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Frankfurt’s fast rising Ludwig A.F. Röhrscheid makes mind massaging music that enters realms from afar. Here he debuts on UTTU with 4 fantasy house jams for your mind, your body & your soul.

Art As Catharsis präsentiert die neue EP der australischen Metaller Tired Minds – eine schlammgetränkte Portion metallischer Post-Hardcore. Mit düsteren Instrumentaltracks, leidenschaftlicher Lyrik und spannungsgeladenen Kompositionen offenbart 'The Body Is A Burden' die Wertschätzung der Band für Acts wie Converge, Touché Amore, La Dispute und Cult Leader. In vielerlei Hinsicht fühlt sich die EP wie ein Liebesbrief an einige der besten melodischen Heavy-Acts der letzten zwei Jahrzehnte an, obwohl sie mit einer Eindringlichkeit und Intensität vorgetragen wird, die zeigt, dass Tired Minds auf der Höhe ihres Könnens sind.

4 Speedcore tracks.
Probably the best Speedcore record of this year.
You guys know we don’t like to exaggerate.
Take it or leave it.

A.R. Kive collates the three most astonishing works from that most miraculous of duos - A.R. Kane - comprising the ‘Up Home’ EP from 1988 that signified the band’s dawning realisation of their own powers and possibilities, their legendary debut LP ‘sixty nine’ (1988) and its kaleidoscopic, prophetic double-LP follow up ‘i’ (1989).

In founder-member Rudy Tambala’s new remastering, the music on these pivotal transmissions from the birth of dream pop, have been reinvigorated and re-infused with a new power, a new depth and intimacy, a new height and immensity. Vivid, timeless and yet always timely whenever they’re recalled, these records still force any listener to realise that despite the habits of retrospective myth-making and the
safe neutering effects of ‘genre’, thirty years have in no way dimmed how resistant and dissident to critical habits of categorisation A.R. Kane always were. Never quite ‘avant-pop’ or ‘shoegaze’ or ‘post-rock’ or any of those sobriquets designed to file and categorise, A.R. Kive is a reminder that those genres had to be coined, had to be invented precisely to contain the astonishing sound of A.R. Kane, because
previous formulations couldn’t come close to their sui generis sound and suggestiveness. This is music that pointed towards futures which a whole generation of artists and sonic explorers would map out. Now beautifully repackaged, remastered and fleshed out with extensive sleeve notes and accompanying materials, ‘A.R. Kive’ reveals that 35 years on it’s still a struggle to defuse the revolutionary and inspirational possibility of A.R. Kane’s music.

A.R. Kane were formed in 1986 by Rudy Tambala and Alex Ayuli, two second-generation immigrants who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and
Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that! We could express ourselves like that!’ moment”, recalls Tambala - and through a mix of
confidence, chutzpah, ad hoc almost-mythical live shows and sheer innocent will the duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in 1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here - a
tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.
The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. Simon Reynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ that forms the first part of ‘A.R. Kive’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

‘sixty nine’ the group’s debut LP that emerged in 1988 had
critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves, ‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary.

The final part of this ‘A.R. Kive’ contains 1989’s astonishing double-LP ‘i’ which followed up on ‘sixty nine’s promise and saw the duo fully unleash their experimental pop sensibilities over 26 tracks, plunging the A.R. Kane sound into a dazzlingly kaleidoscopic vision of pop experiment and play. Suffused with new digital technologies and combining searingly sweet and danceable pop with perhaps the duo’s strangest and boundary-pushing compositions, the album did exactly what a great double-set should do - indulge the artists sprawling pursuit of their own imaginations but always with a concision and an ear for those moments where pop both transcends and toys with the listeners expectations. Jason Ankeny has noted that “In retrospect, ‘i’ now seems like a crystal ball prophesying virtually every major musical development of the 1990s; from the shimmering techno of ‘A Love from Outer Space’ to the liquid dub of ‘What’s All This Then?’, from the alien drone-pop of ‘Conundrum’ to the sinister shoegazer miasma of ‘Supervixens’ — it’s all here, an underground road map for countless bands to follow.” Perhaps the most overwhelmingly all-encompassing transmission from A.R. Kane, ‘i’ bookended a three year period in which the duo had made some of the most prophetic and revelatory music of the entire decade.

After ‘i’ the duo’s output became more sporadic with Tambala and Ayuli moving in different directions both geographically and musically, with only 1994’s ‘New Clear Child’ a crystalline re-fraction of future and past echoes of jazz, folk and soul, before the duo went their separate ways. Since then, A.R. Kane’s music has endured, not thanks to the usual sepia’d false memories that seem to maintain interest in so much of the musical past, but because those who hear A.R. Kane music and are changed irrevocably, have to share that universe which A.R. Kane opened up, with anyone else who will listen. Far more than other lauded documents of the late 80s it still sounds astonishingly fresh, astonishingly livid and vivid and necessary and NOW.

A long-in-the-works project of ours, here comes A Tribe Called Kotori's first foray into full-length territories, as the immensely talented Rampue takes us on a melancholy-riddled ride across his phantasmatic mindscapes. A true sound explorer, deftly steering his ship down the junction of electronica, abstract and balearic-infused prog house, the Berlin-based vibist has us transfixed and elevated throughout the twelve cuts that form the backbone to this lushly textured promenade in sound - at times understatedly euphoric, at others rivetingly exotic.

Of the creative process that lead to 'Bubblebath Trance', Rampue explains "It all started and ended in the same moment: my cherished feline companion, my laptop awash with an unintended bath, and alas, a dearth of backups. The resultant calamity, an echo of chaotic tranquility." Under the generous layer of irony lies some unaltered truth about Rampue's debut long-player for A Tribe Called Kotori: this sense of serenity that goes with stepping into this warm and bubbling primitive chaos of sorts infuses the listening experience far and wide. Distantly emulating the "euphonious strains" of iconic PS1 video games soundtracks from his youth days, the album has us surfing a constant paradox of emotions, wistful but not abandoning itself to sorrow, dynamic yet suspended in some sort of mind-expanding stasis. As if you were looking at the world beneath you in exploded view, conscious of all thing, slowly moving up the many layers of our atmosphere towards uncharted skies.

A paragon of Rampue's most poignant take on classic electronica tropes, 'Harmonie' blazes with a poetic fire that engulfs about everything in its wake. Just figure yourself riding a chocobo across the sand-covered expanse of North Corel (toasting to the FFVII nerds here) as this blasts out in the distance. From this trancey bubblebath emerge lots of musical shades and nuances, from the nicely dubbed-out, brass-heavy coastal jazz of 'Schattenschranz' to the choppy, trip-hop-adjacent future electronics of 'Inside', via the exuberantly joyous mess of faux-organic number 'Tripomatic' and cinematic charisma of 'Ich hasse Sonne' high-flying orchestrations.

Connecting the dots between that trance-indebted ebullience and further downtempo-friendly attraction, 'Verfahren' perhaps encompasses best what 'Bubblebath Trance' is about: gracefully walking the tightrope in-limbo nostalgia-soaked inner movements and a powerful outward thrust, burning to let the feelings ooze out from the shell that holds them.Clad in purely 90s-compatible breaksy motion, 'Salz' is another attempt to reconcile emotional and physical dissonance, like kneading all states - solid, liquid and vaporous - into an impossible mega-vibe of its own; malleable, strong and enveloping in equal measure. Borrowing from two-step and UK garage, 'Take Away' is a definite high in Rampue's master unfolding of musical twists and turns, summoning a Boarder Community-esque atmosphere and clashing it alongside floor-ready footwork motifs to fascinating effect.

An ode to his studio companion, 'Buchla Trip' finds Rampue's exploring his machinic friend's quirky yet soulful array of electronic potentialities - making it sound like a conversation you'd have with R2-D2 in the heart of a Sandcrawler, whereas 'Kajal' beams us up to a fragmented headspace, halfway altered PC-Pop and arps-loaded electronica on amphetamines. Effusive and transporting, the title-track 'Bubblebath Trance' could well figure as the album's no.1 medley in essence: a bountiful lucid dream of dancing forms, colours and sentiments to wrap your head around, confidently drifting from a liminal state of consciousness down the rapids of one's troubled inner workings.

Rounding off the package, the languid ambient finale of 'Die Leiden des hungrigen Fruehstuecks' rubber-stamps the feeling that 'Bubblebath Trance' belongs to that rare category of albums. The ones that mint their own alphabet aside from typical norms and expectations, teaching you the ropes of their new language as it unreels between your ears - real and unreal, elusive to any other meaning than the one your guts and brains will be inclined to give it to, in real time. A crystal-pure object if you will, that shall not reveal its secrets, even after a thousand listens and just as many wowing moments.

The first vinyl release from American artist Sydney Spann, Sending Up A Spiral Of well encapsulates Spann’s body of work thus far. On their music, which reacts to themes of family systems and care work, Sydney writes, “people who have done care work —nannies, sex workers, therapists, nurses— may possess their own musical knowledge, developed over time through particular modes of voicing practiced to achieve a desired outcome in their labor. Attending intimately to these ways of voicing and listening and bringing them into a sound practice could be a way to legitimize a less recognized kind of musical knowledge.”

Sending Up A Spiral Of explores this unarticulated expression through sound and song. The titular piece traces Spann within some quixotic woodland, as if beginning inside of some urban fairy-story. Self-soothing singing quivers under dragging branches, peeling cement and other tactile grit. The work drops into a new proximity half-way through as electronic contours overtake the environment. Sine-tones smolder in a pulsating choreography, perhaps reminiscent of Richard Maxfield’s “Night Music” played at half-speed.

