Cerca:7 record cover

Combines Northern Soul, Psychedelia, 90s Indie Rock and an orchestral soundtrack feel into a homogenous, convincing work that looks promising and feels damn good in a not so rosy time.

The fourth album by the Frank Popp Ensemble, will be released on Unique Records. Written. recorded and produced in Spain in 2024. As with the predecessor ,Shifting", various guest singers can be heard on the lI brand new tracks.

Gerry Love, once the lead singer of the legendary Teenage Fanclub, who, according to Popp, wrote and sang almost al of the Glasgow cult band's favorite songs. lends his captivating voice to an orchestral, soulful version of "Save", a rather unknown but brilliant piece that Love wrote for the Scots in 2004. Gerard Love already contributed a cover of Frank Popp's "The World Is Waiting" to the "Under Covers" compilation and has now done another wonderful job on Waves.
Another hero from Popp's record collection is Nicke Andersson. Formerly a drummer with the death &rollers Entombed. then singer of the incomparable Hellacopters and mastermind behind other top bands such as The Solution, Imperial State Electric, Lucifer, etc., can be heard on "Caught In AWeb". A Northern Soul stomper in classic "Magic Touch" mania.
Emma Noble, an up-and-coming soul singer from London sings on the girl-groupish soul anthem "Unstoppable". The second single from the album has what it takes to be the next UK floor filler and was already played and praised on Craig Charles' Soul Show on BBC a t the end of 2024.
An absolutely exceptional artist is J Mahon, who can be heard on 5 tracks on the album and contributed significantly to the album. His sweet voice works on his songs as well as on "Going Going Gone", which is the first single release and is reminiscent of certain young Motown artists in the early 70s with its catchy brass hooks and j's androgynous soul vocals.
Audrey Ollesen from Cologne, an old buddy from the Rhineland mod scene, joined by chance after Popp became aware of her singing skills through private recordings. On "Common Stranger" Audrey can be heard on a recording for the first time.
On "Waves" Frank Popp combines Northern Soul, Psychedelia, 90s Indie Rock and an orchestral soundtrack feel into a homogenous, convincing work that looks promising and feels damn good in a not so rosy time. We are all excited...






f Heartbreak (In A Really Good Way) [feat. J Mahon]






[f] Heartbreak (In A Really Good Way) [feat. J Mahon]

Bacao Rhythm & Steel Band, das mysteriöse Steel-Pan-Outfit aus Hamburg, machte 2024 von sich reden, als der französische Film „Anatomy of a Fall“ einen Oscar für das beste Originaldrehbuch gewann. Bacaos Cover von 50 Cents „PIMP“ war prominent in dem Film vertreten und spielte eine so große Rolle in der Handlung, dass es zum Synonym für den Erfolg des Films wurde. Später sorgten sie dafür, dass bei der Oscar-Verleihung zum ersten Mal Steel Pans im Orchestergraben auftauchten, um die Melodie zu spielen, als die Regisseurin Justine Triet die Bühne betrat, um den Preis entgegenzunehmen. All dies brachte Bacao eine Menge neuer Fans und ließ die Streaming-Zahlen von „PIMP“ auf weit über 40 Millionen steigen. Der Song erschien erstmals 2008 auf dem eigenen Mocambo-Imprint von Bandleader Bjorn Wagner und wird oft mit dem Original-Sample verwechselt, aus dem 50 Cent seinen Hit gemacht hat. Abgesehen von den Auszeichnungen und internationalem Ruhm ist „PIMP“ buchstäblich nur die Spitze des Eisbergs von Bacao. Mit vier Alben und einem großen Stapel 7"-Singles, die zu Grundnahrungsmitteln für DJs auf der ganzen Welt geworden sind, sind sie, seit sie bei Big Crown unter Vertrag stehen, sehr produktiv gewesen. Trotz der ständigen Veröffentlichungen und des umfangreichen Katalogs hat jede Aufnahmesession mehr Früchte getragen, als auf ein Album passen, so dass mehr als nur eine Handvoll Songs im Tresor lagert. „Big Crown Vaults Vol. 4“ gibt den meisten dieser Stücke eine angemessene Pressung und Veröffentlichung. Das Album beginnt mit ihrer Coverversion des Bob James Klassikers „Nautilus“, ein „Must Have“ für alle Hip-Hop- und Breakbeat-Fans. Sie bleiben auf dem Gaspedal und geben dem Khruangbin-Klassiker „Maria También“ die BRSB-Behandlung mit ihren charakteristischen basslastigen Drums, die die Energie des Stücks in eine völlig neue Dimension bringen. Berühmt dafür, bei der Neuinterpretation von Material tief in den Kisten zu wühlen, nehmen sie sich als nächstes den von J Dilla produzierten Royce Da 5'9"' Track ‚Let's Grow‘ vor. Dann gibt es „PIMP (Version)“, ursprünglich die B-Seite der Erstpressung von „PIMP“, auf der sie ihrer Originalaufnahme eine ordentliche Dub-Behandlung mit Melodica und Bandecho verpassen. Sie erhöhen das Tempo und den Funk mit „Great To Be Here“ von den Jackson 5 und tauchen mit dem Billy-Jones-Tanzflächenbrenner „Lookout Baby (Here I Come)“ wieder tief in die Dunkelheit ein. Während ein Teil des Reizes eines neuen Bacao Rhythm & Steel Band-Albums darin besteht, herauszufinden, welche Coversongs sie aufnehmen werden, ist es ebenso faszinierend zu sehen, welche originellen Melodien sie ausgearbeitet haben. „BCR Vaults Vol. 4“ enthält zwar nur ein einziges Original, „Kaiso Noir“, aber es ist ein Up-Tempo-Kracher, der wie eine Mischung aus einem B-Boy-Break und einem James-Bond-Score klingt. Diese Sammlung von Songs umfasst den Zeitraum von 2008 bis 2023 und lässt eine Vielzahl von Genres von Hip-Hop über Jazz bis hin zu Soul und Pop durch die Bacao-Linse laufen. Die Band arbeitet bereits an ihrem 5. Studioalbum, und diese Zusammenstellung dürfte die perfekte Überbrückung für die Fans sein, bis es erscheint.

Lael Neale's minimalist drone pop draws inspiration from the Transcendentalists, the alienation of modern life, and a rich array of musical influences-ranging from Dionne Warwick and John Lennon to primitive American gospel and Spacemen 3. Her expansive new record, Altogether Stranger, due May 2, was written and recorded in the early morning quiet of Los Angeles. Clocking in at just 32 minutes, the 9-song LP covers an unexpected breadth of musical and lyrical terrain-from garage rock nursery rhymes and creation myths to Motorik dance dirges and solitary Omnichord meditations. A brilliant lyricist, Neale has a unique ability to uncover the extraordinary within the mundane, tackling themes of polarity that recur throughout her work-country vs. city, humanity vs. technology, isolation vs. society. This album is her third collaboration with producer Guy Blakeslee who helps expand the tonal palette while staying true to Neale's commitment to the raw immediacy and hand-made intimacy of home recording. Altogether Stranger - a stunning album filled with dreamlike reverie, Neale's crystalline voice, and echoes of the Velvet Underground - was conceived after four years of oscillating between rural solitude and urban chaos. It finds Neale perched at the piano in a hilltop bungalow, looking down on a rare curve of Sunset Blvd. Here, in this daily ritual of writing, singing, and painting-what David Lynch referred to as "the Art Life"-she creates the space for her most adventurous work to date. Born and raised in Virginia's idyllic countryside, Neale brought the high-lonesome sound of her home state with her when she moved to California to pursue music. After years of writing songs on guitar and playing small venues in Los Angeles, she discovered the Omnichord in 2019, which sparked a new creative direction. This led to her 2021 Sub Pop debut album, Acquainted With Night. That album's 2023 follow-up, Star Eaters Delight, deepened the collaboration with Blakeslee, infusing minimalist soundscapes with a heightened electric energy. The album found a devoted audience, and Neale's subsequent tour included sold-out shows in Los Angeles, New York City, London, and Paris, multiple trips across Europe, and a West Coast run supporting kindred spirit Weyes Blood. This marked yet another return to Los Angeles. Indeed, Los Angeles is not just the backdrop of Altogether Stranger but a lead character. The album's accompanying film - created with Neale's faithful Sony Handycam - builds on her ongoing series of videos, telling the story of Neale as an alien in a suit of mirrors stranded on Earth. Wandering through modern-day LA, she finds both absurdity and beauty in our fragile, untenable way of life. Over the long year it took to write Altogether Stranger, Neale vacillated between childlike optimism and existential melancholy. While she may not have been able to reconcile these opposing states, Altogether Stranger represents an ambitious breakthrough for this singular, self-sufficient artist.

We are proud to present the first official reworks of the disco/jazz-funk masterpiece Trip To Your Mind - now available for the first time with a picture cover featuring a classic shot of composer Reginald Hudson on the front.

For decades, Trip To Your Mind was celebrated as a Brit Funk classic, though its true origins remained a mystery. While recorded at London's Advision Studio, Hudson People were neither local nor British - a fact first uncovered with its official 2022 reissue on Backatcha Records. In interviews with label owner DJ Scientist, Reg Hudson revealed that the backing band behind his composition was Body Heat, a GI group based in Germany. The recording, believed to date back to around 1977, remained shelved for some time. By the time it was finally released in 1979, Body Heat was on the verge of disbanding, leading to the track being credited to Hudson People. Since then, Trip To Your Mind has been heavily bootlegged and compiled since the late '90s, cementing its status as an in-demand classic.

For our rework release, the A-side features a brilliant DJ-friendly edit by Delfonic, based on the original Hithouse mix. Unlike the later Ensign Records remix, this version starts with an 8 bar intro crescendo that was missing from subsequent reworks. When we approached Delfonic about reworking the track, he was immediately hooked - especially since he had already started an edit years ago but never completed it. His version builds tension through an extended intro before leading into the beloved vocal line: "Take a trip through your mind, surprises you will find." Delfonic's masterful editing ensures the track keeps listeners engaged until the very end.

The B-side features a rework by Italian DJ and producer Luca Trevisi, aka LTJ Xperience. His version is based on the Ensign remix of "Trip To Your Mind" by Chris Hill and Robbie Vincent. Some may recall a slightly different, clubbier version of this rework, which was released by a UK label in 2010. That version became a sought-after gem - however, Hudson never received any payment from the label. When we reached out to Trevisi about an official re-release, he generously revisited his edit, resulting in a more organic and dynamic mix. His version will appeal not only to disco and funk lovers but also to house and club DJs. The new mix was mastered by Frederic Stader on an EMI TG124 - an iconic mixing desk, famously used at Abbey Road Studios.

Both edits preserve the psychedelic essence of the original while making it more compatible with modern listening habits. Pressed on a high-quality, loud-cut 12", this release is a must-have for any DJ's collection. It follows our label's GI-related releases by Grand Slam and "Shake It - Make It Loose" by J.D. Puma Lewis - another project that composer and keyboardist Reginald Hudson was involved in.

Längst überfällige Vinyl-Neuauflagen der ersten beiden Alben von Triptykon, der Band um Sänger/Gitarrist Tom Gabriel Warrior (Celtic Frost / Hellhammer / Triumph Of Death). Triptykons "Eparistera Daimones" (2010) und "Melana Chasmata" (2014) haben sich als genredefinierende, moderne Meilensteine erwiesen und sind für die Extreme Metal Bewegung relevanter denn je. Beide Alben mit dem Cover-Artwork von H.R. Giger sind nun wieder in ihrer Originalverpackung als Gatefold 2LP-Editionen auf exklusi-vem 180g-Farbvinyl erhältlich, jeweils inklusive zwei Postern, bedrucktem Innencover sowie einem LP-Booklet für "Melana Chasmata".

Längst überfällige Vinyl-Neuauflagen der ersten beiden Alben von Triptykon, der Band um Sänger/Gitarrist Tom Gabriel Warrior (Celtic Frost / Hellhammer / Triumph Of Death). Triptykons "Eparistera Daimones" (2010) und "Melana Chasmata" (2014) haben sich als genredefinierende, moderne Meilensteine erwiesen und sind für die Extreme Metal Bewegung relevanter denn je. Beide Alben mit dem Cover-Artwork von H.R. Giger sind nun wieder in ihrer Originalverpackung als Gatefold 2LP-Editionen auf exklusi-vem 180g-Farbvinyl erhältlich, jeweils inklusive zwei Postern, bedrucktem Innencover sowie einem LP-Booklet für "Melana Chasmata".

**RSD 2025** - Record Store Day exclusive pressing comes on Blue vinyl with heavyweight sleeve

Seminal album from cult Ghanaian musician Alhaji K. Frimpong, recorded in 1976 and considered to be one of the best highlife albums ever recorded.

Features the masterpiece Kyenkyen Bi Adi M’awu (come back my love) - universally known in Ghana, covered and sampled by artists such as Chronnix, Gnarls Barkley and many more.

Backed by Vis a Vis - one of the most influential bands to come out of the Ghana Highlife / Afro Rock movement.

Unique avant garde sound that blends traditional highlife percussion and horns with synthesizers

Original copies of the album are extremely rare. The album was reissued in limited quantities in 2011 and has been unavailable since - even reissue copies sell for high prices on the second hand market.

Längst überfällige Vinyl-Neuauflagen der ersten beiden Alben von Triptykon, der Band um Sänger/Gitarrist Tom Gabriel Warrior (Celtic Frost / Hellhammer / Triumph Of Death). Triptykons "Eparistera Daimones" (2010) und "Melana Chasmata" (2014) haben sich als genredefinierende, moderne Meilensteine erwiesen und sind für die Extreme Metal Bewegung relevanter denn je. Beide Alben mit dem Cover-Artwork von H.R. Giger sind nun wieder in ihrer Originalverpackung als Gatefold 2LP-Editionen auf exklusi-vem 180g-Farbvinyl erhältlich, jeweils inklusive zwei Postern, bedrucktem Innencover sowie einem LP-Booklet für "Melana Chasmata".

Längst überfällige Vinyl-Neuauflagen der ersten beiden Alben von Triptykon, der Band um Sänger/Gitarrist Tom Gabriel Warrior (Celtic Frost / Hellhammer / Triumph Of Death). Triptykons "Eparistera Daimones" (2010) und "Melana Chasmata" (2014) haben sich als genredefinierende, moderne Meilensteine erwiesen und sind für die Extreme Metal Bewegung relevanter denn je. Beide Alben mit dem Cover-Artwork von H.R. Giger sind nun wieder in ihrer Originalverpackung als Gatefold 2LP-Editionen auf exklusi-vem 180g-Farbvinyl erhältlich, jeweils inklusive zwei Postern, bedrucktem Innencover sowie einem LP-Booklet für "Melana Chasmata".

