and the beautiful bass of “Melody Nelson”. For the dessert, “Smallville” is a kind of wedding cake with 70’s loops sprinkling that brings us to Phillipe Sarde’s La Grande Bouffe soundtrack, but with a more contemporary feeling.

Mit der BLUE NOTE CLASSIC VINYL SERIE wird die Reihe preiswerter Blue-Note-LPs fortgesetzt! Die audiophile TONE POET SERIE von Blue Note ist ein großer Erfolg, aber richtigerweise will das Label seinen Fans nicht nur diese entsprechend hochpreisigen Spezialitäten bieten. Daher wird ab sofortzusätzlich die BLUE NOTE CLASSIC VINYL SERIE die großen Klassiker des Labels zu einem guten Preis und nicht limitiert veröffentlichen. Die bei Optimal gefertigten 180g- Pressungen sorgen auch hier für eine sehr gute Qualität.

'An expanded edition of KT’s second studio album ‘Drastic Fantastic’, to be released on 2LP + 10″ coloured LP set, 3CD and digitally. Bonus content includes acoustic versions, live tracks, remixes and b-sides such as Journey which has never been delivered to streaming or released physically in the UK. The bonus 10″ will consist of 4 brand new, unreleased remixes of the album’s singles Hold On, Saving My Face, If Only and Little Favours.




























[xb] Hold On (The Freelance Hellraiser [Holed Up] Remix)


[xe] Little Favours (MyRiot [Big Flavours] Remix)

'The original Motown album from the history-making March, featuring the “I Have A Dream” speech in crystal clear audio: a special release on 15th January, 2021, Dr. Martin Luther King, Jr.’s birthday, the Friday of MLK Day weekend.

'2 years ago, a journey began to find a musician from every single country in the world, to come together on one piece of music.The question they asked was this: "Would you like to be part of the Earth Orchestra, on a recording called "Together Is Beautiful" From that day on, the conversations that were started, the stories that were shared, and the experiences that were uncovered were overwhelming. The result is one of overarching togetherness, unity and peace. Composed by George Fenton. Recorded by: 197 Musicians. 197 Countries.1 Band.1 World.