The second section of the record depicts a series of five smaller portraits, expressed (or disguised) as lullabies. An oceanic humming permeates them. “Possession” and “Purposeful Evening” are the most song-like lullabies, with their verse-chorus repetition and melodic simplicity. Innocuous words “baby” and “honey” are encoded with deeper, often painful connotations. Sydney’s voice and vision for this album is ambitious, cloaked in the strains and contradictions of what love means in the nuclear family.

A 16-page artist pamphlet of rubbings, photographs and sheet music accompanies the LP, along with a digital PDF of Spann’s thesis “Sending Up A Spiral Of: A Musical Epistemology Made Through Care Work.”

Described as a musician's musician, Allen's sound is built on a foundation of pop, rock, Americana, Roots and Blues influences. Jon Allen has a soulful, whiskeysoaked voice and a striking gift for melody. He has never been content to be pigeonholed, as demonstrated by the eclecticism of his albums to date.Of the album Jon writes ''The last few years have felt like a pressure cooker slowly increasing to boiling point. There is sense of threat and a feeling of impending doom. Living in a large urban centre during a global pandemic brought out a sense of paranoia. We became more aware of our need for space, our need for silence and to be close to nature to get above the noise of a city. I'm absorbing all the time and everything from the famous Will Smith slap to missing people inspired the songs. How close are we all to the tipping point? What are we likely to do in heat of the moment? What will stress do to us when pushed? But light
follows dark, and there are the moments of simplicity and you can count your blessings for the simple things life has to offer".

The Vaselines have long been celebrated by musicians and music enthusiasts across genres and across the globe, including super-fan Kurt Cobain. Emerging in the mid-eighties under the wing of The Pastels' Stephen McRobbie, The Vaselines came to define the sly wit and irresistible pop hooks of the era's Scottish indie scene. Sub Pop's remastered reintroduction of The Way of The Vaselines is an opportunity for those already familiar with the Scottish band's brief career to delve deeper into their body of work, while those new to their music can experience firsthand why so many hold them in such high regard. Originally mastered from a cassette tape (and since remastered on much better equipment in the new millennium), The Way of The Vaselines compiles the band's two EPs (Son of a Gun and Dying for It) and their sole LP release (Dum-Dum). This 2023 edition is the first ever vinyl release of The Way of The Vaselines, which originally came out on CD in 1992.

The Vaselines have long been celebrated by musicians and music enthusiasts across genres and across the globe, including super-fan Kurt Cobain. Emerging in the mid-eighties under the wing of The Pastels' Stephen McRobbie, The Vaselines came to define the sly wit and irresistible pop hooks of the era's Scottish indie scene. Sub Pop's remastered reintroduction of The Way of The Vaselines is an opportunity for those already familiar with the Scottish band's brief career to delve deeper into their body of work, while those new to their music can experience firsthand why so many hold them in such high regard. Originally mastered from a cassette tape (and since remastered on much better equipment in the new millennium), The Way of The Vaselines compiles the band's two EPs (Son of a Gun and Dying for It) and their sole LP release (Dum-Dum). This 2023 edition is the first ever vinyl release of The Way of The Vaselines, which originally came out on CD in 1992.

It's time to release the toys from the darkness and dive into the sound playground. "Midnight in a Toyshop" is a new Lo-Fi House project from an old hand in the electronic music business. He is launching an EP series called "Play". This will be available on vinyl and digital. All tracks are characterized by punchy, driving beats and a deep, warm, positive atmosphere. The use of 8 and 12 bit tools and tape recordings creates a nostalgic aesthetic that takes you back to a time when moments of lightheartedness and playful creativity flourished. Press play and enjoy the journey.

Funky Badboy techno. Opening with a funky electro hard house shaker from Ixindamix... Doublscotch is back too with a superb electro techno groover, minimal and very efficient... The Flip from CD is a big fat funky techno / house killer. A must have for the smiling morning at open airs ! For sure that's the best disco song of the year !!

Mango Vinyl. Leon Russell war einer der angesehensten Studiomusiker der Rockgeschichte. Er wirkte an einer überwältigenden Anzahl von Platten von Legenden wie Jerry Lee Lewis, Bobby Darin, Phil Spector, Frank Sinatra, den Byrds und den Beach Boys mit. Russells Solowerke profitierten von seinen erstaunlichen Seilschaften, Koryphäen wie George Harrison, Eric Clapton, Willie Nelson, verschiedene Rolling Stones und andere, verhalfen Russell im Laufe der Jahre seinen Alben den letzten Schliff zu geben. Als "Meister von Raum und Zeit" mischte Russell Südstaaten-Soul, Gospel, Country, Rock und den Piano Singer/Songwriter-Stil. "A Song For Leon" zelebriert Leons Leben und seine Karriere, ikonische Acts wie die Pixies, Orville Peck, Nathaniel Rateliff & the Night Sweats, U.S. Girls featuring Bootsy Collins, Durand Jones & The Indications und andere unglaubliche Künstler sind hier versammelt. "A Song For Leon" zeigt die Wirkung von Leon Russells Liedern in anderen, neuen Versionen seiner Musik.

ENG 180 grm classic black vinyl, 2023 repress. At the risk of further labouring a rather obvious point, with Thank God for Mental Illness, their third collection of absolutely stunning music in 1996, the Brian Jonestown Massacre parallels the prolific and effortless brilliance of the Rolling Stones at their fevered late-1960s peak; the sheer scope of their achievements is stunning - rarely are bands quite so productive, or quite so consistently amazing. Thank God is the BJM's down-and-dirty country-blues outing, all 12-odd tracks supposedly recorded on a single July day at a cost of just $17.36 The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

Die Gezeiten schwellen an, während die nächste Welle des britischen Metal weiter an Fahrt aufnimmt, angeführt von den Genre-Pionieren SYLOSIS und ihrem brandneuen Werk "A Sign Of Things To Come".
Vom feurigen Modern Thrash des 2008er Debüts "Conclusion Of An Age" und den epischen Nachfolgern "Edge Of The Earth" (2011) und "Monolith" (2012) bis hin zur direkten, ganzheitlichen Brutalität von "Dormant Heart" (2015) und "Cycle Of Suffering" (2020) haben Sylosis mit Stolz die Fahne für anspruchsvollen, aber kompromisslosen Metal hochgehalten. Jetzt, mit neuer Musik bewaffnet, meldet sich Sylosis in der internationalen Metalwelt mächtig zurück!
A Sign Of Things To Come ist nicht nur das bisher kürzeste Sylosis-Album, sondern auch das beste der Band: Vom Thrash-Krieg des Eröffnungsstücks 'Deadwood' und der knurrenden Groove-Metal-Wut von 'Pariahs' über den taumelnden Sludge und den erhabenen Refrain von 'Eye For An Eye' bis hin zu den schimmernden Gothic-Doom-Vibes von 'Thorns' war die Phrase "all killer, no fucking filler" noch nie so zutreffend. Zehn Songs, zehn Triumphe: Mission erfüllt.
Sylosis sind zurück, um alle daran zu erinnern, wie echter Heavy Metal klingt, wenn er von den Besten der Besten gespielt wird. Nachdem ihnen die Chance verwehrt wurde, als Support für Cycle Of Suffering auf Tour zu gehen, ist das Feuer für einen karrierebestimmenden Albumzyklus nun endgültig entfacht!

Die Gezeiten schwellen an, während die nächste Welle des britischen Metal weiter an Fahrt aufnimmt, angeführt von den Genre-Pionieren SYLOSIS und ihrem brandneuen Werk "A Sign Of Things To Come".
Vom feurigen Modern Thrash des 2008er Debüts "Conclusion Of An Age" und den epischen Nachfolgern "Edge Of The Earth" (2011) und "Monolith" (2012) bis hin zur direkten, ganzheitlichen Brutalität von "Dormant Heart" (2015) und "Cycle Of Suffering" (2020) haben Sylosis mit Stolz die Fahne für anspruchsvollen, aber kompromisslosen Metal hochgehalten. Jetzt, mit neuer Musik bewaffnet, meldet sich Sylosis in der internationalen Metalwelt mächtig zurück!
A Sign Of Things To Come ist nicht nur das bisher kürzeste Sylosis-Album, sondern auch das beste der Band: Vom Thrash-Krieg des Eröffnungsstücks 'Deadwood' und der knurrenden Groove-Metal-Wut von 'Pariahs' über den taumelnden Sludge und den erhabenen Refrain von 'Eye For An Eye' bis hin zu den schimmernden Gothic-Doom-Vibes von 'Thorns' war die Phrase "all killer, no fucking filler" noch nie so zutreffend. Zehn Songs, zehn Triumphe: Mission erfüllt.
Sylosis sind zurück, um alle daran zu erinnern, wie echter Heavy Metal klingt, wenn er von den Besten der Besten gespielt wird. Nachdem ihnen die Chance verwehrt wurde, als Support für Cycle Of Suffering auf Tour zu gehen, ist das Feuer für einen karrierebestimmenden Albumzyklus nun endgültig entfacht!

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

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

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

Disco re-edit master Moplen sprinkles his magic on the golden grooves of Jackie Moore’s classic, ‘Holding Back’ for the third release on A’s and Bees backed with the original Breakdown and Chin-Mental mixes from the mighty John Morales and Sergio Munzabai (M&M).

Continuing their run of heavyweight pressings that marry remastered originals with new interpretations of those prized cuts, A’s and Bees look to ’83 with this sensuous slice of disco heat, blending beefy slap bass with a soaring string section and Jackie’s soulful vocal tones. A cover of David Simmons’ 1979 classic ‘Holdin' Back’ penned by Gregg Diamond and Steve Love, Moore’s interpretation is a high energy disco hit from across the Atlantic.