Listen to This.” As the original working title for Bitches Brew, the instruction and invitation remains to this day as the best way to approach a record that shattered conventions, altered music history, and, 55 years later, still sounds far ahead of its time. The template for jazz fusion, Bitches Brew is rightly ranked by virtually every significant outlet among the 100 greatest albums ever made. Sewn together with vibrant colors, voodoo textures, and ethereal moods, the 1970 landmark emerges with supreme detail and nonpareil feeling on Mobile Fidelity’s UltraDisc One-Step 180g 33RPM 2LP vinyl set.

Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Sourced from the original master tapes, strictly limited to 5,000 numbered copies, and pressed at Fidelity Record Pressing in California, this definitive-sounding 55th anniversary reissue enhances every element of a double album that established new possibilities for studio recording techniques. You’ll hear wide and deep soundstages, separation between instruments, and an extremely broad dynamic range. If ever a jazz album can be said to have gone to outer space and back, this is it.

Davis conceived Bitches Brew by having the musicians stand in a semi-circle. There, he pointed at them with vague directions for tempo, solos, and cues. The collective improvisation and interplay spawned a galaxy of melodies and grooves that were later spliced together by producer Ted Macero. Benefitting from the ultra-low noise floor and superb groove definition of this pressing, these distinct creations take shape with utmost realism. Compositions stretch across jet-black backgrounds and paint canvases laden with millions of colors and shades. Juxtaposed percussion, loose jams, and melodic segues explode with impressionistic verve.

Bitches Brew also boasts visionary artwork. By design, the lavish packaging and gorgeous presentation of the UD1S Bitches Brew set call attention to such matters. Housed in a deluxe slipcase, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. It is made for discerning listeners who desire to fully immerse themselves in everything surrounding the album, from the images to the tones. And this is one effort where every last detail matters.

Gathering a Hall of Fame-worthy lineup of musicians and tweaking it according to his desires, Davis follows through on his idea to “put together the greatest rock and roll band you ever heard.” Central to his proposition is the presence of two (and sometimes three) drummers and two bassists, a tactical move that makes rhythms a central focus. Akin to the futuristic album cover art, the drum-driven suites head toward distant universes and uncharted territories. At once hypnotizing and grooving, they chart maverick adventures via quixotic rock, funk, and R&B elements.

A without-a-net experiment involving interchangeable double-quintet lineups, Bitches Brew explores the previously unimaginable with electrified instruments — Fender Rhodes piano, processed trumpet, dissonant guitars, and bass among them — and an emphasis on feeling over composition. Mesmerizing and soothing, jarring and smooth, overt and subtle: The music seemingly covers an entire map of emotions and sensations, and like no record before, ties together the groundbreaking creativity of the multiple disciplines that were changing popular culture at the end of the 1960s and dawn of a new decade.

Conceptually, Davis described Bitches Brew as “a novel without words” and “an incredible journey of pain, joy, sorrow, hate, passion, and love.” The vast psychedelic expanses of warped echoes, liquid reverb, and tape loops confirm such ambitious contrasts of light and dark, fear and hope. Yet the most absolute characteristic of the watershed effort lies in how it resists definitive interpretation and encourages free thought — the very principles Davis used to conceive Bitches Brew.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Mobile Fidelity Sound Lab’s UltraDisc One-Step (UD1S) technique bypasses generational losses inherent to the traditional three-step plating process by removing two steps: the production of father and mother plates, which are created to yield numerous stampers from each lacquer that is cut. For UD1S plating, stampers (also called “converts”) are made directly from the lacquers. Since each lacquer yields only one stamper, multiple lacquers need to be cut. Mobile Fidelity's UD1S process produces a final LP with the lowest-possible noise floor. The removal of two steps of the plating process also reveals musical details and dynamics that would otherwise be lost due to the standard multi-step process. With UD1S, every aspect of vinyl production is optimized to produce the best-sounding vinyl album available today.

"“I Know It’s Too Late” is an unreleased track from Scott Weiland’s 2008 solo album, Happy In Galoshes. The B-side is a live version of “Missing Cleveland” recorded on the Happy In Galoshes tour in 2009. This is the first in a series of RSD exclusive 7” singles leading up to a full deluxe album release with additional bonus content. This album has never been available on vinyl.

2025 is the 10th anniversary of Scott’s passing. Primary Wave is honoured to release this unheard content to celebrate his music and legacy. Happy in Galoshes is the second solo album by Scott Weiland - known for his roles as the lead singer in Stone Temple Pilots and Velvet Revolver. He released his first solo album, 12 Bar Blues in 1998. Ten years later, Happy in Galoshes served as the official follow-up. The album was released November 25, 2008, on Weiland's own Softdrive Records. Produced by Doug Grean and Weiland, with select tracks recorded by Steve Albini, the album features guest appearances by Paul Oakenfold and No Doubt members Adrian Young, Tony Kanal, and Tom Dumont. Oakenfold appears on a cover of David Bowie's "Fame".

PURPLE TRAP, the powerful trio of KEIJI HAINO (voice, guitar), BILL LASWELL on bass and RASHIED ALI (drums), recorded live on stage at The Stone.


Recorded in december 2005, this furious live album by what can easily be called a super group remained unreleased till in 2023 BILL LASWELL made it accessible in a rough-mixed digital version for his bandcamp subscribers program exclusively. For this vinyl version, the music has been newly mixed by DIRK DRESSELHAUS (SchneiderTM) and mastered / cut by RUY MARINÉ at Dubplates & Mastering Berlin.


PURPLE TRAP, the trio of LASWELL / HAINO / ALI, reunited for this one-off gig as part of a 5-day-HAINO-festival at John Zorn's venue "The Stone", seven years after its only album Decided ... Already The Motionless Heart Of Tranquility, Tangling The Prayer Called "I" had been recorded (released on Tzadik in 1999).
The six untitled tracks (+ one as digital bonus) deliver what can be expected from such musical masters:
RASHIED ALI, iconic free jazz drummer who played with JOHN and ALICE COLTRANE, PHAROAH SANDERS, SONNY ROLLINS, JAMES BLOOD ULMER and countless more, is all drums, from quiet tiny sounds to high-energy rhythm patterns.
KEIJI HAINO, one of the most prolific artists of the Japanese experimental / noise scene for almost 50 years now, switches between truculent guitar splatters and full-on psychedelic outbursts.
BILL LASWELL, who as producer and musician created a massive body of work in fiields as diverse as ambient, world music, funk, jazz (and often hybrids of these), has proven his mastery in improvisation in projects like MASSACRE, PAINKILLER or (early) MATERIAL and provides the low-end grounding with his signicature bass sound, or adds effect-laden ornaments to the whole.
An overdue addition to a very small body of work by a clearly under-documented supergroup!

Credits:
KEIJI HAINO: voice, guitar BILL LASWELL: bass RASHIED ALI: drums

Recorded at The Stone, New York, december 15th, 2005. Edited by James Dellatacoma at Orange Music, West Orange, NJ. Mixed by Dirk Dresselhaus at the Zone, Berlin. Mastered & cut by Ruy Mariné at D&M, Berlin.

Layout & design by kaidoh. Cover photography by Jasmin Bär.

“Heart of Night,” a split EP co-released by Gar Hole Records (Fayetteville, AR) and Mashed Potato Records, offers two prime examples of modern alternative Americana music’s exciting trajectory: the Ozark-induced warbles and clever country stylings of Nick Shoulders, and the swampy pop songs and dreamy harmonies of The Lostines. This collaboration is an homage to the places and people we call home. It’s the ideal accompaniment to steamy slow dancing deep in a pitch black, heavy and humid Arkansas night, or for swinging someone around in a vibrant, neon lit New Orleans dive. It’s also the soundtrack for ruminating on the heart’s capacity for simultaneous strength and fragility, the connections between different modalities, homes, and loves.

For Heart of Night’s cover, intricate, hand-drawn artwork and lettering from tastemaker illustrator Taylor W. Rushing mirrors the duality of the flora and fauna of two terrains — the cypress swamps and the Ozark Mountains — from which this four-song collection springs.

High Roller Records, black vinyl, ltd 200, 425gsm heavy cardboard cover, 2 inserts

Taba voices a subtle yet surprising shift for the Japanese musician and producer Satomimagae. Observing and absorbing the fleeting scenes and sounds of life flowing outside of her home studio, Taba unfolds as a series of vignettes that document the personal and the universal. Satomi sings beyond herself in an orbit of souls and systems known and unknown, seen and unseen, in the present and in the strange flux of memory, leaving linear songwriting to rest for circuitous stories expanded and expansive in tone and texture. Following the logic of taba, a Japanese term for a bunch, bundle or grouping together of different things, the album is assembled as a loose collection of short stories. Shapeshifting into something like a poet-narrator, Satomi casts her writer's eye to the often perplexing shapes that form from quotidian events and exchanges defining our increasingly alienated age. Where Satomi's last full-length, 2021's Hanazono, bloomed from the lush soil of a private inner sphere, the bird's eye of Taba searches to place the artist_somewhere, somehow_within a wider, wilder world. Collaborations with other artists and musicians close to Satomi's universe further elevate the album's sweeping sonics. Synthesizer lines from Norio, who also helps define the album's visual identity through photo and video, enliven the tender ballad "Kodama." The bell-like Rhodes piano ringing in and around Satomi's guitar on "Dottsu" is played by Akhira Sano, who created the cover art for her 2021 Colloid EP. Yuya Shito's clarinet was the missing puzzle piece that completed "Spells," and it was also Yuya who mixed Taba with an ear for its organic textures and elegantly frayed edges, giving utterance to a distinctly different energy than Satomi's earlier expressions. The tonal and rhythmic play that lay the foundation of these songs also animates a colorful palette of melodic gestures, noisy resonances and pointed moments captured by Satomi's close-at-hand recorder. While Taba is still carried by the innate intimacy that has defined Satomi's music to date, these songs channel her newly spacious and inquisitive songwriting approach, unlocking unusual layers in the process. Some are subsumed in the speculative poetics of sound design, while others peer through the window of bedroom pop. Gathering imagistic reflections, tracing vast ideations and quietly lingering in humble moments, Taba connects vivid lines between the individual and the collective, the constructed and the cosmic, the articulated and the felt. Satomi's sonic tales gain an eloquent coherence by the simple fact of existing in conversation, humming a harmony of parts that buzzes with the tangled circuitry of a life in motion. Taba is the fifth album from Japanese musician, songwriter and dream traveler Satomimagae, following her 2021 album Hanazono and the 2023 reissue of her debut album Awa, both for RVNG Intl. On Taba, Satomimagae leaves linear songwriting to rest for circuitous stories expanded and expansive in tone and texture, unfolding as a series of vignettes that document both the personal and the universal. Some of the songs on Taba feature intimate moments captured on Satomi's hand recorder, poetic moments of sound design animated by tonal and rhythmic bedroom pop foundations. As with Hanazono, Taba's album artwork features a wooden block print by Satomi's sister, the artist Natsumi Magae.

The first recorded collection of songs from celebrated Arkansas songwriter Nick Shoulders and the Okay Crawdad band. Recorded live to tape and firmly below sea level at Mashed Potato Records in New Orleans, Louisiana. This is three mics, two tracks, and two afternoons sweating it out in the oppressive May heat with some very patient pals while the nearby Mississippi river churned overhead. Featuring "Snakes and Waterfalls", "After Hours", three countrified covers and a little bit more.

Hermon Mehari and Tony Tixier first met in 2010, in their early twenties, in a club on Paris's Rue des Lombards for a concert with saxophonist Rodolphe Lauretta. Over the next decade, the two musicians took opposite paths, while continuing to collaborate on two continents. The American trumpeter moved to France to discover European culture and the world cultures that coexist there, while the Parisian pianist of Martinican origin spent several years in the USA, immersing himself in the roots of jazz and Afro-American music.



In June 2024, the two musicians, who had been working for fifteen years on numerous albums and collaborations, and whose musical understanding had continued to be forged in clubs, festivals, and on recordings, met again for a duet at the TOC-TOC festival in the Puisaye region, where Antoine Rajon was a collaborator. Enthusiastic about the idea, the artistic director of the KOMOS label invited them back to his home in this corner of Burgundy to record this Fender Rhodes/trumpet formula. He called on sound engineer Christian Hierro, who traveled with his mobile studio for the album recording, then mixed and produced the master in his studio in Lyon, using the best analog equipment and his expert ear.



At dusk on November 12, 2024, the duo played eight tracks in a single, direct take on a 33-minute magnetic tape.



Four unusual cover versions were carefully chosen. "Maimoun" is a composition emblematic of pianist Stanley Cowell's style, also recorded by Marion Brown. George Duke's "The Black Messiah" was captured live by Cannonball Adderley's band on an album of the same name but has never been released as a studio version. "Hello To The Wind" was created by Bobby Hutcherson in 1969, sung by Eugene McDaniels. Finally, "Laini," dedicated by the great Martinican pianist Marius Cultier to one of his daughters, is a mazurka dear to Tony's heart.



Each of the musicians also contributed a composition: Hermon with "This Is Our Fantasy," written especially for the session, and Tony with "Poem For The Oppressed," a moving composition with an explicit title. Lastly, the duo improvised two tracks, without repetition, in mutual symbiosis and echo.

SOUL SONG captures a moment without enhancement, transformation, or additives, far removed from contemporary virtual technologies.

Isabelline curator and label head Practitioner reveals a stunning selection of his own archival productions with 'Portobello Innocent', the third release on the mysterious and acclaimed Berlin-based imprint. Recorded between 2016 - 2024, these «ve selected works offer a broad look into Practitioner’s sonic sphere. Introspective club re¬ections that cover a grand scope of machine-translated human emotions. The EP feels like a dug-up lost tape, timeless tracks untouched by current modes or trends, each composition progressively digging deeper into unknown chasms of the enigmatic producers' distinct sound.

Raisina - A hypnotic club track featuring sharp drum machine rhythms and a prominent vocal sample from a 1960s North African love song, creating an alluring and surreally beautiful opener. Well-Behaved Boys - Pulsating, shu®ing techno drums take front and centre, as warped frequencies from raves of a bygone era tune in and out, ¬ickering between past and present with frenetic rhythms and spoken fragments. Form & Emblem - An effervescent ambient interlude, its shimmering textures and layered atmospheres provide a meditative pause amidst the EP’s harder edges. Kala - Hazy and dreamlike, this track layers a wandering dub bassline under a steady house beat, glimmering jazz chords and ethereal textures surround the sonic sphere, evoking ¬ickering memories and lingering mystery. Council - A relentless, bassheavy techno groover with sharp vocal cuts and infectious energy. Council feels like a culmination of all that camebefore, resulting in a hypnotic and kinetic underground offering that feels in«nite. With 'Portobello Innocent', Practitioner offers a rare glimpse into his abstract realm, crafting magnetic spaces between memory and rhythm, the ancient and the future, the human and machine.