"From Nishinari Osaka Japan Weird Wild Obscure Spooky exotica burlesque toy junk Muzak Trash One Man Band music made with broken cassette desks and fucked up record players feat members of (Acid Mother Temple)" - VRR 20202 Vinyl LP, starker Karton, bedruckte Innenhülle, Download inklusive. Willkommen in der wilden obskuren und seltsamen Welt von DEGURUTIENI und seiner ONE MAN BAND. teuflisch exotischer Striptease Kinder Spielzeug Krach mit ausgedientes Tonbandgerät und zerbrochenen Plattenspielern mit Mitgliedern von ua Acid Mother Temple in einigen Songs. Dies hier ist eine Zusammenstellung mit älteren Songs (selbst Veröffentlichungen und auf kleinst Labels) und viele neue Songs die noch nie vorher veröffentlicht wurden. Ich dachte, es ist an der Zeit, dass die Welt etwas über DEGURUTIENI erfährt (ich hatte Wochen, bis ich seinen Namen richtig buchstabieren konnte, hahaha ) Er tourt ständig durch die ganze Welt (pre Covid-19) und tritt in regulären Konzertsälen sowie in Theatern, Kunstgalerien oder sogar auf der Straße auf. wenn man ihn zum ersten mal sieht ist es eine Lebens Erfahrung die man nicht wider vergisst und es bleibt ein großes Lächeln im Gesicht und ein verzerrtes Fragezeichen in deinem Gehirn. Alco Degurutieni wurde Ende der 60er Jahre im Nishinari Ghetto von Osaka geboren (Alco Degurutieni: Diese Zeit in den 1970er Jahren war eine harte Zeit für alle, einmal im Monat Unruhen auf den Straßen. Rot Licht viertel Prostitution und die Yakuza-Mafia waren uns vertraut. Diese Erinnerungen an ein jugendliches Chaos sind seitdem ein Katalysator für mein Peter-Pan-Syndrom.) Degurutieni schafft Harmonie durch Gegenüberstellung, indem er ihnen Melodie aus Chaos und Dekadenz aus Abfall extrahiert. Mit 13 Jahren bekam er seine erste Boombox und wurde der beste Kunde in seinem örtlichen Leih-Platten und Trödler laden. Er arbeitete sich durch alle Genres von den Beach Boys bis zum Black Sabbath. Ab 16 Jahren begann er, seine eigenen Songs mit den einzigen Dingen zu kreieren, zu denen er Zugang hatte; Müll, umgebaute Kinderspielzeuge und ein ausgedientes Tonbandgerät. All dies spielt noch heute eine wichtige Rolle in seiner Musik. Auf diesem Album findest du ,Acme in the afternoon, ein komplett Hit, Tom Waits Blues Jazz Burlesque, dann mit ,Blur Blur Blur, hörst du ihn super minimalistisch und verloren im All Blues, oder den unglaublichen ,Midnight Express' mit einem orientalischen Trash-Flair der dich in einen neuen Blade Runner film katapultiert, und Zigeuner Fanafare und Rock'n'roll in ,13th Floor City ' zusammen mit: Orchester du Belgistan (aus Belgien) oder mein favorit ,Dreaming party' das wie ein psychedelischer horror film Soundtrack daher kommt LINE UP Alco Degurutieni (mostly all instuments) aditional Musissians on the Album Jyonson Tsu (ACID MOTHERS TEMPLE) Machiko Kuniki (Sujiko Sumoguri) Akiyoshi Kajitani (MOHIKAN FAMILIES) Atsushi Sekitani Watanbe (BRO TÜRK,PATO LOL MAN) Naoya Takami (Ichibanboshi Crue) Kwandae Park (UMA UMA UMA) Akira Ohno Tadahiro Ishihara Keigo Matsunaga (Rock'n'TASUKE'Roll & THE CAPTAIN SWING,MOHIKAN FAMILY'S) Tom Manoury (Orchestre du Belgistan) Mbengue Ndiaga Jordi Grognard (YOKAI) Akiko Igaki (TAYUTAU,COLLOID) Kiri Mochida Takeo Touyama (PATO LOL MAN) Shuichi Hirose (HUMNED) Takeo Touyama (PATO LOL MAN)

While Joe Henderson seemed to arrive fully formed on his auspicious 1963 debut Page One, the album was really a showcase for the transcendent collaboration between the tenor saxophonist and trumpeter Kenny Dorham who would form a potent frontline team on numerous mid-60s Blue Note classics.

Page One opens with a pair of indelible Dorham compositions (“Blue Bossa” and “La Mesha”), with the balance of the six-song set penned by Henderson including his enduring theme “Recorda-Me.” Dazzling performances by pianist McCoy Tyner, bassist Butch Warren, and drummer Pete La Roca further elevate this album making it one of the crown jewels of the Blue Note catalog.

This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Based on a short-story by the master of horror and fantasy, author Clive Barker (Hellraiser), Rawhead Rex is set in 1980’s rural Ireland. The Demon, alive for millennia and trapped in the depths of hell, is unleashed on the sleepy local farming community. Remembered faintly through pre-Christian myth, the only one that can stop Rawhead's bloody rampage is the historian, desperately racing against the time.
This is the first ever release for the soundtrack by Colin Towns, one of Europe’s most prolific film, television and theatre composers, but also a pianist, songwriter, arranger, producer and collaborator, known for The Puppet Masters, Space Trackers, Maybe Baby, Foyle’s War, Doc Martin, Pie In The Sky.
"The first film I scored was Full Circle which starred Mia Farrow and is still in the BFI top ten for best score for horrorfilms. I felt that film was more of a dark scary mystery. Rawhead Rex on the other hand was clearly a horror film 100%. I visited the film set in Ireland during the filming to take in the atmosphere and meet the actors after which I decided to record the music at CTS in London with a sixty piece orchestra plus electronics. I have always orchestrated my own work and had a wild time with Rawhead which is what I really love doing". Colin Towns

Eric Kupper collaborates with the incredible, Samba-inspired Japanese singer Keiko Yoshimura for an original production on his long-standing label Hysteria.