Opening up the release, re-work whiz Moplen was graced with the stems to the original recording, tweaking, finessing and squeezing out all the best bits of the original building the tension across 7 sublime minutes, that balances deftness with full frontal power. Taking the A2, the original vocal mix in all its glory, produced and arranged by MFSB’s Bobby Eli.

On the B side two masterful M&M mixes from the legendary duo of John Morales and Sergio Munzabai in the form of the Breakdown and Chin-Mental versions.

50% of the profits from this release will be donated towards the British Beekeepers Association.

Indies Only LP is opaque green vinyl. Both LPs come with a download. The moment the needle drops on Bite, the new A Giant Dog record, one’s conception of what an A Giant Dog record sounds like bends like space and time around a starship running at lightspeed. The biggest point of departure is that Bite is a concept album, concerning characters who find themselves moving in and out of a virtual reality called Avalonia. A Giant Dog’s first album of original songs since 2017’s Toy, Bite finds the band Sabrina Ellis, Andrew Cashen, Danny Blanchard, Graham Low, and Andy Bauer at their peak as musicians, challenging themselves with more complex arrangements and subject matter that forced them out of their heads and into those of the characters who occupy this supposed paradise. “We had to find ourselves within, or project ourselves into, the principal characters. We developed them, got to know their minds, emotions, and motivations, and then expressed those in nine songs,” Ellis explains. Themes of addiction, gender fluidity, living ethically in a capitalist society, physical autonomy, avarice, grief, and consent bubble beneath the promised happiness of Avalonia. This is evident in songs like “Different Than,” where Ellis sings, “My body can’t explain the things my mind don’t comprehend” as if societal gender pressure is squeezing its protagonist out of their skin. The songs on Bite are full of bombast, at turns calling to mind the spacefaring operatic rock of Electric Light Orchestra and the high drama of an Ennio Morricone film score. The album’s narrative sweep is epic in scope, its characters facing impossible odds and certain doom, existing as comfortably with the sci-fi grandiosity of Thin Lizzy’s Jailbreak as it does with the high fantasy of Dio and Iron Maiden. Appropriately, A Giant Dog came to this narrative armed to the teeth with new ideas, unleashing synthesizers and string sections to create what Ellis describes as orchestral, symphonic, futuristic punk. To achieve this, they left their home turf of Austin, Texas, for La Cuve Studio, just outside of Angers, France. Living in the French countryside, A Giant Dog laid down their vision of the future against a decidedly pastoral backdrop. On walks from Angers to La Cuve, Ellis says that they “would see many things, and also nothing at all. Swans on the river. Romani people living in little trailers, with a side hut built for their dog. A juggler on a unicycle—not fucking with you.” “We thought we wouldn’t be allowed back in France after this trip, to be honest,” they continued. “Five loud, stomping, clapping, rowdy Americans who ran through the streets of Angers for three weeks in November 2022.” The experience capped two years of planning and writing, fleshing out the universe of Avalonia beyond the bounds of most concept albums. The resulting nine songs do not merely occupy this space: They’ve lived in it, and they want out.

Odd Holiday are purveyors of a rare breed of hip hop, both anchored in golden-era lyrical dexterousness and aligned to the contemporary movement of minimal soulful production. Their music is deeply emotive, seasoned, and undeniable.
L.I.S.A is the debut release by the semi-nomadic duo consisting of Mattic, a Charlotte, NC native currently residing in France and producer Daylight Robbery! who has one foot in the burgeoning jazz scene of London, UK and the other in the boom bap foundation of Brooklyn, NY. L.I.S.A represents the meeting of two forces who are at the top of their game and supremely comfortable in their craft, merging into something which feels both timeless and brand new.

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

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

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

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

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

Mixing song- structures with open- ended ambient compositions, melodies with sound- collage, the seven individual tracks invoke a range of genres while a breadcrumb trail of sounds and motifs scattered throughout the album builds a sense of continuity, suggesting a sonic reckoning with the natural world.
Recorded by visual artists and musicians in Montreal, Toronto, and rural Ontario, these songs were constructed in a call- and- response fashion with audio sketches, drawings, photographs, text, and video sent back and forth between the players - a conversational process that began during the winter of 2020 and continued off and on over the next 2 years

The debut album from Nottingham UK’s chaotic metallers, Outergods, is pure intense grind with a hint of experimentation black metal and disgustingly ferocious and absolutely relentless. A Kingdom Built Upon The Wreckage Of Heaven fuses together elements of death metal, black metal and grindcore – blending Outergods’ abrasive early influences such as Morbid Angel and Strapping Young Lad with the intensity of more modern, expansive but intense bands like Full of Hell.

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

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

Picking up where Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Live Forever left off, The Earth Is Not a Cold Dead Place begins as a flickering twinkle that soon grows to a blinding light. This new sense of hope is the defining characteristic of this record, and ultimately the journey that their music takes us on.

A more pristine production effort combines with simplified songwriting here, resulting in feel- good, windows- down passages that feel both infectious and uplifting.

Love Is a Four Letter Word is Jason Mraz's fourth studio album, acclaimed for its introspective lyrics and acoustic-pop sound. Released in 2012, it reached number 2 on the Billboard 200 chart and sold over 1 million copies worldwide, showcasing Mraz's musical versatility and emotional depth.

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). In fact, jazz critics have lauded A Love Supreme as Coltrane's most important recording. The rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swing-journal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making.

You're about to experience A Love Supreme at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition you'll also receive a 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and images from the Coltrane home.

The original master tape is available but it's not in the best shape. This LP was cut from a flat tape copy made by Rudy Van Gelder and used for cutting in the UK in April of 1965. Of course, the original recording was in December '64, so only a handful of months later. This tape was discovered at Abbey Road and had been untouched between 1965 and 2002. So while the original tape is available and while we would always opt for the original whenever we can, in this case this copy was the better choice as the tape has incurred less overall wear and sounds much better than the original.

A Love Supreme was Coltrane's pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped in and created one of the most thought-provoking albums of their relationship.

The album not only enabled Coltrane to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.

OM reunites one of the most powerful rhythm sections in rock music: Al Cisneros bass, vocals and Chris Hakius [drums], both ex-members of the legendary Sleep. Variations on a Theme is comprised of three long songs employing a series of rhythmic chants whose cadence-like textural drive conveys flight. The album's numerous lyrics serve as symbolist vehicles to a state outside the field of time and space. Variations on a Theme is a series of vibrations and flow. The opening track,"On The Mountain at Daw" is the thematic blueprint of the entire album; a transportive series of differentiated verse with sets of solid groove. "Kapil's Them" furthers the motif while the closer "Annapurna" breaks the spell, where the final wash of sound reflects the infinite.

The issue was always: How could I transport my work as a producer and beatmaker on to a stage? How can something, that is happening behind locked doors in the studio, emerge into a live experience?" With this vivacious live quartet, he has found his answer.
Songs from a productive solo career spanning a period of over 10 years, Sepalot has a wide variety of songs to pick and choose from. Even in the live set up, his ove for electronic music remains unaffected and the subtle influence of Hip Hop is un- deniable. Despite this being the initial state of the project, a distinctive sound has evolved from jamming together in dark rehearsal rooms. The different characters compliment each other like a puzzle on stage, though Sepalot's part as producer and svengali is undisputable.
FABIAN FU?SS on the drums - longtime partner on the drum set and the voice behind Sepalot's unmistakable radio hit "Rainbows". ANGELA AUX on the bass and mostly the voice of the quartet is a writer and solo artist in his own right. Having released albums on Millaphone his roots are undeniably in hip hop with a heavy tinge of folk. MATTHIAS LINDERMAYR on the trumpet, who originated from a family of musicians, is highly decorated jazz virtuoso. His very own releases grace modern jazz specialist label Enja Records. ... and finally SEPALOT, bringing them together and making them more than the sum of its parts.

The electronic beats, the pulsating bass, Sepalot's enthusiasm for ambient sound design - all this remains unchanged and is garnished with the element of jazz. A unique, unequalled sound that strives for higher ideals and has immense international potential.

repress !

Since ancient times tribes commanded by shamans were experimenting with rituals in order to inherit higher states of consciousness.

We as descendants from those cultures disrupted their traditions by recording those sounds and reproduce it through a speaker. Although the principle remains intact.

AIROD and P.E.A.R.L. Are two contemporary artists well aware of that culture, as you can here through the 6 tracks of this EP that in good hands can catalice the ecstasy through repetitive drums, deep vocals and grinding melodies.

Every science starts as philosophy and ends as art.
Tribal science, for disc-jockeys and collectors.

Repress.


New twelve on Hank Jacksons Anno label by Loidis aka Huerco S. aka Pendant aka The Royal Crown of Sweden.

Cryovac 27 opens with the driving sounds of Max Watts. Max has a brash commitment to a spartan drive of bass and kick. Watts captures a sense of urgency by making use of his synth stabs and eclectic, erratic melodies. “Watts Groove” is a rambunctious tool for the competitive DJ. “Santa ana” smoothes out the ride with an electro groove that pulls an elegant funk into a freaky shakedown. Watts adds emotion to a classic break style while staying firmly grounded in space.



The B side hosts, A.Garcia and M.Kretsch, continue their lab work on a couple of well rounded bangers that blend the talents of this duo into an effective sound collaborative. Infectious percussion moves a tasteful mix of rich silky synth lines manifesting “Layhee”. Diving in on a heroic bop through the confusion of synth and breakdown is "indianagiver". A rugged rocker with spacious atmosphere held together by a backbone of bass and hi hat. Garcia and Kretsch put forth a well built product for a disposable age.