Jan Akkerman (b. 1946) stands apart as a singular figure in the realm of rock and beyond. A Dutch guitarist of unparalleled versatility, he earned international acclaim in 1973 when he topped the prestigious Melody Maker readers’ poll, surpassing icons like Eric Clapton (2nd), Jimmy Page (5th), and Carlos Santana (10th). His fame, however, has never defined his artistry. For Akkerman, it’s always been about the music—any genre, as long as it resonates. He’s a lifelong improviser who approaches each performance as a new adventure. Akkerman first rose to prominence with Focus, a band that embodied the grandiose instrumental rock spirit of the 1970s. Long compositions, dazzling technique, and adventurous arrangements made them a cornerstone of progressive rock. Despite the accolades, Akkerman remained true to his calling. When asked about his success, he has always brushed it aside, preferring to let his guitar do the talking. Side 1 of this record captures Akkerman’s stunning performance on July 10, 2011, at the Nile Hall in Rotterdam. Here, he showcases his ability to take listeners on a sonic journey. The mellow “Tranquilizer” offers a relaxed groove, followed by the heartfelt ballad “You Do Something to Me,” unfolding emotion without words. In “Piétons”—a gospel-tinged blues—trumpeter Eric Vloeimans delivers a fiery solo before the leader propels the piece into uncharted territory. Side 2 brings us back to an earlier moment, recorded in July 2005 at the Paul Acket Paviljoen in The Hague. “Streetwalker” delivers a funk-driven explosion featuring alto saxophonist Benjamin Herman, while “The Zebrah” sends Vloeimans soaring into the musical stratosphere, only to have Akkerman reignite the piece with blistering guitar lines, his band driving forward like a well-tuned Mercedes on an open highway. Akkerman’s live performances are as unpredictable as they are electrifying. Whether sharing the stage with legends or newcomers, his spontaneous creativity makes every concert unique—a master class in musical freedom. Jan Akkerman remains a touchstone for guitarists and fans alike, an authentic improviser whose name still elicits one universal response from any seasoned Dutch rock enthusiast: “He’s the best guitarist in the world.” The North Sea Jazz Concert Series includes officially licensed releases that will be released as standard on 180-gram white vinyl in a sleeve of heavy paper and printed on reversed board. The records are captured in mainly black-and-white artwork by Hans Pol in his signature style of the festival with inspiration from the covers of classic older jazz releases from the Blue Note label, for example. The liner notes are written by journalist and jazz expert Jeroen de Valk. For all recordings it’s a first time ever release on vinyl!

Virginia Beach's Turnover has never been a band afraid of telling the truth. The emotional honesty poured out over a number of anthemic releases has been a proven formula of success for the band, but on their sophomore LP Peripheral Vision, the band treads into deeper water. Working again with Magnolia producer Will Yip (Title Fight, Circa Survive), Turnover's latest record shows a band maturing to create their best effort: an ethereal, reverb-drenched soundscape blending elements of hazy dream pop and the delicate emo rock of yesteryear. Songs like "Hello Euphoria" and "Like Slow Disappearing" highlight the new calmer, more subdued approach to songwriting, matched by Austin Getz's somber, confessional lyrics that echo throughout songs as if his words were haunting every measure. Peripheral Vision solidifies the idea that Turnover is a band with its finger on the pulse of its generation: growing and learning with every release, but never failing to provide a relatable, cathartic experience for anyone listening.

For the past few years, five young friends from Scranton, PA known as Tigers Jaw have been playing their brand of upbeat yet melancholy indie-rock, captivating nearly everyone in the room each time. The subtle yet massively clever lyrics combine with music that moves with such youthful exuberance even the most jaded listener will look back to their more careless days. The debut from Tigers Jaw may wear is influences on its sleeve, but instead of a repetitive list of sound-alike bands, themes such as death, friendship, and growing up are tackled from an endearing and hopeful perspective that is almost impossible not to relate to.

Very few bands manage to last decades, and for the ones that do, it's often easy to settle down and get a little too comfortable. But there's nothing comfortable about Devourer, the explosive new album from Cursive. The iconic Omaha group is known for their intensity, ambition, and execution, and has spent 30 years creating a bold discography that's defined as much by its cathartic sound as its weighty, challenging lyrical themes. And Devourer is as daring as ever. Full of intense and incisive songs, the album proves exactly why Cursive have been so influential and enduring-and why they remain so vital today.In the years since their 1995 formation, Cursive developed into one of the most important groups to emerge from the late-'90s/early `00s moment when the lines between indie rock and post-hardcore began blurring into something altogether new. Albums like Domestica (2000) and The Ugly Organ (2003) became essential touchstones whose echoes can still be heard in new bands today. Devourer, as an expansive new double-album, examines humanity's bottomless capacity for consumption through a series of songs that act like vignettes, driven by frontman Tim Kasher's never-ending appetite for both taking in and creating art."I am obsessive about consuming the arts," he explains. "Music, film, literature. I've come to recognize that I devour all of these art forms then, in turn, create my own versions of these things and spew them out onto the world. It's positive; you're part of an ecosystem. But I quickly recognized that the term, `Devourer,' may also embody something gnarly, sinister." Fans have come to expect such heady topics from Cursive, but Devourer sets a new standard.While Cursive's music hasn't gotten any more comfortable, perhaps its being released into a world that's at least a little more shaped in their image. Devourer sounds urgent and fresh, the work of a band still experimenting, still hungering to find new creative heights. On album highlight "Consumers," the protagonist bemoans, "I saw our future and I want to go back." But Cursive are only moving forward.

Unfiltered and raw, Basement's colourmeinkindness, cuts with the emotional honesty of a personal diary backed with a flawlessly representative soundtrack. Featuring the iconic Basement songs "Covet" and "Spoiled."

What it is, is funky! When the acid jazz scene ruled the world it looked for its inspiration in places that other jazz fans tended to overlook. The soul jazz of the late 60s and early 70s. The music of lounge bars and small clubs that fuelled the night life of black America. This compilation brings together ten examples of the sound and is a high quality listen from start to finish.

In the post-bebop world jazz was often condemned as an intellectual music aimed at the head not the feet, but a strain of the music was always for dancing, coming straight from the legacy of the big bands, and always tipping its head to what was going on in the R&B charts. The tracks included here all stay true to that legacy.

So whether we have Lonnie Liston Smith’s plea for 'Peace & Love' with its Bob Marley echoing horn lines, or Joe Bataan as band leader covering Isaac Hayes’ ‘Theme From the Men’, this is music allied with the contemporary sounds of the day. Oliver Nelson's synth heavy 'Skull Session' or his TV hit 'Theme From The Six Million Dollar Man' covered by Richard ‘Groove’ Holmes show this. At the heart of these recordings are the rhythms − and as such Bernard Purdie is the star either as a solo artist or simply as the man behind the kit with Harold Alexander.

This is Funky Jazz is an entry ticket to a party that everyone should want to be invited to.

Als Künstlerin, Sängerin, Songwriterin und Gitarristin hat Samantha Fish zahlreiche Auszeichnungen für
ihren einzigartigen Selbstausdruck erhalten (u. a. mehrere Blues Music Awards und eine GRAMMYNominierung), den sie durch explosive Riffs, eindringliche Rhythmen und mitreißenden Gesang vermittelt.
Ihr Talent wurde von keinem Geringeren als Eric Clapton erkannt, der sie einlud, bei seinem Crossroads
2023 in Los Angeles aufzutreten. Sie ist eine Festival-Headlinerin, die das Cover von Gitarrenmagazinen
ziert und international vor ausverkauften Häusern tourt. Fish beherrscht ihre kathartischen Shows mit ihrer
kantigen Stimme und ihrer unverblümten Slide-Gitarre.
Für ihr neues Album Paper Doll hat sich Fish mit dem legendären Produzenten Bobby Harlow zusammengetan. Mit der Hilfe der Co-Autoren Kate Pearlman, Jim McCormick, Anders Osborne und Harlow
hat sie ihre bisher stärksten Songs geschrieben. Ihre eklektische Sensibilität wurde in eine Reihe von Songs
kanalisiert, die sowohl emotional stark als auch wild entflammbar sind und dazu beitragen, ihre langjährige
Mission zu erfüllen, das Blues-Genre für ein völlig neues Publikum zu öffnen.

The Problem of Leisure: A Celebration of Andy Gill and Gang of Four is a
double album of tracks written by Andy Gill and Gang of Four, all newly
reinterpreted and recorded by artists whose own unique contributions to
music were enriched by listening to Gang of Four.
The album features songs from across Gang of Four’s 40-plus year career, each
individually chosen by the artists who covered them. Andy Gill originally conceived of the album to mark the 40th anniversary of the release of Entertainment! in 2019. His widow, Catherine Mayer, explains that this plan had already
changed by the time of Andy’s death in 2020, after some artists chose tracks
from different albums and periods.
“Andy was massively excited about this project,” Mayer says. “It wasn’t of
course conceived as a tribute album, but it’s comforting to me that he lived to
see artists he hugely admired enthusiastically agreeing to participate, signalling that the admiration was mutual.” The album artwork has been created by
English artist Damien Hirst, a long-time friend of Andy’s.
Idles - Damaged Goods. Tom Morello & Serj Tankian - Natural’s Not In It. Helmet
- In the Ditch. 3D x Gang of Four feat. Nova Twins - Where The Nightingale Sings.
Hotei - To Hell With Poverty. Gary Numan - Love Like Anthrax. Gail Ann Dorsey -
We Live As We Dream Alone. Herbert Gr nemeyer feat. Alex Silva - I Love A Man
in a Uniform. LoneLady - Not Great Men. JJ Sterry - 5.45. La Roux - Damaged
Goods. Everything Everything - Natural’s Not In It. Dado Villa-Lobos - Return The
Gift. The Dandy Warhols - What We All Want. Warpaint - Paralysed. Flea & John
Frusciante - Not Great Men. The Sounds - I Love a Man in Uniform. Hardcore
Raver in Tears - Last Mile. Killing Joke x Gang of Four - Forever Starts Now (Killing
Joke Dub) . Sekar Melati - Not Great Men (live version)

After over a year of being a floor-filling staple in their live set, we are pleased to release Say She She's stunningly bright and bold cover of the Jackson Sister's classic 'I Believe In Miracles.' Oozing with fresh and funky production from Orgone's legendary Sergio Rios, it's an utterly irresistible tune that will get you giddy with movement! The B-side, 'C'est Si Bon', is the group's French discodelia anthem -- encouraging listeners to throw their hands up and concede to joy. This catchy bilingual track is one of many hits off of their critically acclaimed sophomore LP 'Silver,' which was released to rave reviews last fall. This 45 is essentially a double A, and a collector and DJ must! Two tracks that will undoubtably get the crowd going, what more could you need?

An Introduction To Syd Barrett, is a reissue of the 2010 collection that brought together for the first time the tracks of Pink Floyd and Syd Barrett on one compilation.

David Gilmour, who originally worked on Syd Barrett's two solo albums, as co-producer of The Madcap Laughs and as producer of Barrett, was the executive producer for the album. Damon Iddins and Andy Jackson at Astoria Studios remixed five tracks including ‘Octopus’, ‘She Took A Long Cool Look’, ‘Dominoes’ and ‘Here I Go’, with David Gilmour adding bass guitar to the last track. Pink Floyd's ‘Matilda Mother’ also received a fresh 2010 Mix.

The album features the original 24-page booklet and graphics plus all lyrics, and was designed including the cover art by long time Pink Floyd associate the late Storm Thorgerson and his estimable studio.

Born in Cambridge in 1946, Roger Keith 'Syd' Barrett was the primary songwriter, guitarist and original lead vocalist in the first incarnation of Pink Floyd. He formed the band in the mid-1960s with drummer Nick Mason, bassist Roger Waters and keyboard-player Richard Wright. With their groundbreaking, semi-improvised sets at the legendary UFO Club in London's Tottenham Court Road, they became the prime movers of British psychedelia.

Barrett wrote the warped pop vignettes ‘Arnold Layne’ and ‘See Emily Play’, the group's two hit singles from 1967, as well as 'Apples And Oranges', and the lion's share of the material – the dreamy ‘Matilda Mother’, ‘Chapter 24’ and the whimsical ‘Bike’ – on their debut album The Piper At The Gates Of Dawn. Recorded at EMI's famed Abbey Road Studios while the Beatles were making Sgt Pepper's Lonely Hearts Club Band, Pink Floyd's first album has proved an enduring classic, referenced by everyone from David Bowie to Spiritualized via The Damned.

Barrett contributed ‘Jugband Blues’ to A Saucerful Of Secrets, the band's follow-up, but his behaviour became increasingly erratic and he left in April 1968, a few months after the addition to the group of his Cambridge friend David Gilmour on guitar and vocals.

Syd Barrett's first solo album, The Madcap Laughs, was a long time coming but made the Top 40 on its release in January 1970. Barrett followed in November that year, and contains tracks such as ‘Baby Lemonade’ and ‘Gigolo Aunt’ that provided the names for two cult US groups in the 80s and 90s.

Over the last four decades, Syd Barrett has become the ultimate rock enigma. In 1975, he paid an eerie visit to his former band mates at Abbey Road while they were recording ‘Shine On You Crazy Diamond’, the centrepiece of the Wish You Were Here album he had inspired. He never entered a studio again. In 2001, he was the subject of a BBC Omnibus documentary.

He died in July 2006 but his legacy lives on in the music of R.E.M., Robyn Hitchcock, Julian Cope, Spiritualized, Blur and countless other groups. Earlier this year, Faber and Faber published Syd Barrett: A Very Irregular Head, an exhaustive biography by long-time fan Rob Chapman.

An Introduction To Syd Barrett provides a handy overview of this visionary talent, this madcap genius whose star shone brightly yet burnt out all too quickly.

1000 pressed. Classic Black vinyl, DL card. Toy Balloon receives its long overdue debut vinyl pressing, featuring new artwork. Caught somewhere between traditional folk and Jansch's penchant for the blues, 'Toy Balloon', from 1998, was the elder statesman of British folk's 20th studio album. Featuring a host of fantastic solo performances along with a brace of bigger sounding moments with a band including former Dire Straits' Pick Withers on drums and the legendary Pee Wee Ellis on sax, the mainly self-penned opus also boasts a hypnotic cover of the standard 'She Moves Through The Fair' and an evocative reading of Jackson C Frank's 'Carnival'.

Released in late 2012, Odes was the fourth studio album from The Flowers of Hell. It is a covers record and the first release from the group to feature vocals and verse-chorus-verse song structures. Never available on vinyl until now. Greg Jarvis, front man of The Flowers of Hell, has created something very special; the artwork features a die cut outer sleeve, revealing the printed inner sleeve and when removed, revealing more artwork on the inside of the 300gsm outer sleeve. The music has been remastered for LP by Odes co-producer Peter Moore.Pressed in a red 180g heavyweight vinyl, the whole package is stickered and poly bagged, a real show stopper!

“Trustworthy”. is the meaning of “danama”, this Bambara word from Mali. Believing in oneself, in others, in the word given, in desirable futures. Advocating optimism, momentum towards the future, collective strength and the wise magic of cultural blending… especially during these troubled times of endless wars, of nationalist withdrawals or the abundance of naturals disasters, all encouraged by a carnivorous capitalism?

