Suche:a catch

COLLECTING ORDERS FOR RESTOCK!

The recent data dump from DJ house get the remix treatment from Coco Bryce & Desert Sound Colony - "breaks-jungle-house" in the mix! Pressed on limited 12" vinyl 300 copies Worldwide.

Record Kicks proudly presents "Damaged Heart", the first single taken from The Tibbs forthcoming new album "Another Shot Fired", that will hit the streets on November 20.

"Damaged Heart", a catchy mid tempo soulful gem, will be released on October 09 on digital streaming/download and a limited edition 45 vinyl. On the flip-side of the limited 45 the soulful album's bonus track "Ball and Chain". The 45 is limited to 500 copies worldwide.

According to the band, "Damaged Heart" is a love song and "It's about being in a relationship where something is just slightly off. Sometimes developing serious feelings for someone can be scary. Being vulnerable, and knowing that someone could hurt you very easily can be scary".

Based around Amsterdam, The Tibbs took off in 2012 working right from the start with producer Paul Willemsen (Beans & Fatback, Lefties Soul Connection, Michelle David & The Gospel Sessions). In 2016 their first LP, "Takin' Over" marked their debut with Milan based imprint Record Kicks. The singles "Next Time" and "The Story Goes" received critical acclaim on radio stations throughout Europe and North America and the 45s flew out the door in record time. The release of "Takin' Over" delivered the band far richer rewards. Playing sold-out venues in both Milan and Frankfurt. The Tibbs' profile rose further still with wonderful festival performances in Germany and Hungary, followed by a successful sold-out tour of Spain. In late 2018, Elsa decided to follow her heart and focus on a solo career. The Tibbs duly began their search for a truly worthy successor, bringing astonishing vocalist Roxanne Hartog and the band together for the first time. With new recordings in the bag and a great new album about to be released, The Tibbs are once more ready for lift off.

Neotnas feat. Philosopher is a new collab of electronic music producers from Russia (Chelyabinsk and Moscow accordingly). As the environment of the cities mentioned as well as social milieu vary significantly a profound personal reflection of the artists results in a very specific outlook sculpted by both history and presence of Russia – a surprisingly nice stuff inspired mainly by jazz, ambient and trip-hop. Four new tracks give a deep insight into the way the artists feel the groove and associate it within a dancefloor culture regarding its roots and worldwide influence. Two of them (Jazz Engine and You're Mine) – are 124 BPM house party cuts place all the emphasis on intensively syncopated TR-808 hi-hats layered with properly selected percussive jazz elements and flavored with brass licks and reverbed chords, catchy vox and driving by a grit kick and pumping low bass patterns. Another one (Spirits Of A Dawn) cautiously takes a listener to a personal journey to the edge of an imaginary big city, leaving its downtown, and moving out of the night shade slowly, coming near a sleepy morning glimmering focusing on a light sparks of a new day. The last but not the least track (Traffic Love) is a dense powerful banger galvanizes trip-hop beats and house chords with a lush and mystic 90`s female vocal all together aimed to stir up a crowd on a dancefloor and make them wet and happy. This release – fresh and diverse – will definitely hits it off with a large audience and joins a marketplace properly.

Erik Sumo is one of the most established Hungarian music producers of the last 20 years.
His various acts gained national and international, underground and mainstream success, he scored movies - think of the now cult 'Liza, The Fox Fairy' soundtrack on one of our early 7"s.
His latest album 'Mount Fuji' came out in November 2019, it contains 'Run Into The Wild', an odd yet catchy leftfield floor-filler with an unmistakable mood built of glamorous disco vibes and sinister imaginings from the woods around Fujisan.

On this EP you can hear the previously unreleased disco dub version of the song and 3 remixes taking the original into completely different directions.
Mytron & Ofofo of Multiculti fame chose to go the tribal way by adding some extra percussion and reconstructing the chorus making the track even more dance floor friendly than it was originally.
Oakland based producer E. Live turned the tune into a contemporary boogie burner, while Budabeats staple M.W.D.'s version has an atmosphere that is impossible to describe.

Limited to 400 copies worldwide.

Finnish DJ/ProducEr duo Cut BEEtlEz droppEd thEir dEbut privAtEly pressed High Jump 7” EP bAck in 2014. ThAnks to A hook up from lEgEndAry MC, DJ, vinyl vEtErAn And All round top fEllA OxygEn thEy sEcurEd A dEAl with AE Productions And rEturnEd in August 2017 with 12” singlE Droppin’ NEEdlEs fEAturing OxygEn And Soundsci crEwmAtEs AudEssEy and U-GEorgE.

SincE thEn Cut BEEtlEz hAvE bEEn mEticulously crAfting thE rEst of this Album whilE concurrEntly working with ThE Good PEoplE on thEir Cut PEoplE EP rElEAsEd in 2019 on FAbyl REcordings.