With I Will Make a Baby in this Damn Economy, Fat Tony embodies the kind of quixotic figure he would rap about; a singular entity who’s motivated, confident, and hungry; a perpetual-motion-machine locked in a staring contest with his country. It’s the latest album in his catalog produced entirely by L.A-based producer Taydex since 2020’s Wake Up. Later that same year Fat Tony released Exotica, and ever since he’s demonstrated he is in his own lane as a professional rapper with the mind of a magician, as quick to conjure an image as pull it out from under you, deftly manoeuvring through so many details and references a listener feels as if they have witnessed the work of an illusionist. He paints these canvases inside of songs that rarely spill past three minutes; they’re pocket-sized diaries replete with acute observations, character studies, microdoses of storytelling, and single-minded ruminations on a topic that bud, blossom, and fade before too long. Fat Tony & Taydex’s I Will Make a Baby in this Damn Economy cements Tony’s status as someone whose albums are not so much lyrically-lyrical as they are picaresque.
As with any Fat Tony project, the bars are tight as ever, but are so fluid for the 34-year-old it’s almost easy to take for granted the details, warmth, and humanity inside his free-associative tales of day-one friends who’ve passed, edgelord grifters who want to spit game, and nights on ketamine. Taydex’s production sprints through disparate yet simpatico styles, dipping its toes into Pi’erre Bourne-esque bass (see lead single “Spectacular”), house (“Loosen Up”), and even hyperpop. Meditations on loss and grief are woven throughout, but Tony throws a few curveballs as well: Consider “Alexis,” which sweetly reflects on a long-term platonic friendship. Taydex finds a Teddy Riley-indebted New Jack Swing groove just deep enough for the feeling to land and underlines the song’s sincere candor. This is the appeal of Fat Tony writ-large: his boisterous voice and genial personality invite you to the party, then you stick around to hear what he’s saying, which is frequently more introspective and complex than one assumes.
Written and recorded in Taydex’s new studio in North Hollywood, Tony says, “We had much more freedom and flexibility in making this album and you can hear it. It felt like a family project.” If the album is comfortable and loose, it is also dense and substantial. The album’s final two tracks contextualize the immediacy of what came before it—the mezcal with ices drank, Paul Wall swangin’ through to drop knowledge, the Polaris Prize-winning rapper Cadence Weapon providing a vibe check. “Make a Baby” accounts for Tony who’s seen everything, and knows he’s met the one to be a father with, and yet chooses to take his time to get it done. Taydex’s beat recalls turn-of-the-century R&B and the millennial promise of an endless good time. Sombre closer “Jasper, TX” is Tony coming to grips with the story of James Byrd, Jr., a Black man from East Texas dragged to his death by three white supremacists in 1998. These songs are not only trademarks of Tony’s fastidious rapping—they are deeply personal examples of his approach to artistry and life itself, where every decision is made in the shadow of history.
It’s here the mission statement of I Will Make a Baby in this Damn Economy comes into focus—you get the sense he means it, he’s ready for it, he’ll fight for it. He’s waiting to take the world at its word.

Pianist and composer Harold López-Nussa has been steadily building a global following in jazz and beyond over the past two decades since winning the prestigious Montreux Jazz Piano Competition in 2005. López-Nussa has released nine acclaimed albums and captivated audiences across the world with his thrilling performances at esteemed venues and jazz festivals. Born into a musical family in Havana, Cuba, his music reflects the full range and richness of the Cuban musical tradition with its distinctive combination of classical, folkloric, and popular elements, as well as its embrace of improvisation. With the forthcoming release of his Blue Note Records debut Timba a la Americana, López-Nussa reaches a career milestone with a vibrant album teeming with joy and pathos that was inspired by the pianist’s recent decision to leave his Cuban homeland and begin a new life in France. Produced by Michael League (Snarky Puppy), Timba a la Americana presents 10 dynamic new compositions and features the harmonica virtuoso Grégoire Maret, Luques Curtis on bass, Bárbaro “Machito” Crespo on congas, and Harold’s brother Ruy Adrián López-Nussa on drums.

Everybody loves a good comeback story. After releasing five genre-defining albums and building a fiercely loyal fanbase, Turnpike Troubadours — the Tahlequah, Oklahoma kings of Red Dirt music — all but fell apart in 2019, taking a three-year hiatus to find clarity amidst the noise of a red-hot career. But after the break, something remarkable and even unprecedented happened: the band returned more popular than ever. Not to mention stronger. The proof is in the group’s sixth studio album, A Cat in the Rain. Produced by three-time Grammy winner Shooter Jennings and recorded at the legendary FAME Recording Studios in Muscle Shoals, Alabama, and in Los Angeles, the 10-song album is a tale of reliability, rebirth, and redemption. It’s the story of brothers — frontman and chief songwriter Evan Felker, fiddler Kyle Nix, steel player Hank Early, guitarist Ryan Engleman, bassist RC Edwards, drummer Gabe Pearson — six musicians who ran the gauntlet of success, scrutiny, and even personal troubles, and would fight tooth and nail for one another. Turnpike Troubadours’ fans can feel this. That bond is in the band’s songs and in their live performances — they’ve racked up 1.5 billion streams globally and are selling out arenas and headlining festivals. Still, to some, they remain a mystery…the most popular band they’ve never heard of. But with A Cat in the Rain, that’s all about to change.

Guy and Madeline on a Park Bench is a 2009 American romantic musical film directed, written, produced, shot, and co-edited by Damien Chazelle. The film was the feature directorial debut of the Academy Award-winning director who is known for Whiplash (2014), La La Land (2016), First Man (2018), and Babylon (2022).

After connecting with the shy Madeline, a jazz trumpeter embarks on a quest for a more gregarious paramour, but through a series of twists and turns punctuated by an original score, the two lovers seem destined to be together.

The film score was composed by Justin Hurwitz, who went on to compose the music for Chazelle's other movies, including La La Land (2016) for which Hurwitz received two Academy Awards. Chazelle and Hurwitz met each other at Harvard in their freshman year and soon became friends. They both understood and appreciate each other's work and collaborated ever since.

Guy and Madeline on a Park Bench is available on vinyl for the first time as a limited edition of 500 individually numbered copies on orange & black marbled vinyl and includes a 4-page booklet with lyrics and liner notes by Justin Hurwitz.

In dem Moment, als die Nadel auf die neue A Giant Dog-Platte fällt, krümmt sich die eigene Vorstellung davon, wie eine A Giant Dog-Platte klingen soll, wie Raum und Zeit um ein Raumschiff, das mit Lichtgeschwindigkeit fliegt. Bite ist ein Konzeptalbum, in dem es um Charaktere geht, die sich in einer virtuellen Realität namens Avalonia bewegen und zugleich ist es das erste Album von A Giant Dog mit eigenen Songs seit Toy von 2017.

Sabrina Ellis, Andrew Cashen, Danny Blanchard, Graham Low und Andy Bauer - auf ihrem Höhepunkt als Musiker, fordern sie sich mit komplexeren Arrangements heraus und versetzten sich hinein in die Köpfe der Figuren, die dieses vermeintliche Paradies Avalonia bewohnen. "Wir mussten uns in den Hauptfiguren wiederfinden oder uns in die Hauptfiguren hineinversetzen. Wir entwickelten sie, lernten ihre Gedanken, Emotionen und Motivationen kennen und brachten diese dann in neun Songs zum Ausdruck", erklärt Ellis. Themen wie Sucht, Geschlechterfluidität, ethisches Leben in einer kapitalistischen Gesellschaft, körperliche Autonomie, Geiz, Trauer und Zustimmung sprudeln unter dem versprochenen Glück von Avalonia.

Dies wird in Songs wie "Different Than" deutlich, in dem Ellis singt: "My body can't explain the things my mind don't comprehend", als ob der gesellschaftliche Geschlechterdruck seine Protagonistin aus ihrer Haut herausquetscht. Die Songs auf Bite sind voller Bombast und erinnern abwechselnd an den raumfahrenden Opernrock des Electric Light Orchestra und die hohe Dramatik einer Ennio Morricone Filmmusik. Der erzählerische Bogen des Albums ist von epischer Tragweite, seine Charaktere stehen vor unmöglichen Unwahrscheinlichkeiten und sind mit dem sicheren Untergang konfrontiert, und ist so bequem vergleichbar mit der Sci-Fi-Grandezza von Thin Lizzy's Jailbreak wie auch mit der High Fantasy von Dio und Iron Maiden. Passenderweise sind A Giant Dog bis an die Zähne bewaffnet mit neuen Ideen zu dieser Erzählung gekommen, mit Synthesizern und Streichern, um das zu schaffen, was Ellis als orchestral beschreibt: symphonischen, futuristischen Punk. Um dies zu erreichen, verließen sie ihre Heimat Austin, Texas, in das La Cuve Studio in der Nähe von Angers, Frankreich.

Auf dem französischen Land legten A Giant Dog ihre Zukunftsvision vor einer ausgesprochen pastoralen Kulisse nieder. Auf den Wanderungen von Angers nach La Cuve, so Ellis, sahen sie "viele Dinge, und auch gar nichts. Schwäne auf dem Fluss. Romani, die in kleinen Anhängern leben, mit einer Hütte für ihren Hund an der Seite Ein Jongleur auf einem Einrad - ich verarsche dich nicht. Wir dachten, wir dürften nach dieser Reise nicht mehr nach Frankreich zurück, um ehrlich zu sein", fährt sie fort. "Fünf laute, stampfende, klatschende, randalierende Amerikaner, die im November 2022 drei Wochen lang durch die Straßen von Angers gelaufen sind." Diese Erfahrung war der Höhepunkt von zwei Jahren Planung und Schreiben, in denen das Universum von Avalonia Gestalt annahm. Die daraus resultierenden neun Songs besetzen nicht nur diesen Raum: Sie haben darin gelebt und sie wollen raus.