So confidence, we need tons of it. Maintained by the flame, the phlegm and the stratagem of these afro-groove scientists, without ignoring their sorrows nor the scandals of History. This is the athletic art of Arat Kilo, who remain without question the best ethio-jazz orchestra in France, on the trail of this fifth album recorded in the Spring of 2024. Confidence was also needed to change the way things worked. For all the previous albums, the band came together in the studio to play each track together, all in the same room, in the romantic idea of a warm, lively, organic gesture, in the manner of the great Ethiopian masters of the 60s and 70s.

For Danama, the music was initially collected in tandem: guitar/bass, drums/percussion, saxophone/trumpet, and the two voices. A few new instruments were added along the way : dark synthesizers, a bass clarinet, a tiny guitalélé (similar to the ukulele) and a Malian n'goni (sometimes described as ‘the griot's lute’). Then, and above all, there was the question of experimenting with real sound production, using sound design, multi-track exploration and effects applied to the textures collected over eight days at the Gong studios in Montreuil and OneTwoPassIt in Bagnolet just outside Paris.

In this way the band, all growing up influenced by the hip French Radio Nova's ‘Grand Mix’, were completely free to express their natural taste for fusion between genres. Borrowing from the frantic rhythms of Newark's jersey club, English 2-step or New Orleans brass bands, grafted onto Arat Kilo's musical base: tezeta, the famous minor pentatonic scale typical of Ethiopian jazz, melancholic to perfection. The result is layers of sound, collages of emotions, like the album cover, created by artist Clément Laurentin from multicoloured fragments of posters torn up in the street.

So Arat Kilo are back: The same band, the same collective strength, the same fight for values, their new album “Danama” carries the demand for a better world even further, with words of hope from singer Mamani Keita and the social critique of American MC and poet Mike Ladd ! The result is this luminous voyage down the Danama canal. In all, eleven songs and an instrumental, mixed by Mathieu ‘Gib’ Gibert - one of French band La Fine Équipe's beatmakers - set to drive the crowds wild and remind us how to stick together again.

Drawing inspiration from a wide range of cultures and musical traditions, C"mon Tigre is a dynamic duo that developsits identity into a collective of musicians and artists from all over the world. Along the years, they have collaborated with musicians such as Colin Stetson, Seun Kuti, Arto Lindsay, Xênia França and artists Gianluigi Toccafondo, Harri Peccinotti, Danijel Zezelj and Paolo Pellegrin to name a few. TEN, which stands for Tenth Edition Newness, is an expanded edition of their iconic Self Titled debutalbum, which was initially publishedin 2015 through Africantape on a limitedvinyl pressing. It sold out quickly, was later repressedby the band and sold out again. Today, it finds its chance to be reissued with the Computer Students_äó treatment. Fans will love this remastered version, which sounds substantially better than the original. The album"s expansion features a slightly altered record cover in addition to a 12-page booklet with a number of writings and images. TEN will be offered on double blackvinyl, audiophile quality pressing 180-gram, inside a gatefold cover. The entire package is housed in a unique heat-sealed aluminum Type-2 foil bag, courtesy of Computer Students_äó.

For Fans Of The Indie/Americana, Punk ‘N’ Roll, Streetwalkin’ Cheetahs, Fear, Supersuckers, Tom Petty, MC5. Living Between the Lines is the debut solo LP from Frank Meyer. A long time coming, Meyer’s been hinting at it for a while now with Bandcamp exclusive tracks, covers on tribute albums, acoustic solo shows, and his acclaimed collaboration album with Eddie Spaghetti of the Supersuckers. Like the Eddie collab, LBTL is out on Kitten Robot Records. The 11-song album adds touches of blues and soul to Meyer’s expected high-energy rock ‘n’ roll, revealing a more mature voice. He is joined for duets by longtime friend and collaborator Lisa Kekaula of the Bellrays on the title track, Runaways icon Cherie Currie on “Piece of Me” and Spaghetti himself on “Partners In Crime.” An award-winning musician, filmmaker and author, Meyer has a track record that covers rock ‘n’ roll, punk, heavy metal, blues, and country. Known for his work with everyone from Rock ‘n’ Roll Hall of Famers James Williamson (Iggy & the Stooges) and Wayne Kramer (MC5) to legendary punk act FEAR, Meyer has carved out a career full of unlikely collaborations, hard work, searing guitar playing, and ace songwriting skills. “I have rarely seen the public leave so enthusiastic by the pure rock ‘n’ roll download that they had just witnessed. Frank Meyer is an incomparable frontman who lives rock ‘n’ roll 24/7 and always gives his all!” Popular 1 Magazine.

“Egypt’s “official” popular music throughout much of the 20th Century was a complex form of art song steeped in tradition, well-loved by the middle and upper classes, and even accommodating to certain non-Arabic influences. It was highly structured by professional musicians working an established industry centered in the capitol, Cairo. However, far from the bustling cosmopolitan center of Cairo, north and northwest, in towns like Tanta and Alexandria and extending across the Saharan Desert to the Libyan border, dozens of fully marginalized artists were developing a raw, hybrid shaabi/al-musiqa al-shabiya style of music, supported by smaller upstart, independent labels, including the short-lived but deeply resonant Bourini Records. Launched in the late 1960s in Benghazi, Libya, Astuanat al-Bourini اسطوانات البوريني (Bourini Records) published some 40 to 50 titles from 1968 to 1975. Bourini released 7-inch 45 RPM singles by 15 artists, all but one of them Egyptian, igniting brief careers for Alexandrian singer Sheikh Amin Abdel Qader and the blind Bedouin legend Abu Bakr Abdel Aziz (aka Abu Abab). The tracks compiled here comprise a full range of styles covered by the label, while highlighting some of its most gobsmacking moments, from Basis Rahouma’s beastly transformation into a growling and barking man-lion by the end of “Yana Alla Nafsa Masouda,” to Reem Kamal’s hopeful-if-bitter handclapping party pivot “Baed Al Yas Yjini,” which descends into an almost Velvet Underground outro-groove of nihilistic dissonance. All the tracks on this compilation were laid down in stark divergence from the mainstream Egyptian popular music topography of heightened emotions buoyed by lush arrangements. The contrast is most evident in Mahmoud al-Sandidi’s “Ana Mish Hafwatak,” wherein his voice weaves heavily but deftly through a constant accordion drone, and Abu Abab’s “Al Bint al Libya,” a sparse, slow-burning lament with minimal percussion, violin, and Abab’s nephew Hamed Abdel Muna'im Mursi on lyre. Whereas the Egyptian mainstream was aspirational, attempting to reflect Egyptian culture at its most refined, the performances captured by Bourini were manifestations of everyday life lived by the mostly otherwise ignored masses. More than half century old, this music has lost none of its urgency, presence, or relevance. We hear these artists as if they’d just joined us in our living room, and not on a stage decades ago surrounded by tens of thousands of long-forgotten acolytes.

Following the success of last year’s Walks - their first album of completely original compositions - Group Listening release a new 12” vinyl of Tell Everyone Everything via PRAH Recordings.

The title track and artwork are informed by decay, expiration and musical renewal.

“The title comes from a music festival that happened a few years back in Bristol. A really small DIY festival, called Tell Everyone Everything. I really liked the title - so I stole it. The name stuck in my mind as something very open and positive - a radical action. It could be taken as a proposal for progressive change, or a revolutionary art manifesto,” explains Paul Jones.

“The cover art is a photo that I took a long time ago somewhere on a beach in Sir Benfro (Pembrokeshire). The colours are all weird because it was taken on a very expired roll of Kodachrome. It’s sort of eerie. The bucket and spade had just been left there. It was one of the last ever rolls of Kodachrome to be processed, I snuck it into the developers on the last month they were still open, just before the very last processing plant was shut down forever.”

The release features remixes by both Ancient Plastix (who the duo toured with in 2024) and Loggsplitter. The band were delighted with the results: “I loved watching Ancient Plastix every night and was thrilled when he agreed to remix our song. It turned out great too”, says Stephen. Of the Loggsplitter remix Paul says: “It’s like a hot blast of compressed air travelling across the downs from a ravers airhorn. Lush”

'Liberation' ist das neue Album der Blueskünstlerin ZZ Ward, auf dem sie ihre Liebe zum Blues zelebriert. Das Album ist ihre dritte Veröffentlichung bei Sun Records und vereint Eigenkompositionen wie 'Mother', ein Song über ihre neue Rolle als berufstätige Mutter, mit Coverversionen von Klassikern wie 'Grinnin' In Your Face' von Son House. ZZs kühne Stimme glänzt auch bei ihrer Interpretation von Songs aus dem historischen Sun-Katalog, wie 'Cadillac Man' von The Jesters und 'Something You Got' von Alvin Robinson.

- Ltd Col. LP: (Psychedelic Waves Vinyl mit bedruckter Innenhülle)

"As one of the founders of Philadelphia soul, Harold Melvin & The Blue Notes played & recorded for a few decades, but the musical highlight of their career must have been when Teddy Pendergrass joined ranks between 1972 and 1975. Wake Up Everybody from 1975 is the last album on which you can hear his sultry vocals before he went solo, and it is filled with profound, uplifting & thought provoking songs that in some cases are better known for their covers than for their originals. The song ""Wake Up Everybody"" was a radio hit for John Legend & The Roots, and ""Don’t Leave Me This Way""’ is a disco classic that was made even bigger by Thelma Houston. This 180 gram audiophile vinyl version has a special bonus track: an 11-minute remix of ""Don’t Leave Me This Way"" by inventor of the remix and the 12”: Tom Moulton! Wake Up Everybody is available as a 50th anniversary edition of 750 copies on dark green coloured vinyl."








[h] Don T Leave Me This Way [Tom Moulton Mix]

For the first time on vinyl, a pressing of this legendary tape released in 1993 in Colombia, documenting Ultra Metal, the country's early extreme Metal scene. Volume 1 of 2 of the vinyl release of The Colombian Awakening tape, released in 1993 by Schizophrenia Records, a comprehensive collection of face melting, raw recordings from the early Colombian extreme Metal scene, known as Ultra Metal, with styles ranging from Death Metal to Thrash and Grindcore. A savage and powerful document of one of the most intense underground scenes of the era, kickstarted by the infamous Parabellum. A must for fans of underground Metal! Includes remastered audio, new cover and a foldout inner sleeve with extensive liner notes. Limited edition of 300 copies.

Second and final volume of the vinyl pressing of this legendary tape released in 1993 in Colombia, documenting Ultra Metal, the country's early extreme Metal scene. Second volume completing the vinyl release vinyl release of The Colombian Awakening tape, released in 1993 by Schizophrenia Records, a comprehensive collection of face melting, raw recordings from the early Colombian extreme Metal scene, known as Ultra Metal,with styles ranging from Death Metal to Thrash and Grindcore. A savage and powerful document of one of the most intense underground scenes of the era, kickstarted by the infamous Parabellum. A must for fans of underground Metal! Includes remastered audio, new cover and a foldout inner sleeve with extensive liner notes. Limited edition of 300 copies.

Limited edition of 500 copies.

Hard Top assembles the previously unreleased 1975 recordings of legendary South African saxophonist Kippie Moketsi (also spelled Moeketsi). The 2LP vinyl edition is presented in a gatefold sleeve featuring artwork by Mafa Ngwenya and comes from As-Shams Archive on the heels of the Tete Mbambisa's previously unreleased African Day album in 2024.

By 1975, at the age of 50, saxophonist Kippie Moketsi had already earned his stripes as a South African jazz figurehead. His tenure with the Jazz Epistles and the cast of the "South African Jazz Opera" King Kong in the late-1950s had not only marked his own rise to fame but also seen him help catalyse the ambitions of a younger generation of iconic artists who would go on to become the defining figures of modern South African jazz. While he didn't enjoy the same international attention as his protégés Miriam Makeba, Hugh Masekela and Abdullah Ibrahim, his humble and challenging career on the local jazz scene until his death in 1983 saw him forge an enduring legacy.

Owing to the efforts of record producer Rashid Vally, Kippie Moketsi's journey through the 1970s is beautifully documented, most notably on the albums Dollar Brand + 3 (1973), Tshona! (1975) and Blue Stompin' (1977), in which he shares the spotlight with Abdullah Ibrahim, Pat Matshikiza and Hal Singer respectively. As a featured performer on Soul of the City's Diagonal Street (1975) and Dennis Maple's Our Boys are Doing It (1977), Moketsi is seen embracing the popular orientations of South African jazz in 1970s but, having come up in the 1940s and 1950s, he never forgot his roots as a dedicated admirer and scholar of traditional American jazz.

While Moketsi did write some memorable compositions, it was in the role of interpreter that he shone most brightly. With its title derived from a good-natured nickname that nodded to Moketsi's elder status by way of his receding hairline, Hard Top is a covers album that looks back in time to the era of rhythm and blues while also indulging 1970s pop and funk with a decidedly South African vibe. Officially joining Kippie Moketsi's catalogue 50 years after it was recorded, Hard Top provides an opportunity to celebrate the multiple dimensions of a South African jazz legend and reflect on the unwavering support of his fan, producer and friend Rashid Vally, who passed away in December 2024.

Newly mastered from restored audio fidelity tapes. Comes in digi sleeve with alternate sleeve artwork and includes a rare 8-page booklet. Includes the original version of 'Pop Corn', later a worldwide hit in 1972 . Adds rare single B-side as bonus track. This CD edition also adds exclusive mono mixes to the expanded tracklist.

One of the earliest & most influential Electronic albums OF ALL TIME "Audio Fidelity Records... believes Gershon Kingsley is a true genius and a worthy creative compliment to the electronic wizardry of Robert A. Moog, the creator of the Moog Synthesizer." 1969 The Beatles were influenced by him (and sampled his music on their 1968 Beatles Christmas EP). Since 1972, his music accompanies each day's Main Street Electrical Parade in Disney theme parks. Yet Gershom Kingsley (born: Götz Gustav Ksinski) remains a mystery to many, despite being one of electronic music's finest pioneers and earliest exponents of Robert Moog's synthesizer and the possibilities its use bought to music. Newly mastered from restored Audio Fidelity tapes - this reissue sounds incredible! The rare non-album B-side The First Step (The Sea Of Tranquility) has been added to the LP while the CD adds additional mono mixes and comes in the album's alternate cover. Both LP and CD include the rare 8-page booklet that came with initial copies of the Audio Fidelity LP. To repay The Beatles compliment of including one of his songs, Gershom Kingsley covered two Fab Four classics in his own unique electronic style and included them on Music To Moog By: 'Nowhere Man' and 'Paperback Writer'. "First-wave Moog enthusiast and electronic music pioneer...." Electronic Sound - The Electronic Music Magazine, January 2020.