After remixing a track sung by the lovely and super talented Keiko, a Japanese singer that specializes in Samba, Eric Kupper was so enthralled with her voice that he felt compelled to reach out to her to collaborate on an original production. Eric felt it would be an interesting concept to combine the Samba melody, Japanese lyric with Afro-Cuban rhythms.

This record is the result.

'One of the most lauded (not to mention brilliant) trumpet players in the history of jazz, Clifford Brown adds to his luster on this varied program of nine engaging tunes. The 1955 line-up of the Clifford Brown/Max Roach Quintet – one of the premiere early hard bop units – included tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow.

In 2011 composer Ramin Djawadi was first asked to score a new TV series called Game of Thrones. In its first season much of the music was written for a small string ensemble, and filled out with synthetic pads and percussion. Over the course of the next six seasons the music budget got bigger and bigger to match the ever-increasing viewing figures the show was enjoying. This release celebrates the rich tapestry of music over the six series with the full firepower of an 80-piece symphony orchestra and choir.

Game of Thrones really is a television phenomenon. HBO's epic small screen adaptation of George R.R. Martin's series of fantasy tomes continues to draw in record audiences around the world and shows no signs of slowing down. Indeed some 8.9m people tuned in to the Season Six finale in the US and with repeats, recordings and on-demand viewings taken into consideration, it is estimated that Game of Thrones enjoys an average of 23m viewers per instalment. With a whopping thirty-eight Emmy Awards (and counting), this series remains the darling of prime-time pay TV.

With so much music created for the sixty episodes so far broadcast, this album can of course only take in so much. The particular cues and themes it does highlight, though, lend themselves beautifully to this symphonic re-imagining.

restock

Following up on a strong launch with Braintalk, Human Sense Technology returns for their 2nd entry; this time from the man of many styles, Eastern Zurich's very own Dan Piu, with Modern Utopia Thought EP. Dedicated to his youth and influenced by future visions of creation, the atmosphere and arrangement on this EP permeates into the imagination with colors of suspense, harmony, and spherical textures showcasing the finer lines of deep frequency. Courageous indeed as this EP embraces the mysterious in an eccentric bliss that charms the listening experience in a way that grooves the body as much as it moves the mind. Welcome to Modern Utopia EP, where there are no constraints on creation or time.

„Dance Hall At Louse Point“ ist das erste Album in Zusammenarbeit zwischen John Parish und Polly Jean Harvey. Es ist das Nachfolge-Album zu „To Bring You My Love“, das von der Kritik hochgelobte und kommerzielle Durchbruchalbum PJ Harveys.
Das von Parish und Harvey produzierte Album „Dance Hall At Louse Point“ wurde ursprünglich am 23. September 1996 veröffentlicht. Die Neuveröffentlichung wird von einer vollständigen Restaurierung der
Videos zu „Is That All There Is?“ und „That Was My Veil“ begleitet.
„Dance Hall At Louse Point“ wird als 180g LP veröffentlicht.

Dafuniks is a full live band based on a core of samples and Breakbeats plus various vocal appearances. It will blow your mind with references to the cradle of hip-hop and inspiration from the 60’s and 70’s Funk and Soul.

Flaming Tunes' sole release is perhaps the finest elegy to the '80s home recording ethos that you've never heard. Originally released in 1985 on cassette (with individually hand-colored covers), this self-titled album grew out of the collaboration between childhood friends Gareth Williams and Mary Currie.

Williams is best known as a member of English art-rock band This Heat. After leaving the group in the early '80s, he travelled to India where he studied classical Kathakali dance – an experience that would profoundly shape the music of Flaming Tunes.

In an old Victorian house in South London, the duo recorded during the day while Currie's young son attended school and Williams conducted tape treatments at night. They were joined by various guests including This Heat guitarist Charles Bullen as well as long-term collaborators Martin Harrison and Rick Wilson.

Using whatever instruments they had on hand (clarinet, piano, bells, etc.), Flaming Tunes create lo-fi melodies around simple arrangements, oblique rhythms and densely layered natural sounds. The results are a mesmeric collage of instrumental daydreams and sideways pop songs, floating into one another in a hazy confluence of late '60s Canterbury psych-folk and early Residents experimentation.

All of these beguiling elements converge in a personal manner, quietly insistent in listeners' ears like the blood pulsing in one's veins on a warm summer day.