In dem Moment, als die Nadel auf die neue A Giant Dog-Platte fällt, krümmt sich die eigene Vorstellung davon, wie eine A Giant Dog-Platte klingen soll, wie Raum und Zeit um ein Raumschiff, das mit Lichtgeschwindigkeit fliegt. Bite ist ein Konzeptalbum, in dem es um Charaktere geht, die sich in einer virtuellen Realität namens Avalonia bewegen und zugleich ist es das erste Album von A Giant Dog mit eigenen Songs seit Toy von 2017.

Sabrina Ellis, Andrew Cashen, Danny Blanchard, Graham Low und Andy Bauer - auf ihrem Höhepunkt als Musiker, fordern sie sich mit komplexeren Arrangements heraus und versetzten sich hinein in die Köpfe der Figuren, die dieses vermeintliche Paradies Avalonia bewohnen. "Wir mussten uns in den Hauptfiguren wiederfinden oder uns in die Hauptfiguren hineinversetzen. Wir entwickelten sie, lernten ihre Gedanken, Emotionen und Motivationen kennen und brachten diese dann in neun Songs zum Ausdruck", erklärt Ellis. Themen wie Sucht, Geschlechterfluidität, ethisches Leben in einer kapitalistischen Gesellschaft, körperliche Autonomie, Geiz, Trauer und Zustimmung sprudeln unter dem versprochenen Glück von Avalonia.

Dies wird in Songs wie "Different Than" deutlich, in dem Ellis singt: "My body can't explain the things my mind don't comprehend", als ob der gesellschaftliche Geschlechterdruck seine Protagonistin aus ihrer Haut herausquetscht. Die Songs auf Bite sind voller Bombast und erinnern abwechselnd an den raumfahrenden Opernrock des Electric Light Orchestra und die hohe Dramatik einer Ennio Morricone Filmmusik. Der erzählerische Bogen des Albums ist von epischer Tragweite, seine Charaktere stehen vor unmöglichen Unwahrscheinlichkeiten und sind mit dem sicheren Untergang konfrontiert, und ist so bequem vergleichbar mit der Sci-Fi-Grandezza von Thin Lizzy's Jailbreak wie auch mit der High Fantasy von Dio und Iron Maiden. Passenderweise sind A Giant Dog bis an die Zähne bewaffnet mit neuen Ideen zu dieser Erzählung gekommen, mit Synthesizern und Streichern, um das zu schaffen, was Ellis als orchestral beschreibt: symphonischen, futuristischen Punk. Um dies zu erreichen, verließen sie ihre Heimat Austin, Texas, in das La Cuve Studio in der Nähe von Angers, Frankreich.

Auf dem französischen Land legten A Giant Dog ihre Zukunftsvision vor einer ausgesprochen pastoralen Kulisse nieder. Auf den Wanderungen von Angers nach La Cuve, so Ellis, sahen sie "viele Dinge, und auch gar nichts. Schwäne auf dem Fluss. Romani, die in kleinen Anhängern leben, mit einer Hütte für ihren Hund an der Seite Ein Jongleur auf einem Einrad - ich verarsche dich nicht. Wir dachten, wir dürften nach dieser Reise nicht mehr nach Frankreich zurück, um ehrlich zu sein", fährt sie fort. "Fünf laute, stampfende, klatschende, randalierende Amerikaner, die im November 2022 drei Wochen lang durch die Straßen von Angers gelaufen sind." Diese Erfahrung war der Höhepunkt von zwei Jahren Planung und Schreiben, in denen das Universum von Avalonia Gestalt annahm. Die daraus resultierenden neun Songs besetzen nicht nur diesen Raum: Sie haben darin gelebt und sie wollen raus.

In 2023, Kurt Vile is making numbers count. Just last month, Matador Records presented the iconic Philadelphia songwriter with a (vegan) cheesesteak trophy to commemorate the 100-millionth stream of "Pretty Pimpin" on Spotify. Today, though, we"d like to draw your attention to another significant KV digit: The 10th anniversary of his fifth full-length and first 2xLP, "Wakin on a Pretty Daze" (2013). To celebrate this milestone, we"ve brought the record back as a blue + yellow vinyl split available via KV and Matador webstores. This limited pressing will also include a reproduction of the "make your own cover" ESPO sticker sheet that accompanied the original 2013 special-edition. A yellow vinyl version of the record will be made available everywhere. Where previous albums alternated between gorgeous fingerpicking and heavy guitar workouts, "Wakin" blended the two into dreamy and expansive songs that frequently stretched well out beyond the five-minute mark. Back then we said: "It"s a record that would have sounded great 30 years ago, sounds great today, and will still sound great 30 years from now." Ten years down the line, we"re still confident that "Wakin" will deliver the goods - yesterday, today, and in 2043. The reissue serves as the latest entry in Matador Records" Revisionist History series, our ongoing campaign to jog the record-buying (and streaming!) public"s memory about our many catalog items now poised to celebrate a significant anniversary. Matador will mark these anniversaries with new reissues and re-pressings. So far, the Revisionist History class of 2023 has highlighted Bettie Serveert"s Palomine and Lucy Dacus"s Historian.

In 2023, Kurt Vile is making numbers count. Just last month, Matador Records presented the iconic Philadelphia songwriter with a (vegan) cheesesteak trophy to commemorate the 100-millionth stream of "Pretty Pimpin" on Spotify. Today, though, we"d like to draw your attention to another significant KV digit: The 10th anniversary of his fifth full-length and first 2xLP, "Wakin on a Pretty Daze" (2013). To celebrate this milestone, we"ve brought the record back as a blue + yellow vinyl split available via KV and Matador webstores. This limited pressing will also include a reproduction of the "make your own cover" ESPO sticker sheet that accompanied the original 2013 special-edition. A yellow vinyl version of the record will be made available everywhere. Where previous albums alternated between gorgeous fingerpicking and heavy guitar workouts, "Wakin" blended the two into dreamy and expansive songs that frequently stretched well out beyond the five-minute mark. Back then we said: "It"s a record that would have sounded great 30 years ago, sounds great today, and will still sound great 30 years from now." Ten years down the line, we"re still confident that "Wakin" will deliver the goods - yesterday, today, and in 2043. The reissue serves as the latest entry in Matador Records" Revisionist History series, our ongoing campaign to jog the record-buying (and streaming!) public"s memory about our many catalog items now poised to celebrate a significant anniversary. Matador will mark these anniversaries with new reissues and re-pressings. So far, the Revisionist History class of 2023 has highlighted Bettie Serveert"s Palomine and Lucy Dacus"s Historian.

Tripped's second full length album has arrived, roughly one year after Unboxed (PRSPCT273) and is once again ready to take you on another journey through hard techno, industrial, acid, breaks & hardcore techno.

Tripped digs deeper into raw & analog techniques that will teleport you back to the wastelands of 90's warehouse raves.
While slowly building in Bpm and intensity, It features both emotional and kickheavy tracks ready to take on any dancefloor.
It also includes a Slave To Society remix of 'Tank', earlier released on MADINCH003.

While we once again recognise the artwork style from past releases (painted by himself) we notice another personal concept linked to the album . 'A Thing About Something' addresses mental health issues, anxieties & depression and aspires to keep fighting the daily struggles.

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

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

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























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

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

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

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





















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

Aufgenommen in Berlin und auf Abstand zwischen 2020 und 2021, legt die Band ihr 19. abendfüllendes Studioalbum vor. Fire Doesn't Grow On Trees ist der Beginn einer aufregenden neuen Phase für Newcombe und seiner Band. Mit ihm im Studio und über Video/Mail haben Ricky Maymi (Gitarre), Ryan Carlson Van Kriedt (Keyboards), Hakon Adalsteinsson (Gitarre), Hallberg Dadi Hallbergsson (Bass) und Uri Rennert (Schlagzeug) an diesem Album gearbeitet. Die Band befindet im Frühling auf einer 34 Termine umfassenden Tournee in Nordamerika mit Mercury Rev, mit Festivalauftritten bei Levitation in Angers, Frankreich im Juni, Elevation in Graz, Österreich im Juli und NOX ORAE in der Schweiz im August, die Tourneen in Europa ist für September 2022 geplant plus einer weiteren im Februar 2023. Ursprünglich war Newcombe stark von der psychedelischen Phase der Rolling Stones beeinflusst - der Name stammt vom Stones-Gitarristen Brian Jones in Verbindung mit einer Anspielung auf den Sektenführer Jim Jones -, aber in den 2000er Jahren hat sich seine Arbeit in ästhetische Dimensionen ausgeweitet, die sich dem britischen Shoegazing-Genre der 1990er Jahre annähern und Einflüsse aus der Weltmusik, insbesondere aus dem Nahen Osten und Brasilien mit einbezieht. "The Real" ist der erste Vorbote des Albums.

Clear Vinyl

Aufgenommen in Berlin und aus der Ferne, zwischen 2020 und 2022, kehrt die Band mit ihrem 20. Studioalbum zurück, nach dem letztjährigen “Fire Doesen’t Grow on Trees“ dem zweiten Teil einer aufregenden neuen Phase für Anton Newcombe und seiner Band. Mit ihm im Studio waren Hakon Adalsteinsson (Gitarre), & Uri Rennert (Schlagzeug). Die Band ging 2022 auf Tour und absolvierte u.a. eine 34 Shows umfassende äußerst erfolgreiche Tournee in Nordamerika mit Mercury Rev und The Magic Castles. Eine neue Tour zur Unterstützung des neuen Albums steht im Januar 2023 in Großbritannien an und wird im Februar in Europa fortgesetzt. Ursprünglich war Newcombe stark von der psychedelischen Phase der Rolling Stones beeinflusst - der Name stammt vom Stones-Gitarristen Brian Jones in Verbindung mit einer Anspielung auf den Sektenführer Jim Jones -, aber seit den 2000er Jahren hat sich seine Arbeit in vielen ästhetische Dimensionen ausgeweitet und sich u.a. dem britischen Shoegaze-Genre der 1990er Jahre annähert und Einflüsse aus Weltmusik, insbesondere der Musik des Nahen Ostens und Brasiliens, miteinbezieht.