Rival Schools's Found is a collection of rarities, demos and alternate takes of songs collected in the years following the release of their 2001 debut United By Fate. Initialy released over ten years ago, the band has teamed up with Run For Cover Records for a limited reissue to release alongside the reissue of their 2011 album Pedals. Found features eleven songs that show the range of sounds the band tinkered with in the ten years between these albums - it's a must have for any fan of the band, available again on limited color vinyl.Rival Schools started as the once-new project of vocalist/guitarist Walter Schreifels, who as a member of Youth of Today, Gorilla Biscuits and Quicksand routinely reinvented the sound of hardcore. In Rival Schools he was joined by bandmates Ian Love, Cache Tolman and Sammy Siegler, whose other projects at the time include Iceburn, CIV and Glassjaw.

Mark Rae is a well respected artist and has woked with, and alonside many legends in the music industry. Originally finding success with Rae & Christian, Mark grew his record label Grand Central Records into one of the biggest indies of the late 90's. Now writing novels with soundtracks Mark is proving himslef to be a true renaissance man. Expect big things from this project. It is unique and filled with universal emotion.

£8000 booked spend on singles plugging to radio and book PR. Expect coverage on BBC Radio 6 and 4. Expect press coverage across major publications. Supported by Chris Hawkins. This release is backed with a vinyl that comes with a free novel, and a novel that comes with a free acoustic CD.

Das vierte Album des Frank Popp Ensemble auf Unique Records. Geschrieben. aufgenommen und produziert 2024 in Spanien. Wie beim Vorgänger sind diverse Gastsänger auf den il brandneuen Stücken zu hören.
Gerry Love, einst Leadsänger der legendären Teenage Fanclub, der laut Popp fast alle Lieblingsstücke der Glasgower Kult-Band geschrieben und gesungen hat. verleiht hier seine hinreißende Stimme einer orchestralisch-souligen Version von „Save", ein eher unbekanntes aber geniales Stück, welches Love 2004 für die Schotten schrieb. Gerard Love trug bereits mit einem Cover von Frank Popp's "The World Is Waiting" zur Under Covers' Compilation bei und hat nun auf Waves ein weiteres Mal wundervolle Arbeit geleistet.
Ein weiterer Held aus Popp's Plattensammlung ist Nicke Andersson. Früher Schlagzeuger bei den Death&Rollern Entombed, dann bis heute Sänger der unvergleichlichen Hellacopters und Mastermind hinter weiteren top Bands wie The Solution, Imperial State Electric, Lucifer, etc., ist auf „Caught In AWeb" zu hören. Ein Northern Soul Stomper in klassischer Magic Touch* Manie.
Emma Noble, eine aufstrebende Soul-Sängerin aus London singt auf dem girl-groupigen Soul-Anthem Unstoppable*. Die zweite Single-Auskopplung vom Album hat das Zeug zum nächsten UK-Floorfiller und wurde bereits Ende 2024 in Craig Charles Soul Show auf BBC gespielt und angepriesen.
Ein absoluter Ausnahme-Künstler ist J Mahon, der auf 5 Stücken des Albums zu hören ist und erheblich zum Album beigetragen hat. Seine zuckersüße Stimme funktioniert sowohl auf seinen Stücken, als auch bei _Going Going Gone". welches die erste Single-Auskopplung ist und durch die eingängigen Bläser-Hooks und J's androgyne Soul-Vocals an gewisse junge Motown-Künstler in den frühen 70s erinnern.
Audrey Ollesen aus Köln, eine alte Bekannte aus der rheinischen Mod-Szene. kam durch Zufall hinzu. nachdem Popp durch private Aufnahmen auf ihre Gesangs-Skills aufmerksam wurde. Auf .C|om|mon Stranger* ist Audrey zum ersten Mal auf einem Tonträger zu hören.
Auf "Waves" vereint Frank Popp Northern Soul. Psychedelia, 90s Indierock und orchestralischen Soundtrack-Feel zu einem homogenen, überzeugenden Werk, was vielversprechend wirkt und sich verdammt gut anfühlt in einer nicht so rosigen Zeit. Wir sind alle gespannt...

Das vierte Album des Frank Popp Ensemble auf Unique Records. Geschrieben. aufgenommen und produziert 2024 in Spanien. Wie beim Vorgänger sind diverse Gastsänger auf den il brandneuen Stücken zu hören.
Gerry Love, einst Leadsänger der legendären Teenage Fanclub, der laut Popp fast alle Lieblingsstücke der Glasgower Kult-Band geschrieben und gesungen hat. verleiht hier seine hinreißende Stimme einer orchestralisch-souligen Version von „Save", ein eher unbekanntes aber geniales Stück, welches Love 2004 für die Schotten schrieb. Gerard Love trug bereits mit einem Cover von Frank Popp's "The World Is Waiting" zur Under Covers' Compilation bei und hat nun auf Waves ein weiteres Mal wundervolle Arbeit geleistet.
Ein weiterer Held aus Popp's Plattensammlung ist Nicke Andersson. Früher Schlagzeuger bei den Death&Rollern Entombed, dann bis heute Sänger der unvergleichlichen Hellacopters und Mastermind hinter weiteren top Bands wie The Solution, Imperial State Electric, Lucifer, etc., ist auf „Caught In AWeb" zu hören. Ein Northern Soul Stomper in klassischer Magic Touch* Manie.
Emma Noble, eine aufstrebende Soul-Sängerin aus London singt auf dem girl-groupigen Soul-Anthem Unstoppable*. Die zweite Single-Auskopplung vom Album hat das Zeug zum nächsten UK-Floorfiller und wurde bereits Ende 2024 in Craig Charles Soul Show auf BBC gespielt und angepriesen.
Ein absoluter Ausnahme-Künstler ist J Mahon, der auf 5 Stücken des Albums zu hören ist und erheblich zum Album beigetragen hat. Seine zuckersüße Stimme funktioniert sowohl auf seinen Stücken, als auch bei _Going Going Gone". welches die erste Single-Auskopplung ist und durch die eingängigen Bläser-Hooks und J's androgyne Soul-Vocals an gewisse junge Motown-Künstler in den frühen 70s erinnern.
Audrey Ollesen aus Köln, eine alte Bekannte aus der rheinischen Mod-Szene. kam durch Zufall hinzu. nachdem Popp durch private Aufnahmen auf ihre Gesangs-Skills aufmerksam wurde. Auf .Co|mm|on Stranger* ist Audrey zum ersten Mal auf einem Tonträger zu hören.
Auf "Waves" vereint Frank Popp Northern Soul. Psychedelia, 90s Indierock und orchestralischen Soundtrack-Feel zu einem homogenen, überzeugenden Werk, was vielversprechend wirkt und sich verdammt gut anfühlt in einer nicht so rosigen Zeit. Wir sind alle gespannt...

High Roller Records, white/ black galaxy effect vinyl, ltd 250, 425gsm heavy cardboard cover, insert, poster, A5 photo card

Mekong Delta wurden Mitte der 1980er Jahre von Schlagzeuger Jörg Michael (später u.a. bei Running Wild und Stratovarius) und Tontechniker Ralf Hubert (der bis heute die Band leitet) gegründet, als ersterer dem zweiten Metallicas "Fight Fire With Fire" vorstellte. Mit seinem Hintergrund in klassischer Musik und progressivem Rock wollte Ralf die traditionelle Thrash-Schablone verbessern und schrieb vier Songs, die die Grundlage für Mekong Deltas selbstbetiteltes Debüt bildeten.

High Roller Records, 180g black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, poster, A5 photo card

Mit ihrem zweiten Album folgen Mekong Delta der Progressive-Thrash-Metal-Linie weiter, die sie auf ihrem 1987er Debütalbum etabliert hatten. "The Music of Erich Zann" erschien nur ein Jahr später und ist ein Konzeptalbum, das auf der gleichnamigen Geschichte des Kult-Horrorautors H.P. Lovecraft beruht. Diese 2024er Edition wurde von Patrick W. Engel remastered.

High Roller Records, 180g black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, poster, A5 photo card

Mit ihrem zweiten Album folgen Mekong Delta der Progressive-Thrash-Metal-Linie weiter, die sie auf ihrem 1987er Debütalbum etabliert hatten. "The Music of Erich Zann" erschien nur ein Jahr später und ist ein Konzeptalbum, das auf der gleichnamigen Geschichte des Kult-Horrorautors H.P. Lovecraft beruht. Diese 2024er Edition wurde von Patrick W. Engel remastered.

High Roller Records, white/ black galaxy effect vinyl, ltd 250, 425gsm heavy cardboard cover, insert, poster, A5 photo card

Mekong Delta wurden Mitte der 1980er Jahre von Schlagzeuger Jörg Michael (später u.a. bei Running Wild und Stratovarius) und Tontechniker Ralf Hubert (der bis heute die Band leitet) gegründet, als ersterer dem zweiten Metallicas "Fight Fire With Fire" vorstellte. Mit seinem Hintergrund in klassischer Musik und progressivem Rock wollte Ralf die traditionelle Thrash-Schablone verbessern und schrieb vier Songs, die die Grundlage für Mekong Deltas selbstbetiteltes Debüt bildeten.

High Roller Records, 180g black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, poster, A5 photo card, black vinyl bonus 7" in p/s

Auf "The Principle of Doubt" stellten Mekong Delta Uwe Baltrusch als neuen Gitarristen vor, der Reiner Kelch ersetzte, und ließen die 1980er mit einem Highlight ausklingen. Das 1989er Studioalbum der deutschen Tech-Thrash-Pioniere stand seinen beiden Vorgängern in nichts nach, zeichnete sich aber durch die bisher dynamischste Produktion der Band aus - gut so in Hinblick auf jene Orchesterparts, die man Band in Zukunft regelmäßig von der Band zu hören bekommen sollte.

High Roller Records, 180g black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, poster, A5 photo card, black vinyl bonus 7" in p/s

Auf "The Principle of Doubt" stellten Mekong Delta Uwe Baltrusch als neuen Gitarristen vor, der Reiner Kelch ersetzte, und ließen die 1980er mit einem Highlight ausklingen. Das 1989er Studioalbum der deutschen Tech-Thrash-Pioniere stand seinen beiden Vorgängern in nichts nach, zeichnete sich aber durch die bisher dynamischste Produktion der Band aus - gut so in Hinblick auf jene Orchesterparts, die man Band in Zukunft regelmäßig von der Band zu hören bekommen sollte.

High Roller Records, 180g black vinyl, ltd 700, 425gsm heavy cardboard cover, insert, 2-sided poster, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels.The ultimate audiophile edition of this eternal NWOBHM classic!

High Roller Records, 180g black vinyl, ltd 700, 425gsm heavy cardboard cover, insert, 2-sided poster, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels.The ultimate audiophile edition of this eternal NWOBHM classic!

Spacing Out is an instrumental masterpiece only ever issued in Bermuda at the turn of 1970. A mix of the band's out-there original compositions and extravagant covers of The Meters, The Temptations, Aretha Franklin and The Isley Brothers, it established this band as one of the greatest instrumental bands of any genre, and helped kickstart the retro-soul/funk scenes that birthed the likes of Daptone and Big Crown Records. It's certainly a lodestar for Now-Again Records. This reissue was done with the license and participation of the entire Invaders band, with their story told in great detail in an oversized booklet penned by Jefferson "Chairman" Mao, complete with rare photos of this rarely seen ensemble. From the proverbial stank face-inducing opening bars of reverb-drenched drums and congas that announce Spacing Out, you're thrust into something visceral and fleeting: a pocket universe in which technical excess, chemistry between players, and the uninhibited energy of youth align in a kind of glorious imperfection. Spacing Out is one of the greatest instrumental albums of its or any period in that unmistakably raw - as in honest - way only a crew of largely self-taught young uns could catch a groove

High Roller Records, 180g black vinyl, ltd 250, 425gsm heavy cardboard cover, insert, poster. Remastered by Patrick W. Engel at TEMPLE OF DISHARMONY in August 2024.

Ende der 1980er standen Mekong Delta ohne Gitarrist Frank Fricke (der ein Angebot von U.D.O. annahm) und Sänger Wolfgang Borgmann (der nichts mehr mit dem neuen Material anfangen konnte) da. Beide hatten die Identität der Band auf ihren ersten drei Alben mitgeprägt, doch mit dem amerikanischen Sänger Doug Lee und Uwe Baltrusch als verbliebenem Gitarristen gelang es den Gründungsmitgliedern Ralf Hubert und Jörg Michael, ein Album zu schaffen, das viele Fans für ihr Magnum Opus halten. Allein aufgrund seines achtteiligen, 20-minütigen Titeltracks kann man "Dances Of Death (And Other Walking Shadows)" - ursprünglich 1990 veröffentlicht - sogar zu den besten Progressive-Metal-Alben aller Zeiten zählen.

2025 Repress

Brand new edition of New Erotica Collection LP

features:
New slightly different cover ( different ring on the hand, name of the ring is Durante)

All your favorite System Olympia songs in one vinyl record. Tip!

Wewantsounds is delighted to release Dibango 82 an unreleased live recording by Manu Dibango tapedin Marseille, Dec 1982. The electrifying live concert features the African legend alongside his stellar 8-piece group, blending funk, jazz, and African rhythms. Highlights include "Africa Boogie" and "Waka Juju." This album released in partnership with INA and Soul Makossa, Dibango"s label captures the African legend at the top of his game. Remastered from the original tapes with liner notes (Eng/Fr) by Graeme Ewens and concert organiser Christian Ducasse, it features a front cover photo by key African paris-based photographer Bill Akwa Bétotè.

***
A death fog veil
covered the masks
I left behind
My breath was iced,
blind.
***

The new live album from Enemy, marking their fourth release, captures a decade of fearless exploration and deep musicalconnection between pianist Kit Downes, bassist Petter Eldh, and drummer James Maddren. Reuniting with Edition Records after three albums that spanned Edition, ECM, and We Jazz, this album was recorded over a two-day residency at Bird’s Eye in Basel.

It’s an ambitious retrospective and forward-looking statement, covering pieces from each record while presenting new material that reflects how Enemy’s sound has evolved—balancing intensity with a striking, refined subtlety. Known for their masterful use of poly rhythms, Enemy’s live performance pushes their collective improvisation to new heights, with the trio freely transitioning between themes and compositions without a set list. Signature tracks like “Faster than Light” showcase an evolving interplay, where intensity meets lightness and bursts of colour emerge from unexpected places.

This album also nods to the spirit of 90s studio jazz, with layered tunes and a playful yet sophisticated approach that challenges the boundaries of thepiano trio.

Kit Downes’ remarkable profile growth has only enriched the trio’s dynamic, bringing an ever-expanding lyricism to Enemy’s sound. Petter Eldh and James Maddren, both with deep ties to Edition through Eldh’s Project Drums and Maddren’s many Edition collaborations, add their own layers of innovation and depth to this release.

Together, they create an electrifying conversation thatis both intricate and instinctive—this is Enemy at their most potent, capturing a decade of artistic synergy and setting the stage for the next chapter.

This collaboration captures Holiday's emotive vocals alongside Getz's tenor saxophone, offering a unique blend of their styles. The performances are noted for their intimate club atmosphere, providing listeners with a glimpse into the live jazz scene of the early 1950s. A legendary recordings when one of the most important jazz saxophonists meet one of the greatest American blues and jazz singers.