Clear Vinyl. They say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment. Wood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion.Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's `Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon. Tim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later.

These obscure shellac 78s have managed to cross about 70years without brakes or sand damages. This fine selection of very rare and never released sides on vinyl are coming right away from Jamaïca in the early 1950"s ! Tracklisting: 01. Innocentay-Gimme De Rum 02. Duke Of Iron-Kuckeemoonga 03. Jamaican Calypsonians-Not Me 04. The Four Deuces-Four Day Morning 05.Count Owen-Bull Dog 06. Lord Beginner-Black Market 07. The Charmer-Back To Back Belly To Belly 08. Lord Melody-Mama Look A Booboo 09. Bedasse-Night Food 10. Cecil Knott-Banana 11. Young Tiger-Single Man 12. Count Casher-Trek To England 13. Louise Bennett-Bongo Man 14. Count Bernadino-Changa

In schummriges Licht getaucht und auf ausgetretenen Pfaden feuertaufend, tragen A Deer A Horse den Dreck, die Härte und den Gusto hunderter Shows wie ein Ehrenabzeichen. Die Band vereint Rock, Metal und Punk in einer unheiligen Vereinigung, die von A.V. Club, Consequence of Sound, Village Voice und Revolver gelobt wurde, die sie als "irgendwo zwischen den Melvins, Helms Alee, Red Fang und Sleater-Kinney" beschrieben. Nachdem die Gruppe im Untergrund für Furore gesorgt hatte, schärfte sie auf ihrem 2022 erschienenen Debütalbum "Grind" ihre Kanten mit verstörenden Melodien und kathartischen Klageliedern.

This summer, Merge will reissue A Giant Dog's first two full- lengths_2012's Fight and 2013's Bone _worldwide on limited- edition colored vinyl, reintroducing the world to the quintet Spoon's Britt Daniel calls "the greatest American rock and roll /punk band since I don't know when." Recording for the first time with a proper producer (Mike McCarthy) in a proper environment (a studio lol), A Giant Dog Bone, on pink vinyl for the reissue, still manages to kool-aid man its way through the speakers with the immediacy of the band's live shows, a hit parade for the party people. Sabrina Ellis and Andrew Cashen add another baker's dozen tunes to the band's repertoire just a year following their debut, with songs like "All I Wanted," "Dammit Pomegranate," and "Another World" cementing them as a conspicuous songwriting duo.

Seine Stärke ist ein Songwriting das musikalisch wie poetisch kratzt und schabt: am amerikanischen Traum, an dessen Wirklichkeit und den Menschen die ihn bevölkern. Immer wieder wurde seine spröde Musik und einfühlsamen Texte mit denen von Leonard Cohen, Lou Reed und Bob Dylan verglichen und somit Gewicht verliehen. Zu großer Bekanntheit führte das nicht, Simon Joyner bleibt ein outsider mit seinem Loner-folk, aber für die, die ihn entdecken bietet er ein Kraft von rauher Schönheit. Conor Obers von Bright Eyes nennt Joyner, der seit 1990 seine dunklen Americana Songs veröffentlicht, einen entscheidenden Einfluß. Simon Joyner's neuestes Album gerät noch dunkler und eindringlicher. Sein Thema hier ist Isolation, und er übernimmt es gleich auch als Grundlage für seine Produktion Ihm war es wichtig, dass die beteiligten Musiker allesamt alleine waren um ihre jeweiligen Parts zu finden. Die Abgeschiedenheit der einzelnen Musiker auf Songs From A Stolen Guitar bietet somit weniger Spontaneität vieler früherer Arbeiten von Joyner, führt aber zu einer Art Silberstreifeneffekt: Joyners Songs, die hier sorgfältiger und vielleicht absichtsvoller produziert wurden als auf jedem seiner früheren Alben, kommen viel klarer durch und stellen sowohl seine schillernden Wortspiele als auch seine klare Vision in den Vordergrund. Ein Kritiker bringt einen Vergleich zu Neil Young und meinte "Wenn (sein 2012 Album) 'Ghosts' sein 'Tonight's the Night' war - zornig, nackt und bodenlos - dann könnte sich 'Songs From A Stolen Guitar' als sein Harvest erweisen." Songs From A Stolen Guitar wurde in verschiedenen Städten aufgenommen. Joyner nahm seinen Gesang und seine Gitarre live in Omaha auf; Bassist Wil Hendrix fügte seine Parts zu Hause in San Francisco hinzu, Michael Krassner nahm seine Gitarren- und Klavier-Overdubs zu Hause in Phoenix auf, und Schlagzeuger/Percussionist Ryan Jewell nahm in Colorado auf. Dieser musikalische Kettenbrief machte sich dann auf den Weg zurück nach Omaha, wo David Nance (Gitarren und Backing Vocals), Ben Brodin (Orgel und Vibraphon) und Megan Siebe (Bratsche und Backing Vocals) - getrennt voneinander - ihre jeweiligen Beiträge einspielten. Dieses Vorgehen zahlt sich aus. Die "virtuelle" Band spielt eine unterstützende, aber komplementäre Rolle und erzeugt immer das richtige Maß an Spannung, um diese emotionsgeladenen Geschichten zu begleiten und zu umhüllen. Das Zusammenspiel ist einfühlsam und kohärent, auch wenn es aus geografischer Entfernung und Abgeschiedenheit zusammengefügt wurde und oft wie Musik klingt, die durch den Nebel eines Herbstmorgens gefiltert wurde. Doch wenn es um Simon Joyner-Platten geht, zahlt man sein Ticket, um großartige Songs zu hören, und auch in dieser Kategorie enttäuscht Songs From A Stolen Guitar nicht. Eins der seltenen Alben, das nach dem klingt, worum es geht: die Kluft zwischen Einsamkeit und Alleinsein, die Grenzen zwischen Liebe und Hingabe, der Unterschied zwischen dem Tornado und dem, was er hinterlässt.

Translucent Dark Red & Black Marbled Colored Vinyl. Seine Stärke ist ein Songwriting das musikalisch wie poetisch kratzt und schabt: am amerikanischen Traum, an dessen Wirklichkeit und den Menschen die ihn bevölkern. Immer wieder wurde seine spröde Musik und einfühlsamen Texte mit denen von Leonard Cohen, Lou Reed und Bob Dylan verglichen und somit Gewicht verliehen. Zu großer Bekanntheit führte das nicht, Simon Joyner bleibt ein outsider mit seinem Loner-folk, aber für die, die ihn entdecken bietet er ein Kraft von rauher Schönheit. Conor Obers von Bright Eyes nennt Joyner, der seit 1990 seine dunklen Americana Songs veröffentlicht, einen entscheidenden Einfluß. Simon Joyner's neuestes Album gerät noch dunkler und eindringlicher. Sein Thema hier ist Isolation, und er übernimmt es gleich auch als Grundlage für seine Produktion. Ihm war es wichtig, dass die beteiligten Musiker allesamt alleine waren um ihre jeweiligen Parts zu finden. Die Abgeschiedenheit der einzelnen Musiker auf Songs From A Stolen Guitar bietet somit weniger Spontaneität vieler früherer Arbeiten von Joyner, führt aber zu einer Art Silberstreifeneffekt: Joyners Songs, die hier sorgfältiger und vielleicht absichtsvoller produziert wurden als auf jedem seiner früheren Alben, kommen viel klarer durch und stellen sowohl seine schillernden Wortspiele als auch seine klare Vision in den Vordergrund. Ein Kritiker bringt einen Vergleich zu Neil Young und meinte "Wenn (sein 2012 Album) 'Ghosts' sein 'Tonight's the Night' war - zornig, nackt und bodenlos - dann könnte sich 'Songs From A Stolen Guitar' als sein Harvest erweisen." Songs From A Stolen Guitar wurde in verschiedenen Städten aufgenommen. Joyner nahm seinen Gesang und seine Gitarre live in Omaha auf; Bassist Wil Hendrix fügte seine Parts zu Hause in San Francisco hinzu, Michael Krassner nahm seine Gitarren- und Klavier-Overdubs zu Hause in Phoenix auf, und Schlagzeuger/Percussionist Ryan Jewell nahm in Colorado auf. Dieser musikalische Kettenbrief machte sich dann auf den Weg zurück nach Omaha, wo David Nance (Gitarren und Backing Vocals), Ben Brodin (Orgel und Vibraphon) und Megan Siebe (Bratsche und Backing Vocals) - getrennt voneinander - ihre jeweiligen Beiträge einspielten. Dieses Vorgehen zahlt sich aus. Die "virtuelle" Band spielt eine unterstützende, aber komplementäre Rolle und erzeugt immer das richtige Maß an Spannung, um diese emotionsgeladenen Geschichten zu begleiten und zu umhüllen. Das Zusammenspiel ist einfühlsam und kohärent, auch wenn es aus geografischer Entfernung und Abgeschiedenheit zusammengefügt wurde und oft wie Musik klingt, die durch den Nebel eines Herbstmorgens gefiltert wurde. Doch wenn es um Simon Joyner-Platten geht, zahlt man sein Ticket, um großartige Songs zu hören, und auch in dieser Kategorie enttäuscht Songs From A Stolen Guitar nicht. Eins der seltenen Alben, das nach dem klingt, worum es geht: die Kluft zwischen Einsamkeit und Alleinsein, die Grenzen zwischen Liebe und Hingabe, der Unterschied zwischen dem Tornado und dem, was er hinterlässt.

From the Group “The Decisions” comes 2 previously unreleased tracks from their “Apex Records” era.

A 70s up-tempo group soul classic B/W a sublime sweet soul
masterpiece.

This summer, Merge will reissue A Giant Dog's first two full- lengths_2012's Fight and 2013's Bone _worldwide on limited- edition colored vinyl, reintroducing the world to the quintet Spoon's Britt Daniel calls "the greatest American rock and roll / punk band since I don't know when." Celebrating its tenth birthday in 2022 is A Giant Dog Fight , the Texas group's hard-to-find debut album, remixed, remastered, and pressed on green vinyl just for the occasion. All the trademark tenets of AGD lore are on display at the jump: monstrously adorable album art and punny title, whip-smart songwriting dolled up in denim and leather, boiled down to the sweetest moments and blown out to the masses with bravado to spare. Upon Fight's original release, the local Austin Chronicle raved: "The raucous, low-rent squall quakes with affirmative abandon, while a just-right dose of pop girds the buzz and yowl.

No shortage of colorful characters emerged from Cameroon’s bikutsi scene in the 1980’s and early 90’s. Gibraltar Drakus is one of the most enduring and enigmatic of the artists who helped transform bikutsi into a beautifully endless fabric of triplet rhythms that eventually reached ears around the world.

Following the advent of Cameroon Radio Television in 1987, bikutsi began to supplant makossa and soukous for domination of the local airwaves and the attention of cosmopolitan, thrill-seeking residents of Cameroon’s capital Yaoundé and beyond. Biktusi perfectly fused Beti traditional music and increasingly electronic, highly rhythmic guitarbased bikutsi. Mimicking the sound of village-based xylophone music by rigging a mute to electric guitar strings, bikutsi artists provided a relentlessly energetic dance format for those with a taste for music steeped in their hometown sensibility (countering the popular makossa that many felt sounded less indigenous).

By the early 1990’s, Les Tetes Brûlées were indisputably the most famous and influential artists in bikutsi, due in part to the innovations of their incendiary guitarist Théodore Zanzibar Epeme. Following their first European tour in 1987, the band blew up internationally but Zanzibar tragically, and mysteriously, passed away, which nearly brought an end to the band completely. In hindsight, the consensus among most Cameroonians is Zanzibar’s contributions to biktusi were transformational and immeasurable.

“Zanzibar is the one who taught me how to compose a song, and I learned a lot from Zanzibar musically. We spent whole nights working on methods and other approaches to compose beautiful songs. I owe half of everything I have today to Zanzibar!”

Swept up in all this was Gibraltar Drakus, who was the youngest member of Les Têtes Brûlées and was also the protégé of his biggest supporter, Zanzibar. So it was fitting that he dedicate his 1989 debut to their groundbreaking late guitarist who had meant so much to him. Drakus literally exploded from his first album Hommage A Zanzibar (1989), which sold over 100,000 copies despite rampant piracy. For the recording, Drakus made sure he engaged prolific producer Mystic Jim to record and mix the album. The innovation musically rests both within the guitar interplay and the discipline in the orchestration, which result in a mind-bending clockwork of cross-rhythmic harmony.

I could smell the curves of the river beyond the dusk and I saw the last light supine and tranquil upon tide-flats like pieces of broken mirror, then beyond them lights began in the pale clear air, trembling a little like butterflies hovering a long way off. -The Sound and the Fury, William Faulkner

This is the third and final instalment of Jeremiah M. Carter’s album triptych, »Vessels«. Following »Rejoice« and »Speak You Also«, all three album’s where conceived within a 6 month period during ferociously exalting creative sessions.

The Emotional turmoil of the early pandemic is as present on »Vessels« as it is in the other two albums, yet the final instalment showcases as more distinctive sense of focus, where the earlier albums saw Jeremiah expel a state of uncertainty and trepidation into an intense, almost spiritual form of musical cleansing, Vessels still bears those same hallmarks, yet comes across with an air of refinement and finality.

Spanning six pieces, each work feels like an integral part of the albums overarching narrative, fervently nestled amid divinity and humility. By its final piece, which also clocks in as the longest in the entire triptych, we are treated to one of Jeremiah’s finest moments, and for a few seconds, it all comes together for one last swansong, forming a sonic distillation of elation and grief, desire and passion. – It’s all here.

Die britischen URNE melden sich mit ihrem zweiten Album 'A Feast On Sorrow' zurück!

Es gibt Zeiten im Leben, in denen es sich anfühlt, als ob die Dunkelheit das Licht verschluckt. Leid. Verlust. Die Leere, die folgt. Aus der Ferne können wir uns gegen die düstere Unausweichlichkeit von Krankheit, Demenz und Verfall im Alter stemmen, aber wenn man sich näher mit ihren Auswirkungen befasst, erscheint es leicht, sich einen verborgenen Dämon auszumalen, der sich an dem verursachten Elend labt. Aus diesem Schmerz heraus entstand Urnes brachiales zweites Album 'A Feast On Sorrow'. Der Nachfolger ihres Debüts 'Serpent & Spirit' entstand mit Gitarrist Angus Neyra, Schlagzeuger James Cook und der überraschenden Unterstützung von Gojira-Frontmann Joe Duplantier im New Yorker Silver Cord Studio.

Die britischen URNE melden sich mit ihrem zweiten Album 'A Feast On Sorrow' zurück!

Es gibt Zeiten im Leben, in denen es sich anfühlt, als ob die Dunkelheit das Licht verschluckt. Leid. Verlust. Die Leere, die folgt. Aus der Ferne können wir uns gegen die düstere Unausweichlichkeit von Krankheit, Demenz und Verfall im Alter stemmen, aber wenn man sich näher mit ihren Auswirkungen befasst, erscheint es leicht, sich einen verborgenen Dämon auszumalen, der sich an dem verursachten Elend labt. Aus diesem Schmerz heraus entstand Urnes brachiales zweites Album 'A Feast On Sorrow'. Der Nachfolger ihres Debüts 'Serpent & Spirit' entstand mit Gitarrist Angus Neyra, Schlagzeuger James Cook und der überraschenden Unterstützung von Gojira-Frontmann Joe Duplantier im New Yorker Silver Cord Studio.

This comes for the first time on 180g vinyl in a gatefold sleeve. Re-mastered for vinyl.This 22 track compilation spans the years 1995 - 2004 featuring key tracks from all their albums as well and live recordings and many unreleased tracks.BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase - the name comes from Stones guitarist Brian Jones combined with a reference to cult leader Jim Jones, but his work in the 2000s has expanded into aesthetic dimensions approximating the UK Shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music.

3 Elements was a trio of UK producers who self-released 'Somewhere Else' in 1996. Their small discography shines amongst peers such as B12, Stasis and Nuron in '90s electronica. One of the members, Andy Jaggers, has continued to release on Touchin' Bass (Andrea Parker), For Those That Knoe (Derek Car, Carl Finlow) and his own label Pyramid Transmissions. Tevatron released 'Nu-Tronik' in 1998 on legendary Belgian label Re-load Records (Acid Kirk, Cold/Isar Logi Arnarsson) and has continued to release on Metrohm. Eternal electronics selected by A Colourful Storm. Edition of 250 with hand-stamped reverse-card sleeve.

Familiar Strangers founder Remotif heralds the 30th release, complete with a digital-only remix from Youandewan.

The first half finds the Bristol mainstay at his deadliest. Harnessing pure proggy momentum, peak-time scorcher ‘In the Blink of a Cosmic’ comes hurtling out the tracks. ‘It’s Inside U’ then keeps pace with more of that driving, fractal pressure. Tunnelling wormhole torque straight out the nether-realm.

Comparatively restrained but no-less mind-altering, the B-side embarks on a full-blown vision quest. Where breaks-fuelled cut ‘For Love or Money’ nods to early ‘90s bleep, ‘In The Möbius Strip Club’ ushers into a chugging, ritual-ready space. Proper third-eye dilating stuff.

Omar is a UK soul artist of Chinese, African and Indo-Jamaican descent. Born Omar Lye-Fook (1969) in Canterbury England, Omar has been making albums since the early 1990s and his work is often compared to Stevie Wonder's work of the 1970s.

This Is Not A Love Song is his fourth studio album and was originally released in 1997. It features a cover version of The Stranglers' "Golden Brown" and the single "Say Nothin'", which is a collaboration with Wu-Tang Clan's Ol' Dirty Bastard. Both songs reached the UK Singles Chart.

This Is Not A Love Song is available as a limited edition of 750 individually numbered copies on gold and black marbled vinyl and includes an insert with lyrics.

Repress!

Originally released Feb. 2002 as a UK single on XL Recordings
B-Side is a song written by Burt Bacharach and Hal David, and made famous by Dusty Springfield, Dionne Warwick, Cissy Houston, Elvis Costello & The Attractions, etc.
Tracklisting

Wir schreiben das Jahr 1978: Eine vierköpfige Bande - zwei junge Frauen, zwei junge Männer - Bettina, Renate, Jens und Micha - gründet eine Gruppe und benennt sich nach besagtem Pflaster. Schon bald kleben sich ihre Fans Pflaster auf die Lederjacken, aber ein Sänger fehlt noch. Mit Annette Benjamin, zu deren Vorbildern die Slits, Poly Styrene und X-Ray Spex gehören, ist die Gruppe nun komplett. Sie spielen Gigs, wann und wo sie können Ein antifaschistisches Festival in Berlin, die Wuppertaler Schuppen Börse, das Hamburger "Into The Future"-Festival, und schon bald sind sie bereit, in ihrer Heimatstadt Hannover ein ganzes Dutzend Songs aufzunehmen. Als die Musikindustrie auf den Plan tritt, halten Hans-A-Plast sie mit unverschämten Forderungen in Schach. Veröffentlicht in echter DIY-Manier auf dem von der Band eigens gegründeten Label No Fun". Während Zehntausende immer noch im Sound des Debütalbums schwelgen, geht die 1981 erschienene zweite Scheibe "2" vom 1-2-3-4-Punk zu dissonanten Gitarren, radikalen Rhythmuswechseln und zunehmend avantgardistischen Arrangements über. Anfang 1983 erscheint das dritte und letzte Album "Ausradiert", auf dem Hans-A-Plast noch einmal das tun, was sie am besten können: ignorieren, was vorher war, und eine neue Richtung einschlagen. Die plötzlichen Brüche und nervösen Schauer des zweiten Albums sind verschwunden und weichen einer konventionelleren Songstruktur und einer schärferen Produktion. Wir schreiben das Jahr 2023: Zeit, diese drei Alben wieder zugänglich zu machen!