The first re-pressing of the Dead Milkmen's classic "Bucky Fellini" since its original release on Enigma Records in 1987. This album is a fan favorite and contains the Billboard charting "Instant Club Hit (You'll Dance to Anything)". Remastered by Phil Nicolo for contemporary vinyl, pressed in DUCKY YELLOW VINYL. The newly designed gatefold includes the original front and back covers on a beautifully produced tip-on jacket. The interior is filled with news clippings, previously unseen photographs, show posters, and QR Code WAV and MP3 downloads--all collaged together by the one and only Dean Clean. Also included, for the first time, is an inner-sleeve with lyrics and all new song-inspired art from Joe Jack Talcum. Additional bonus materials include a reproduction of a beat up, original Bucky Fellini poster and a link to download the elusive "Boner Beat" remixes. Hear what The Toronto Star deemed "a sarcastic masterpiece that takes the mickey out of a dozen cherished American icons" like never before. The Dead Milkmen aren't as stupid as they'd like to be ... Now they sound as if they might know how to play their guitars, and they produce some on-target commentary such as 'Instant Club Hit (You'll Dance to Anything)'. - eople Magazine As with all Giving Groove releases all label profits are directly donated to a 501(c)3 music-related charity-the recipient being the wonderful Philadelphia based organization Rock to the Future.

Hätte der früh verstorbene Saxofonist Tubby Hayes in den sechziger Jahren nicht vor allen Dingen in
Großbritannien gewirkt, wo er in Jazzkreisen heute als Idol gilt, wäre sein Name ganz sicher weltweit
bekannt. Der Brite entlockte seinem Saxofon mitreißenden Modern Jazz und elegante Balladen und war
immer auf Augenhöhe mit seinen amerikanischen Jazzkollegen.
Nachdem Decca Records vor fünf Jahren eine Decca-CD-Komplettbox des Künstlers veröffentlichte, folgt
jetzt mit der LP “Splonge! An Introduction To Tubby Hayes“ eine von Filmemacher und Autor Mark Baxter
zusammengestellte Compilation der besten, groovigsten und wichtigsten Tubby-Hayes-Tracks.
Auf der bedruckten Innenhülle der 140g-LP finden sich Linernotes, Coverabbildungen und diskografische
Angaben zu allen Tracks.

Closing out the Special Sound Series in style, we are proud to present the long-awaited vinyl reissue of Shigeo Sekito’s 1985, an instrumental masterpiece that arrived nearly a decade after his iconic Kareinaru Electone Special Sound Series of the 1970s. A true pioneer in the world of Electone music, Sekito’s name—instantly recognizable in katakana—has left an indelible mark on the genre.

This album showcases his signature artistry across eight captivating tracks, blending originals and covers with his distinct sonic palette. The cosmic allure of the original composition “Amish At Dusk” stands out among the set, while the Manhattan Transfer cover “Twilight Zone, Twilight Tone” brims with dynamic, fast-paced arrangements. Meanwhile, Sekito’s take on The Crusaders’ “Rhapsody And Blues” unfolds with a laid-back groove, gradually building into an uplifting crescendo.

Drifting between chill-out and ambient sensibilities, 1985 captures a wistful, melancholic beauty—where the rich textures of the Electone transport listeners into a world of nostalgia and dreamlike introspection.

This final reissue in the series is a must-have for collectors and fans alike. Experience 1985 in its warm, analog glory—now on vinyl.

Debut album for the brand new Greek heavy/power metal band conceived by songwriter and bass player Bill Sam Featuring Travis Wills (Crimson Glory, Infdel Rising), Craig Cairns (Tailgunner, Induction), Rob Lundgren (Reveal, Mystery Moon), Mauro Elias on vocals, and Igor Paspalj (Guitarist of the Year 2020 by Guitar World and Guitar Player magazines) on lead guitar.

Produced by Bill Sam, mixed and mastered by Loz at Fat As Funk Studio.

Cover artwork, LP, CD and booklet art by NobotX (Arch Rival, Hansel, More Than Anything)

Closing out the Special Sound Series in style, we are proud to present the long-awaited vinyl reissue of Shigeo Sekito’s 1985, an instrumental masterpiece that arrived nearly a decade after his iconic Kareinaru Electone Special Sound Series of the 1970s. A true pioneer in the world of Electone music, Sekito’s name—instantly recognizable in katakana—has left an indelible mark on the genre.

This album showcases his signature artistry across eight captivating tracks, blending originals and covers with his distinct sonic palette. The cosmic allure of the original composition “Amish At Dusk” stands out among the set, while the Manhattan Transfer cover “Twilight Zone, Twilight Tone” brims with dynamic, fast-paced arrangements. Meanwhile, Sekito’s take on The Crusaders’ “Rhapsody And Blues” unfolds with a laid-back groove, gradually building into an uplifting crescendo.

Drifting between chill-out and ambient sensibilities, 1985 captures a wistful, melancholic beauty—where the rich textures of the Electone transport listeners into a world of nostalgia and dreamlike introspection.

This final reissue in the series is a must-have for collectors and fans alike. Experience 1985 in its warm, analog glory—now on vinyl.

Dennis Brown has always been cited as Jamaica’s favourite singer. While Bob Marley set out to conquer the world, Dennis’s popularity on the island grew with every year. Overseas success also came Browns way with crossover hits like the massive ‘Money In My Pocket’. He will always be fondly remembered on the sound systems across the caribbean as the Crown Prince of Reggae.

Dennis Brown (b Dennis Emanuel Brown,1957, Kingston, Jamaica) began his illustrious career at the grand age of eleven like many of the other child singers at Coxsonne Dodds Studio One stable. His first hit in 1969 a cover of Van Dykes ‘No Man Is An Island’ still stands the tests of time and also its follow up cut ‘If I Follow My Heart’ as Reggae classics. The 1970’s saw Dennis build on his reputation by working with all the top Jamaican producers and
studio’s perfecting his sound. Lloyd Daley, Impact, Joe Gibbs, Aquarius and Derrick Harriott to name but a few. But it was his work with producer Winston ‘Niney’ Holness that he enjoyed the most success and many say recorded his best work for. Where many of the other producers stayed with the tried and tested Lovers Rock formula that did prove so popular with Dennis’s voice, producer Niney the Observer as he is fondly called, pushed him into a more roots led direction, over stark rhythms created by Niney’s studio band Soul Syndicate.

Two outstanding albums were put together ‘Just Dennis’ (1975) built on a collection of singles they had recorded together, ’Cassandra’, ’Westbound Train’, ’No More Will I Roam’ and ‘Conqueror’. The second 1977 set ‘Wolf and Leopards’ made up again of singles the prolific two had cut including, ‘Here I Come’ (a live favourite that Dennis always liked to start his set with) and ‘Children of Israel’ made these both strong roots era albums.

We have stayed with this period for our Dennis Brown album. Some of the above-mentioned cuts are present alongside the timeless crossover hit ‘Money In My Pocket’ (1979) produced by Niney but often credited as a Joe Gibbs production as it was released (and sweetened by adding Orchestration for the foreign market place) on his label. By the way this is the original Jamaican version (unsweetened) that you will find on this album a more truthful version in our humble opinion. His voice reigns supreme across these Niney produced cuts ‘Smile like An Angel’ ‘Silver Words’, ‘Play Girl’ and the fantastic ‘Poor Side Of Town’ (helped along by the great harmonies of the Heptones group), ‘Tribulation’ and ‘We Will Be Free’. Dennis Brown’s prolific catalogue of tunes that also found an outlet on his own DEB inprint (named after his initials) stands to show what a great artist he was and what a fine team he and Niney made when in the studio creating these magical moments. So sit back and enjoy a killer set of tunes compiled by Niney himself...Tribulation Times indeed and long may the records of the Crown Prince of Reggae Dennis Brown rule the world.....

Songs about the unity of Sudan, peace between Muslims and Christians and the fate of war orphans, backed by grooves equally taking influence from Arabic sounds, American funk as well as neighboring Ethiopia.

Kamal Keila was among the first artist we met in Sudan during our two trips to Khartoum and Omdurman last year. He is one of the key figures of the Sudanese jazz scene that was a vital part of the musical culture in Sudan from the mid 1960s until the islamist revolution in the late 1980s. When we meet Kamal he luckily presented us with two mold covered studio reels.
Each tape included five tracks. One with English lyrics and another with Arabic ones. Musically you can hear the influence of neighboring Ethiopia much more than on other Sudanese recordings of the time, as well as references to Fela and American funk and soul. His lyrics, at least when he sings in English which gave him more freedom from censorship, are very political. A brave statement in the political climate of Sudan of the last decades, preaching for the unity of Sudan, peace between Muslims and Christians and singing the blues about the fate of war orphans called "Shmasha".
A note inside one of the boxes specified the track titles, durations and the fact that the sessions were recorded on the 12th of august 1992. Both sessions stand as a hearable testament how Kamal Keila stuck to a sound aesthetic from decades ago, while incorporating current events into his lyrics.
Kamal Keila's album is the first in a series of releases covering the Sudanese jazz scene on Habibi Funk. Be on the lookout for albums by The Scorpions and Sharhabeel coming soon.

2LP + Download Code + 8 Page Booklet

Limited to 1000, individually numbered copies. Eight tracks for the first time on LP vinyl from The Diplomats Of Soul featuring an all star cast of UK singers and musicians produced by Bluey from Incognito. Vocalists are Natalie Duncan, Vanessa Haynes, Imaani, Valentina Silwimba, Cherri V and the late Noel McKoy on an array of recordings from 2006 to 2024. The songs range from covers of rare groove, two step and soul classics to one original. Six songs original mixes, plus remixes by Atjazz and Yam Who?

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Diese Box enthält 83 Titel aus den ersten drei Halo-Alben, die speziell für Vinyl neu gemastert und auf acht heavyweight LPs gepresst wurden. Jeder Soundtrack befindet sich in einer breitrandige Außenhülle und einer bedruckten Innenhülle. Diese wiederum befinden sich in einer stabilen Sammlerbox aus Karton mit silbernem Laminatüberzug und geprägtem Halo-Logo.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork der Box wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

Für Halo 2 taten sich die Komponisten mit hochkarätigen Musikern zusammen und verpassten dem Halo-Thema mit dem neuen „Mjolnir Mix“ ein Heavy-Metal-Makeover. Es war der erste Videospiel-Soundtrack, der es in die Billboard 200 schaffte.

Halo 3 zeichnete sich durch Tribal-Drums und Prog-Rock-Refrains aus, während Klaviermelodien, begleitet von einem 60-köpfigen Orchester und einem 24-stimmigen Chor, dem Soundtrack emotionale Tiefe verliehen.

- 83 Tracks aus Halo: Combat Evolved, Halo 2 und Halo 3
- Speziell für Vinyl neu gemastert
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist, Bungie)

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Dieses Doppel-LP-Set enthält die Musik aus dem Spiel, mit dem alles begann, speziell für Vinyl neu gemastert und auf heavyweight LPs gepresst. Die Schallplatten befinden sich in einer breitrandigen Außenhülle und zwei bedruckten Innenhüllen.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork des Sets wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

- 26 speziell remasterte Titel aus dem Spiel von 2001
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist bei Bungie)

*180g virgin leaded vinyl in a deluxe textured heavy gatefold cover, with paste-on artwork and special anti-static innersleeve.* Note: The pressing is absolute on point!!!!

Vincent Gallo and Harper Simon with a beautifully recorded suite of songs and instrumentals.

" More than two decades since he blew minds with a suite of brilliant releases on Warp, Vincent Gallo returns to the world of music at long last in Butterfly, his duo with Harper Simon, with the project’s full-length debut, “The Music of Butterfly”. A gesture of gentle, DIY / bedroom left-field pop, falling within the rough territory for which Gallo became renowned during the late '90s and early 2000s, while interweaving fascinating flirtations with minimalism and experimentalism, it’s a truly captivating piece of work that’s hard to get off the turntable after the first needle drop.

In the arts, the lines between genius and madness, as well as fact and fiction, often blur. Such, it seems, has always been the life of the artist, filmmaker, actor, musician, and composer Vincent Gallo. A cult figure and a member of various creative undergrounds for the better part of half a century, Gallo has courted controversy, ruffled feathers, and made some of the most singular statements to flirt at the outer edges of popular culture that can be called to mind. Arguably most well known for his work in film, during the late '90s and early 2000s - notably with his soundtrack for “Buffalo 66” and a suite of releases on Warp - Gallo became something of a sensation in the world of independent music for a visionary, incredibly unique and sensitive approach to sonority. For a time, the world was abuzz, waiting on bated breath for more, and yet time passed. Bar a few fragments, appearing here and there, almost nothing has been heard from Gallo, within the world of music, for more than 20 years. That is, until now, with the release of “The Music of Butterfly”, the debut full-length of Butterfly, his duo with Harper Simon: beautifully produced and issued by Family Friend Records - Gallo’s own label, founded in 1981 - in a deluxe edition that simply left us speechless: 180g vinyl in textured heavy gatefold cover with paste-on artwork and thick anti-static innersleeve. More or less picking up from where we last encountered him, spinning captivating melodies and gentle song-craft within the quieter temperaments of DIY, left-field pop, once again, and at long last, Vincent Gallo, encountered in an incredibly successful collaboration with Harper Simon as Butterfly, reminds us that he’s as much a force within the realm of music as he is within film. Not to be missed. This one isn’t going to sit around for long.

Vincent Gallo’s biography reads like the stuff of blaring beauty: a figure of moderate fame in his own right, who has remained at the centre of cultural ferment as the decades have rolled by. Born in 1961, in Buffalo, New York, as the story goes he ran away to New York City at the age of 16 and fell into the brewing counterculture of the Downtown scene, William Burroughs and John Giorno, in addition to the cream of his own peers, and began making paintings, music, and experimenting with film. In addition to being a member of the now legendary band Gray, with the artist, Jean-Michel Basquiat, and the filmmaker, Michael Holman, Gallo appeared in the cult 1981 film “Downtown 81”, before slowly beginning a career as an actor and catching the eye of Claire Denis, who brought his talents into the broader cultural gaze. Catapulted into the public by his own subsequent career as a filmmaker with “Buffalo '66” (1998) and “The Brown Bunny” (2003), both of which were marked by controversy and praise, Gallo further captivated the public with a partially brilliant, if not relatively brief, flurry of activity in the realms of music.

While Gallo had already been making music for roughly two decades at the time of his release of the “Brown Bunny” soundtrack, and the four release issued by Warp in rapid succession between 2001 and 2002 - “When”, “Honey Bunny”, “So Sad”, and “Recordings of Music for Film” - the almost fanatical fandom reached a fever pitch at the moment, allowing him, for some, to be regarded as much, if not more, as a musical artist than an actor and filmmaker. Anyway you cut it, in a few short years, he proved himself to be a polymath of rare talent. Somewhere along the way, while both were working as members of Yoko Ono's Plastic One Band, Gallo met the New York based, highly regarded singer-songwriter, guitarist, and producer, Harper Simon, who also happens to be the son of Paul Simon. The pair fell into an incredibly fruitful duo collaboration, which came to be called Butterfly, and “The Music of Butterfly” being their debut full-length release.

Written, performed, and recorded by Vincent Gallo and Harper Simon in New York City between the winter of 2018 and the spring of 2019, the ten tracks comprising “The Music of Butterfly” are cumulatively a gesture of gentle, DIY / bedroom left-field pop, falling within the rough territory for which Gallo became renowned during the late '90s and early 2000s, making one feel like barely a moment had passed since we’d encountered his graceful hand at song-craft. Stripped back and raw, while retaining a sense of warmth and intimacy, across the length of “The Music of Butterfly” the duo of Gallo and Simon weave something completely captivating at the juncture of minimalism, experimentalism, and pop: meandering moments of texture and tone, slowly forming toward flirtations of melody that flower into song and back again. Somehow playful and light, while also remarkably emotive and personal, it’s almost as though each of these tracks crystallised out the air, unlabored and exactly as they should be without a note or beat more.

An engrossing immersion into both Gallo and Simon’s remarkably accomplished minds, having followed the path toward one another after radically different experiences and careers, “The Music of Butterfly” is one of those records that’ll be hard to get off the turntable after that first needle drop, and rarely leave the listening pile for some time to come. Issued by Family Friend Records in a beautiful deluxe edition that is unmatched even among the most stunning recent productions we can call to mind - 180g vinyl in textured heavy gatefold cover with paste-on artwork and thick anti-static innersleeve - it’s lovely to have Gallo back in the musical mix after so many years. "

Every so often an album of such deceptive genius, of such aesthetic clarity, comes across our desk and transfixes us. Thought Leadership's III Of Pentacles is one such work of art. It's an instant classic and glides into the pantheon of timeless guitar-soul totems. Originally out on cassette only, we present the first ever vinyl issue. It's a hideously limited pressing of 300 for the world, so don't sleep on this.

Thought Leadership has already garnered big support from such tastemakers as Ruf Dug, Jason Boardman, Nathan Gregory Wilkins, J Walk, Evan Woodward, Justin Robertson and Heavenly's Jeff Barrett. The first time we heard III Of Pentacles, we nearly wept at the thought that something so beautiful, so bursting with real hope, could even exist in this brutal world. To quote the Quietus, "imagine if Stockport was situated somewhere along the Pacific Coast Highway rather than the M60, and you’ll have some idea of the coordinates to the post-industrial, sunburnt dream space opened up here."

So, who is Thought Leadership? What do we know about them? They reside in Stockport and are obsessed with ethereal guitar records. That’s about it. That and these X ideas shared with you, the listener.

Captured on a multitrack recorder in a terraced house in Stockport, this is as DIY as it gets. Glaringly obvious is a love for classic Factory and early 4AD. Perhaps it is the proximity to the River Mersey where the ideas arrived, and there being but three miles between where this and the Durutti Column’s classic “LC” was recorded, as the two operate across a familiar aural plain. Be it geographic or otherwise, limited by a true economy of means, namely guitar, pedals and drum machine, the fruit borne from these humble tools has been indelibly shaped by the perma-gloom that hangs low over the Manchester and Stockport environs.

Ushered in on 808 kicks, “I” opens the record as a beautiful Sketch for Stockport; a chiming maj7 chord dripping in chorus and delay sets us on our way. The Vini Reilly comparisons are unavoidable. “II” is all John McGeoch, with its trippy goth-psyche arpeggiated pattern cascading across the stereo image. Do those drums swing? But goths don’t swing?! They do here. We’re treated to a bit of crunch on the lead guitar part and some really lush reverb. We even step forth into shoegaze territory, albeit briefly, for the middle eight. “III”, a firm Be With favourite, continues the dreamy psyche leanings of the previous track, with an even bigger melody this time. We’re hearing The Teardrop Explodes on quaaludes here. A proto-dream pop cut soaked in melancholy. But watch out! The coda finds Johnny Marr has gotten into the ‘ludes and gatecrashed the final bars with some incredibly ignorant B minor pentatonic noodling.

“IV” ditches the drum machine for the first in a suite of three beatless electric guitar duets. The first of these semi-improvised rubato ideas is a striking departure from the earlier playful pieces, coming over emo and moody. Greyscale sulking for Stratocaster. Sign us up. “V” contains some really lyrical phrasing; a gorgeous conversation between two guitars. Real Stopfordian Primitive; meditative, crude, rain-soaked. We cycle through the same feels, then end on an alluring chord that breaks the pattern. Sometimes thoughts are like this. “VI” creeps in all plaintive, then a huge reverberating descending guitar line comes tumbling in like something off those classic Dif Juz 12”s. There’s some Maurice Deebank in there too, for sure, and the coda nods to early Meat Puppets.

“VII” rounds out the A Side, and succinctly presents a summary of all ideas explored thus far on our journey. The drum machine is back, this time with some wispy delay, before both guitars enter together playing interlocking lines. As we start, we end, with the delayed 808 guiding us out.

Opening Side B, “VIII” sees us embark on the other side of our journey as we slow down and space out. The drum machine is here, but the guitars are different now. Think Sensations Fix or Göttsching at his most peeled out. Drones, ambient drifts of broken chords and distorted lead lines all swirl round the mix. Side B is one for headphones for sure. “IX” is almost too exquisite for words. A New Age Mixolydian voyage through the cosmos. If you’re unmoved by the end you’ve probably got no pulse. We were left blunted ineffable by this one, such is the smudged elegance radiating from this idea. All hail the Thought Leader.

“X” is a full circle moment, and a fitting end. If you’ve not already elsewhere across the platter, you will be getting heavy Robin Guthrie vibes from this piece. Like the rest of Side B, this improvised jam sticks within a framework of related chords but the celestial energies channelled might invite us to wander “outside”, especially when the Tubescreamer is engaged.

RIYL Durutti Coulmn, Cocteau Twins, Dif Juz, Sensations Fix, Spike and adjacent guitar musicks – but, ultimately, this is just its own thing; such is the strength of ideas presented. "It’s good music to chill out to." (??)

Be With is honoured to present the first ever vinyl release of III Of Pentacles, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever after its initial tape release. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry, in Holland. The original tape cover artwork, so crucial to Thought Leadership's striking visual aesthetic, has been rejigged for vinyl issue here at Be With. Its stark presentation befits the music contained within. They inform us that they shuffled their tarot deck to ask what the album should be called and the card you see on the cover popped out. The III Of Pentacles tarot card represents teamwork, shared vision and the ability to achieve goals through collaboration. We like to think Thought Leadership and Be With have nailed this one.

Almost as soon as Σtella Chronopoulou began writing Adagio, her fifth album as Σtella, she knew the time had finally come to sing in Greek, her native tongue. It would be a first. She started the record almost by accident in 2019, during an 11-hour boat ride to the island of Anafi. Σtella had recently gone through a patch of personal turmoil and needed a break from home. On the ferry, she pulled out her cell phone as the boat clipped through the Mediterranean and began with a simple melody, steadily piecing together a rough instrumental. As psychedelic keyboards twinkled and swayed above staccato drums, the track suggested some deep exhalation, as if Σtella were letting go of long-unnecessary baggage. For a spell, she set the instrumental aside. She wasn’t ready yet, or in a rush. Σtella, after all, grew up in a slow place. During her youth in a relatively rural suburb of Athens, Greece, she and her friends played unfettered in empty streets, not worried about cars or permission, and living felt easy. But in the last decade life has steadily become busier for Σtella, now based in the heart of Athens. She has become one of modern Greece’s most popular musical exports, with three sophisticated, playful pop albums rendered with international élan. After her Sub Pop debut, Up and Away, in 2022, she catapulted beyond three million monthly Spotify listeners. That success was a blessing, but Σtella sometimes found herself pining for the slower pace of her youth. That longing is the thread that loosely binds together her fifth album, the entrancing Adagio. Borrowing its name from the term for music that’s meant to be played slowly, Adagio is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time. Written and recorded over the span of five years, with a consortium of international collaborators including !!!’s Rafael Cohen and British songwriter Gabriel Stebbing, Adagio is a 27-minute meditation on love and desire, rest and time. Though the bulk of it is sung in English, Σtella delivers her first two songs in Greek here—“Omorfo Mou,” the one that began on the boat, and a cover of a 1969 cult classic of the Greek New Wave, Litsa Sakelariou’s “Ta Vimata.” It is a sign of the self-assurance that radiates throughout these tender and smitten little tunes. Start to finish, Σtella sounds more at ease and comfortable than she’s ever been on Adagio. These fetching songs will not slow her career or grant her that title track’s wish. But, for half an hour, Adagio adds a measure of warmth to the world, with time loosening its grip even if it doesn’t slow down.● Athens, Greece-based Σtella’s new album Adagio is a pop record that feels like a very warm blanket, its nylon-string guitars and featherlight percussion swaddling its listeners for three minutes at a time.● Features Rafael Cohen and British songwriter Gabriel Stebbing.• Σtella’s breakout hit “Charmed” from her 2022 album Up and Away has nearly 100 million streams, and was recently featured in the hit Max show Industry.• On Spotify, Σtella has 3.4 million followers, 66k monthly listeners.

This is a recorded document performed by Mark Holub, Johanna Pärli and Sofía Salvo.

As a trio, they had not met until sound-checking for their gig at Berlin’s Cashmere Radio on September 1, 2023 — a fact that may be concealed by their immediate understanding as a musical entity but is obvious by their artistic freedom and curiosity towards each hoc encounters, flexible and steadfast in its performance, and that culminated in an experience that shook the floor of the radio station’s headquarters.

The day after, Sofía, Johanna and Mark gathered in Adam Asnan’s studio and deepened their quest for a communal language. They ignored any musical fetters or conventions, enjoyed the possibilities of a wider time frame without a live audience — and exceeded all hopes of what three personalities can achieve when they are given the space and time to experiment, detached from any restrictions.

Mark Holub is a drummer of outstanding versatility and responsiveness, full of ideas and quick on his feet. Through his playing as well as his experience as a band-leader and composer he is able to steer this coequal group towards thundering crescendo, but sits equally comfortable in the centre of complex and fine rhythm probing in response to impulses thrown in by his companions.

Johanna Pärli makes use of her double bass’s entire body, extracting an armada of multi- layered sounds with an immensely high sonic spectrum that is also reflected in the diversity of her musical projects. She is both patient and wildly adventurous in her performance, and in this trio her contribution wanders from considerate bow work to brisk fingerpicking, gnarly string strikes and pedal use to startling effects.

Sofía Salvo unleashes the full unbounded potential of her voice by taking advantage of her baritone saxophone’s broad range of possibilities. She is one of Berlin’s most singular musicians and her widely proven capabilities cover gentle additions to support and underline pulsive interplay just as masterfully as rapid licks and roaring bursts of noise, spurring the collective to unpredictable intensity.

If music of this particular kind often gives the impression of a constant search, this international trio certainly managed to find common ground and capture a special moment in time for listeners to (re-)discover. Contrary to what frequent misconception sometimes suggests, it’s also tremendous fun.

NERR — Filling Open Spaces was instantly composed and performed live in studio by Mark Holub on drums, Johanna Pärli on double bass and Sofía Salvo on baritone saxophone, recorded in Berlin on September 2, 2023 and mixed by Adam Asnan. Mastered and cut by Rashad Becker, vinyl pressed at Pallas. Artwork and design by Stefan Lingg, produced by Christoph Berg and Stefan Lingg.

If the jazz of François Tusques is “free”, his spirit is even more so: having recorded Free Jazz with other like-minded Frenchmen (Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais), the pianist had covered a lot of ground, with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), so as not to repeat himself…

In 1971 he founded the Inter Communal Free Dance Music Orchestra which, as the notes the this album stated, “is an interpretation of a music which synthesizes the different communities living and working in France.” In 1976, on the first album (L’Inter Communal) we can already hear Tusques playing without borders in the company of Carlos Andreu (vocals), Michel Marre (trumpet and saxophone), Jo Maka (saxophone) and Ramadolf (trombone). It is a meeting between jazz and music from Catalonia, Occitanie and Africa. So far so good, but what about Brittany, that, Tusques knows “by heart”? Having lived for a long time in Nantes, he would expand his ‘brittanitude’ on the canal linking the city to Brest by playing with, for example the Diaouled-Ar-Menez. With these “devils from the mountain” who, under the baton of Yann Goasdoué, worked throughout the 1970s on the renewal of music from Brittany, Tusques met, notably, Tanguy Ledoré and invited him one day, with trois bombards and some bagpipes (Jean-Louis Le Vallegant, Gaby Kerdoncuff and Philippe Lestrat), to join the ranks of the Intercommunal. And so they set of towards a new music from Brittany, as the title states; Vers une Musique bretonne nouvelle!

With percussion from Samuel Ateba and Kilikus, the association launches the ‘bombardier’: the repetitions and dissonance of the different members all serve a common cause however: the dance, which is always the reason for the party. This sets a whole universe spinning, which can bring to mind Chris McGregor’s Brotherhood of Breath (“La rencontre”) when not taking on board waltz, swing, blues and gavotta or even revealing mysteries like those of Gurdjieff (“Les racines de la montagne” or “Le cheval” sung by Andreu). Only one thing to say to this Brotherhood Of Breizh: Mersi!

It’s always fun to let our audience peer through the party peephole with some hot behind-the-scenes info. For months, Black Light Smoke’s Control EP has supplied several of label head Tiga’s secret DJ weapons. In fact, he’s been sneaking out constantly after 9pm to play it out anywhere they’ll have him. And it’s little wonder to those who wonder why, as the Chicago-born producer’s top-flight mix of EBM, electro and Benadryl-soaked vocals has all the right people dancing.

Leadoff track "New York Is Dead” eulogizes the famous Big Apple Dance Party Scene in a way that will confuse the many who have embraced the city’s thriving “Groove With the Avengers” day rave series in Times Square. But the nihilism-liking doesn’t stop there, with the Friday-Til-I-Die attitude of “Black Hole at the Disco,” the pleather-dreaded post-cyberpunk of “Last Song Before Sunrise”, and the oxygen-deprived acid of “Break Your Back” culminating in the 11:45am-peak-time industrial trance of closer “Mind Control.”

Because we want this to be available to as many inhabitants of the blasted apocalyptic landscape we have pencilled in for 2034 or so, we have decided to make this release available both digitally and on vinyl. So whether you’ve managed to jack in illegally to a Spotify Wind Farm or you’re relegated to the hand-cranked misery of a Victrola while living in a barn or something, we’ve got you covered!