Wir schreiben das Jahr 1978: Eine vierköpfige Bande - zwei junge Frauen, zwei junge Männer - Bettina, Renate, Jens und Micha - gründet eine Gruppe und benennt sich nach besagtem Pflaster. Schon bald kleben sich ihre Fans Pflaster auf die Lederjacken, aber ein Sänger fehlt noch. Mit Annette Benjamin, zu deren Vorbildern die Slits, Poly Styrene und X-Ray Spex gehören, ist die Gruppe nun komplett. Sie spielen Gigs, wann und wo sie können Ein antifaschistisches Festival in Berlin, die Wuppertaler Schuppen Börse, das Hamburger "Into The Future"-Festival, und schon bald sind sie bereit, in ihrer Heimatstadt Hannover ein ganzes Dutzend Songs aufzunehmen. Als die Musikindustrie auf den Plan tritt, halten Hans-A-Plast sie mit unverschämten Forderungen in Schach. Veröffentlicht in echter DIY-Manier auf dem von der Band eigens gegründeten Label No Fun". Während Zehntausende immer noch im Sound des Debütalbums schwelgen, geht die 1981 erschienene zweite Scheibe "2" vom 1-2-3-4-Punk zu dissonanten Gitarren, radikalen Rhythmuswechseln und zunehmend avantgardistischen Arrangements über. Anfang 1983 erscheint das dritte und letzte Album "Ausradiert", auf dem Hans-A-Plast noch einmal das tun, was sie am besten können: ignorieren, was vorher war, und eine neue Richtung einschlagen. Die plötzlichen Brüche und nervösen Schauer des zweiten Albums sind verschwunden und weichen einer konventionelleren Songstruktur und einer schärferen Produktion. Wir schreiben das Jahr 2023: Zeit, diese drei Alben wieder zugänglich zu machen!

Wir schreiben das Jahr 1978: Eine vierköpfige Bande - zwei junge Frauen, zwei junge Männer - Bettina, Renate, Jens und Micha - gründet eine Gruppe und benennt sich nach besagtem Pflaster. Schon bald kleben sich ihre Fans Pflaster auf die Lederjacken, aber ein Sänger fehlt noch. Mit Annette Benjamin, zu deren Vorbildern die Slits, Poly Styrene und X-Ray Spex gehören, ist die Gruppe nun komplett. Sie spielen Gigs, wann und wo sie können Ein antifaschistisches Festival in Berlin, die Wuppertaler Schuppen Börse, das Hamburger "Into The Future"-Festival, und schon bald sind sie bereit, in ihrer Heimatstadt Hannover ein ganzes Dutzend Songs aufzunehmen. Als die Musikindustrie auf den Plan tritt, halten Hans-A-Plast sie mit unverschämten Forderungen in Schach. Veröffentlicht in echter DIY-Manier auf dem von der Band eigens gegründeten Label No Fun". Während Zehntausende immer noch im Sound des Debütalbums schwelgen, geht die 1981 erschienene zweite Scheibe "2" vom 1-2-3-4-Punk zu dissonanten Gitarren, radikalen Rhythmuswechseln und zunehmend avantgardistischen Arrangements über. Anfang 1983 erscheint das dritte und letzte Album "Ausradiert", auf dem Hans-A-Plast noch einmal das tun, was sie am besten können: ignorieren, was vorher war, und eine neue Richtung einschlagen. Die plötzlichen Brüche und nervösen Schauer des zweiten Albums sind verschwunden und weichen einer konventionelleren Songstruktur und einer schärferen Produktion. Wir schreiben das Jahr 2023: Zeit, diese drei Alben wieder zugänglich zu machen!

Opaque Purple Vinyl.

Former Mind & Matter bandmates James "Jimmy Jam" Harris and Michael Dixon teamed up for 1978's gospel-boogie banger "You're All I Need" b/w "You're Everything" on the private Mad label.

Das Album ”Final Straw” von Snow Patrol feiert dieses Jahr sein 20-jähriges Jubiläum und wird neu veröffentlicht. Die Jubiläumsausgabe wird auf CD und Vinyl erhältlich sein. Alle Formate enthalten drei bisher unveröffentlichte Tracks aus den Album-Sessions, sechs Original-Demos des Albums und neue, ausführliche und aufschlussreiche Liner Notes, geschrieben von Snow Patrol’s Leadsänger Gary Lightbody.

Die 2LP wird auf farbigem Vinyl (gold) in limitierter Auflage gepresst, mit einem silbernen Laminat-Effekt auf der Klapphülle. Die 2CD enthält außerdem die 11 Final Straw-Tracks, die für den DVD-Konzertfilm Live at Somerset House von 2004 verwendet wurden.

“Enter a path few can follow, but many can appreciate. A studio or sound’s dub-plates are like a Shaolin monk’s sacred teachings. London-based Alpha & Omega take us into their world of mesmerising roots and divulge their exclusive ‘specials’.”
MUZIK

“Through minimal manipulation, (Alpha and Omega) deliver the listener to a place of great sonic peace.” OPTION MAGAZINE

“The compelling presences at the heart of these airy sonic worlds have a harder edge than some of their ancestors.”
WIRE

“Massively thunderous bass lines, galloping drum tracks and a willingness to tastefully adorn dubs with digital flutes and various electronic sounding washes.”

Be With present the first ever reissue of the ultra rare double pack DJ promo of Malcolm McLaren & Bootzilla Orchestra's "Call A Wave". Originally slipping out in 1989 to a select few, there were rumoured to be only ever 300 copies pressed. Indeed, the entire package never got a proper release and now goes for a small fortune.

Say what? Bootsy Collins, Jeff Beck and Malcolm McLaren, all in one band, composing over a Barry White sample? And that's just the original. But you can forget about that for now. Here we have the incredibly sought-after "DFC Dance Mix", mixed by Massimino Lippoli of Morenas / Sueño Latino fame for the legendary DFC Italy. It's a throbbing, vital, dramatic slice of dreamy ambient house. A deep, entrancing track that's both blissful and dancefloor dynamite. It features the iconic, disaffected female vocal chopped up over elegant piano snatches, Beck's ace guitar stylings over rolling, heavy drums and a killer, hypnotic bassline with sparkling harp coming and going. It's exotic, otherworldly and brimming with that very special late 80s/early 90s Mediterranean vibe. Yes, it's Balearic, it's House. Above all else, it's a pure uncut slice of halcyon summer days, pressed on wax.

But on side B we also have the mesmeric "Breakdown Mix", again mixed by DFC Italy. For some, *this* is the mix to have - and who are we to argue? This time, the vocals are treated so they're uttered backwards, contributing to the wonderfully disorienting magic of this particular mix.

And how could we forget the equally iconic "Orbital Mix"? Not by the actual group Orbital, but courtesy of S'Express's Mark Moore & William Orbit, no less. A brilliant, beautiful remix that's perhaps more musical. They make more obvious use of the sample from the original Barry White track ("I'm Gonna Love You Just a Little More Baby") that Malcolm was inspired by. Flip over to Side D to find the duo's uber-horizontal "Return To The Deep Ambient Mix", a floaty, beatless gem that'll leave you swooning.

To round out this quite astonishing package, the "New Age Mix", again coming from the DFC Italy camp, elegantly sends us off into the cosmos with minimal percussion and maximum vibes.

Every mix on this DJ double pack is truly killer. Simon Francis remastered the original audio for this release and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 2x12" well and truly pumps. The immaculate Record Industry pressing will ensure this incredibly sought-after masterpiece finds a home in many more DJ boxes this and every summer. For the artwork, we've recreated the original DJ promo, a plain white gatefold sleeve complete with the iconic burnt orange hype sticker. Hold tight. Roof down, tops off.

As part of The Roaring Forty (1983-2023) celebrations marking the 40th anniversary of Life's A Riot with Spy vs Spy, Cooking Vinyl has repressed the 30th Anniversary Edition of the album on black vinyl. Comprising the original album, plus a live solo version by Billy recorded as a unique encore at his London Union Chapel show on Wednesday 5 June 2013. Life's A Riot (30th Anniversary Edition) features a sleeve based on the original 1983 Barney Bubbles artwork in a vinyl card sleeve with inner sleeve. Pressed in 180g heavyweight black vinyl.

During the recording of this album, band leader Duane Allman was tragically killed in a motorcycle accident. Still reeling from their loss, the band nonetheless managed to complete this classic album with Dickey Betts on guitar. In tribute to Duane, however, they chose to bring the album to a close with a 34-minute jam taken from the Fillmore East sessions, which showcased what an amazing guitar player and force to be reckoned with Duane really was. Includes 3 bonus tracks and a replica of the original insert." The 4th Allman Brothers album, originally released in 1972. 180 gram virgin vinyl, deluxe gatefold sleeve.