Laura Nyro's album “Walk the Dog & Light the Light” was released on August 17, 1993, marking her return to studio recordings after a nine-year hiatus since “Mother’s Spiritual” in 1984. This album is notable as it was the last collection of original material she released during her lifetime. The album features a mix of original compositions and covers, showcasing Nyro's distinctive blend of pop, soul, and jazz influences. Notably, the track "Broken Rainbow" was previously featured in the Academy Award-winning documentary of the same name, which addressed the relocation of the Navajo people. Musicians contributing to the album include Bernard Purdie on drums, Freddie Washington on bass guitar, and guitarists Elliott Randall, Michael Landau, and Ira Siegel. The album was co-produced by Nyro and Gary Katz, known for his work with Steely Dan. The sound is smooth and soulful, with Nyro's rich and smokier vocals singing her lyrics concerning topics such as feminism, animal rights and Native American rights.

-sechstes Album der traditionellen Heavy- und Epic Metal Band -spezielles Vinylmastering, bedruckter Einleger -handgemaltes Coverartwork, authentische und druckvolle Produktion -Europatour im April 2025 Das neue Album der serbischen Band Claymorean mit dem Titel „Eternal Curse“ wird weltweit am 4. April über Golden Core/ZYX Records als LP erscheinen.

Es wurde zwischen Oktober 2024 und Januar 2025 von Claymorean und Boris urlan (Midnight Studio, Lazarevac) aufgenommen und produziert. Das atemberaubende Artwork wurde meisterhaft von Anton Atanasov (OldSchool Crew) handgemalt. Das neue Album stellt eine Zusammenarbeit der gesamten Band beim Songwriting, bei den Aufnahmen und beim Arrangieren dar - ein Meilenstein, der Vladimir Garčević, Gitarrist und Bandleader, ein Lächeln ins Gesicht zaubert: „Wir haben versucht, die Essenz unserer Live-Auftritte (unter anderem beim Keep It True Rising und Headbangers Open Air) einzufangen, und Boris hat uns wirklich hervorragend dabei geholfen, den Sound zu erreichen, den wir uns für dieses Album vorgestellt haben.“ Jeder Song auf „Eternal Curse“ fühlt sich an wie eine triumphale Kampfhymne für den Metal des 21. Jahrhunderts, geschaffen mit Überzeugung, Ehrlichkeit und Leidenschaft. “Wir feiern den Heavy Metal und die LP ist auch ein Tribut an unsere Helden und Fans dieses unsterblichen Genres.“ Vlad fügt hinzu: Wir haben es geschafft, auf jeder unserer Platten einen einzigartigen und unverwechselbaren Sound zu kreieren, während wir unserer Identität und künstlerischen Integrität treu geblieben sind. Keine Kompromisse!

Das fünfte, den Durchbruch für Evan Dando bringende, Lemonheads-Album 'It's A Shame About Ray', wird zum 33-jährigen Jubiläum wieder als Single Vinyl in klassisch schwarz mit der Original-Tracklist nachgepresst (mit Download Card für die zusätzlichen Bonustracks der Deluxe Edition von 2022). Beschrieben von Musikjournalist und Autor Everett True als "Ein 30-minütiger Einblick in das, was es heißt, hart und schnell und locker und glücklich mit gleichgesinnten Kumpels zu leben, angetrieben von einer gemeinsamen Liebe zu ähnlichen Bands und Drogen und Alkohol und Freiheit". It's A Shame About Ray" hatte in jenen berauschenden, sorglosen Tagen des Jahres '92 eine beträchtliche Wirkung. Die Platte fängt perfekt Dandos Fähigkeit ein, die Sehnsucht und Lust der Teenager mühelos in einem zweiminütigen Popsong zu verpacken. Singles wie "My Drug Buddy" und der luftig-perfekte Pop des Titeltracks mögen herausstechen, aber die eigentliche Stärke des Albums liegt in den Tracks dazwischen; das wirklich fantastische 'Confetti' (über die Scheidung von Evans Eltern) und die atemberaubend lässige Akustik-Coverversion von 'Frank Mills' (aus dem Hippie-Musical Hair), eine Version, in der jedes Quäntchen Pathos und Gefühl für die verlorene Generation der 1960er mitzuschwingen scheint. Wenn Evan Dando Zeilen wie "I love him/but it embarrasses me/To walk down the street with him/He lives in Brooklyn somewhere/And he wears his white crash helmet" singt, weiß man erst richtig zu schätzen, wie wunderbar und verlockend Popmusik sein kann. Und dann gibt es da noch den Ansturm von Aufsässigkeit und Unverfrorenheit im wunderbar verkürzten 'Bit Part'; das aufgedrehte 'Ceiling Fan In My Spoon'... das war Jungs/Teenager-Popmusik mit Stil auf einem Niveau mit The Kinks, den frühen Undertones und den Wipers. "Ray sounds revelatory in its restlessness, mixing college pop with country flair and relocating Gus Van Sant's Portland atmosphere to New England." Pitchfork *****½ (Download only adiitional extras: 1 Mrs Robinson 2 Shakey Ground 3 My Drug Buddy (KCRW Session, 1992) 4 Knowing Me, Knowing You (Acoustic) 5 Confetti (Acoustic) 6 Alison's Starting To Happen (Acoustic) 7 Divan. Demo Recordings - Download only. 8 It's A Shame About Ray (Demo) 9 Rockin' Stroll (Demo) 10 My Drug Buddy (Demo) 11 Hannah & Gabi (Demo) 12 Kitchen (Demo) 13 Bit Part (Demo) 14 Rudderless (Demo) 15 Ceiling Fan In My Spoon (Demo) 16 Confetti (Demo))

Flying Vipers record murky dubwise reggae on a Tascam 8-track in their basement bunker. Their love of Jamaican and UK 70's roots and dub is their north star, but eclectic crates of records and a couple decades worth of punk shows bleed through on tape. Twin brothers Marc & John Beaudette on drums and bass telekinetically lock-in with Zack Brines' layers of vintage organs and electric pianos in concise melodic meditations. "With ‘Off World’, their first full-length album featuring vocalist Kellee Webb, the Boston area band uses this foundation to explore the fight or flight of contemporary survival." While largely original compositions, three covers encapsulate the lyrical and musical themes found throughout the LP; an alienation anthem from Northwest punk pioneers Wipers; the theme from the cult classic animated film La Planete Sauvage, featuring the acclaimed jazz harpist Brandee Younger; and quite possibly the first dubwise Sun Ra tribute. Their own singles like "Believers & Deceivers" and "Jackals" confront the grim reality of modern culture, wondering if life in America, and/or Earth, is worth fighting for or leaving behind. Through it all the drum and bass is there, to help you hold your ground and to guide your escape into sonic space.

Aguaturbia's second LP "Volumen 2" (1970) is an essential album to understand the construction of what we know today as Chilean rock. Aguaturbia's debut album was originally released in 1970 and showcases one of South America's most significant psychedelic bands from the late 60s and early 70s. Their influence in their native Chile -and beyond- was groundbreaking. In July that same year the band recorded "Volumen 2" that, just as raw and dynamic as the debut,delivers even heavier intensity than their debut LP. As expected, this album is raw and dynamic, featuring heavy rhythms, distortion, and exceptional phased female vocals reminiscent of Jefferson Airplane. Comparisons with the Grateful Dead, Country Joe and the Fish and Led Zeppelin can be drawn. Splendid heavy psych and proto-stoner tracks make this album a pioneer recording in the history of South American rock. The LP showcases breathtaking moments, like the psych-blues 'Heartbreaker' or 'I Wonder Who' where guitarist Carlos Corales shines. When he played solos at the gigs, the effect on the audience was silence and euphoria at the same time. In fact, Carlos Corales (guitar) and Willy Cavada (drums) were both professional musicians who had made a previous career in rock and roll bands. Other outstanding songs are 'Blues On The Westside', 'Waterfall' and the magnificent 'Well All Right'. Controversy accompanies the release of the album once again. In this case the cover artwork, a tribute to Salvador Dalí, scandalizes the most conservative sector of Chilean society. This outstanding album is now available again on vinylafter many years out of stock.

Hüma Utku returns to Editions Mego with her new album. The title Dracones makes reference to the mediaeval latin term "Hic sunt dracones" (Here be dragons), marking the unexplored, dangerous places on world maps, expressing the fear of chaos, the unexpected and the unknown.

This new work by the Istanbul sound artist is a sonic journal of an expedition into uncharted territory, one which occupies self and domesticity. Inspired by Utku’s experience of matrescence, Dracones explores the themes of familial demonology, metamorphosis and homecoming as well as human relationship to the experience of love woven layers of euphoria, alienation and consumption.

Musically, Dracones traverses a wide array of sonic tools whereby industrial sounds are imbedded with certain psychological angles, this is an album where, all matter meshes into a sly snapshot of the human experience with a tension and release exposure occurring frequently with dark corners opening up to bright layers of electronic experimentation.

The haunting opening track ‘A World Between Worlds’ tackles pregnancy, of which Utku was experiencing when making this record. The emotional, physical, spiritual and mental experience of this journey is all documented here.. This track features the ‘Lyraei’, an electromagnetic string instrument and modern interpretation of the ancient lyre, that was built and played by Mihalis Shammas. ‘Comfort of The Shadows’ moves from within to without, what was once hidden is now exposed. Utku’s ability to conjure the visual in the sonic is at the forefront as howling electronics give a distinct impression of movement. ‘A Familial Curse’ presents a desire to break the cycle of generational trauma with a creeping sense of dread that rolls into an industrial rhythm prior to landing in a beautiful place represented with shimmering guitar tones. ‘Here be Dragons’ is a rich and dark evocation, a spooked surrender to the themes of the record whereby Utku’s wildly distorted voice beckons all manner of phantasmagoria over cello and recordings of her ultrasound. ‘Care in Consume’ engages in further sonic exploration as a means of conjuring ‘matriphagy’, with its unique psychic energy coursing through electronic veins. ‘A House within a House’ could also be read as a body within a body as the pulse of ultrasound audio rattle amongst a cage of thudding rhythms and swirling electronics, one also ending in optimism as an exquisite melody is born from the prior fire. The striking journey ends with the more soothing ‘Ayaz’a’, a track embracing love and all the hardships that a period of fundamental metamorphosis brings, this is a heartfelt dedication to her son and concludes an album draped in life, experience, joy and pain.

Dracones is a deeply visual journey through inner and outer worlds, a space where symbolic evocation is supreme and passive listening is not an option.

All tracks composed,performed and recorded by Hüma Utku
Buchla 100, vocals, cello, electric guitar performed by Hüma Utku
‘’A World Between Worlds’’ features the ‘Lyraei’ built, played and recorded by Mihalis Shammas
Buchla 100 recorded in EMS Stockholm 2022-2023

Mixed by Enyang Urbiks
Mastered by Heba Kadry, NYC
Cover Artwork by Marco Ciceri
Design by Tina Frank

Another foggy day in Yorkshire. A steel grey sky. Raindrops tracing one another down the windowpane. Kirk Barley sits in his studio and assembles compositions from scraps of found sound and live instrumentation. Melodies swell, withdraw and repeat like waves. Time slows. Accelerates. Slows again. The light bends, tweaked at the edges. Twisted by rhythms that never quite resolve.

Written, recorded and produced by Barley in Yorkshire in early 2024, Lux picks up where 2023 LP Marionette leaves off, conjuring a mystical, reflective space between formal minimalism and sonic imaginaries of northern landscapes.

And yet, where Marionette relied at times on more recognisable field recordings, Lux leans into Barley’s skill as an instrumentalist and sound designer, working from a palette of short samples and utilising a variety of alternate tuning systems to build, layer and coax his compositions into being. Most evident on tracks ‘Vita’, ‘Sprite’ and ‘Descendent’, these tunings create an otherworldly harmonic language that is easier to perceive than describe.

Alongside more familiar instruments of guitar, bass, drums, organ and clarinet, here Barley draws on plastic saxophones and bells, and recordings of glass, wood and metal sound objects to provide the organic matter. Rather than directly representative of the natural world, Lux enters into a dialogue with it which, like the grasses and flowers of the album’s cover, exists somewhere between reality and artifice.

On album opener ‘Cache’, Barley constructs his own sense of time from a recording of an umbrella crank, a sparse and spectral piece which hints at memories embedded in the track’s title. Introspection blossoms into new life on ‘Vita’, crumpling again into the percussive ambience of ‘Verre’. A track that takes its harmonic lead from the clinks of glass, it features Barley’s long-time collaborator Matt Davies on drums, whose nuanced, tonally sensitive playing gives ‘Verre’ a fizzing, ice-like quality.

There are several moments where Lux picks up on themes Barley explored under electronic moniker Church Andrews on recent works with Davies, stretching and distorting temporalities most explicitly on ‘Descendent’, whose ritualistic air unfurls around a pattern in exponential decline.

Embracing the surrealism Barley absorbed over years watching classic film noir and the works of David Lynch and Federico Fellini, Lux wends its way through the enchanted sound worlds of ‘Sprite’ and ‘Balanced’ before arriving at the album’s title track.

An expression of his recent experiments in live, prepared guitar, ‘Lux’ brings the album back to earth, returning us to the room where the rain has stopped, the clouds have parted, and the soft warmth of the spring sun is pouring in through the open window.

Four Flies Records is proud to present Paesaggio Bellico, a collection of unreleased music from legendary composer and multi-instrumentalist Alessandro Alessandroni.

Available digitally starting on the centenary of the maestro's birth on 18th March 2025 and on vinyl on 21st March, Paesaggio Bellico is a true gem hidden within the vast treasure trove of Italian film scores and library music.The album brings together themes and atmospheric pieces inspired by the world of war, viewed not just from a military standpoint, but also through a deeply human and existential lens.

The LP version features 18 tracks, while the digital release expands to 29, including alternate takes and thematic variations. These compositions were meticulously unearthed from scores written and recorded by the maestro between 1969 and 1978 for television documentaries and war films.

Alessandroni's war-inspired music masterfully balances action, suspense, and introspection. Expansive, panoramic themes give way to anxious, tormented moments. Horrifying visions are countered by calmer atmospheres, and glimmers of hope soften the intensity of pain.

Each track embodies the unique sound that has made Alessandroni an irreplaceable figure for soundtrack and library music enthusiasts. His signature whistle – so unmistakable for generations of fans of the genre – soars above delicate 12-string acoustic guitar arpeggios. More dramatic pieces feature his iconic Fender Stratocaster, equipped with a fuzz distortion pedal. And, of course, Alessandroni's vocal group, the Cantori Moderni, a constant presence in his arrangements, contribute, this time lending their voices to the more unsettling aspects of military psychology. An elegant string section adds depth and emotional impact to the more orchestral tracks, completing the picture of this monumental work.

The result is a sonic journey that delves into the darkest, most martial sides of war, but also explores its intimate and deeply painful dimensions, creating a powerful dialogue between the atrocities of conflict and the human emotions it evokes.

The release is enriched by original artwork from Eric Adrien Lee, who reimagined the 1970s graphic design of Italian war-themed library albums. The vinyl LP is housed in a tip-on hard cover (the kind used for higher-end productions during the golden age of Italian soundtracks), with an inner sleeve featuring a color-inverted variation on the cover art, which makes the physical record even more unique.