BEing thAt nEithEr J MAn or HP LovEscrAtch ArE MC’s thEy nEEdEd somE vocAl AssistAncE And rEcruitEd thE immEnsE tAlEnts of rEgulAr cohorts ThE Good PEoplE along with Guilty Simpson, RAh DiggA, El DA SEnsEi, J-LivE, OxygEn, REks, Truck and REtnA – All of whom wE’rE surE nEEd no introduction. ThE Droppin’ NEEdlEs mAin vErsion from thE singlE is Also includEd for good mEAsurE but thE rEmix rEmAins ExclusivE to thE 12”. EyE cAtching Artwork by thE EvEr AmAzing Mr Krum finishEs off thE pAckAgE nicEly!

Driving and minimal 4-to-the-floor primetime slammers with catchy vocals backed by some totally wicked Christopher Rau remixmadness!

"Minor Planets completes a trilogy of cosmically themed electro-acoustic albums by UK and Berlin based trio Twinkle3, 15 years in the making. This third installment is once again all about the unique synergies the group discover in combining free group improvisation with studio and musique-concrete techniques. The group's combined love of everything from Lee Perry to Noh Theatre via Karlheinz Stockhausen and King Sunny Ade lead them to respond musically to create a single universe where they all coexist and interact. Aleatoric analogue sequencing, chamber-like acoustic improvisation and dub treatments become distilled into a distinct and emotive narrative that takes us on an exhilarating hyperspace cruise to the outer reaches.

Clive Bell is a virtuoso of the Shakuhachi. His aesthetic takes us on a timbral journey between noise and pitch, expressed and phrased rhythmically by the contour of human breath. This creates a perfect context and focus for a music that moves seamlessly between rhythm, suspension, time modulated analogue states, dissonance and melody. Richard Scott and David Ross share a background in acoustic free improvisation and have pioneered new approaches to rhythm using self-designed analogue systems. On Minor Planets these seemingly paradoxical orthodoxies cross-pollinate in a spirit of wonder and optimism to produce original and experimental music that is both life affirming and uplifting.

Album artwork by Benjmain Kilchhofer captures the feeling of peering through the vacuum of space and catching a rare glimpse of the mysterious alien biomes, fossils, and silhouettes cast by dwarf planets, asteroids, Kuiper belt, and other trans-Neptunian objects."

Following up the last People of Earth release from Stefan Ringer was a tall order, but we decided to call on French producer Hugo LX to take on the task. Presenting “The Free Form” EP. Spacey and deep, just the way we like it. Thick, bouncy bass lines lead the way on each track. Add live trumpet, keys, percussionists and you have one incredible record.

To challenge the leader of the five element ninjas, Shaw Cuts lines up a heavy squad on the next record, armed with versatile remixes of Farron's "Five Element Ninjas EP": Pugilist, Substance, Jonas Friedlich and Realitycheck.

First off the mark, Pugilist launches into battle dealing forceful blows with his version of "Liquid Shorts". Whirlwind breaks, sharp drum patterns and cavernous chords, lacerate the ninja leader. The heat is on!

Substance rolls in to support, shredding the field with his remix of "Contaship". With blood-spattered pads, a gargantuan rolling groove and harmonic synth elements, he brings the villain to his knees.

Jonas Friedlich blazes in with his remake of "Brooklyn Banks", catching the leader off-guard with dirty Hip-Hop rhythmics, swirling vocals and twist of the original's lead synth. The leader lurches forward...

Realitycheck furiously steps into the clash. His remix version of "It's Only 4 Life" circles the field, its propelling rhythm and floating percussions closing in on the enemy.

The target surrounded, attacking from four sides with full force and allegiance, they execute the ninja leader in one sweep.
The battle leaves them with deep scars, but suffering, like fate and death, is part of life. And through it, the strongest souls emerge.

Cogitate is the first release from NYC local Promoter and an invitation to gaze inward and sit with sound. Borne of hours lost in loops, Promoter calls forth deep, dubby bass rumble, off-kilter rhythms and murky atmospherics, relishing in repetition and evolving subliminally but surely. Disorienting, engaging and engulfing, Cogitate is the 4th release on NYC-based Patience, catching you off guard then inviting you in.

Cogitate offers two cuts from the same cloth - one locked into the grid, the other drifting far above it. Both begin with shards of static cascading over submerged synth stabs - on Cogitate 1.1 a bassline bubbles up from below before a kick drum sneaks in and drops anchor, driving forward a slice of sparse zero gravity dub techno for a zonked out dancefloor in a dream. Cogitate 2.0 offers a pared back version of 1.1, slowed down and stripped of the rhythm section. A gentle brain scrub or a cascade of mind tricks depending on your headspace. Is the sequence evolving or is your perspective on it shifting? Does this sound like something I know or nothing at all? Has this been going for 3 minutes or 3 hours? Is this climax sublime or simply creepy?

Whatever it is, Promoter presents an opportunity to let the mind wander, and offers proof that repetition invites participation. Both cuts simmer in ambiguous emotion, never spelling out what to feel but allowing the listener to be their own trip commander.

Promoter is a new project from a life-long NYC resident, most recently releasing a couple of 12”s under the Image Man moniker, who for the most part would prefer that the music is received on it’s own terms, with a mind wide open.

Cogitate 1.1 was mixed by Mood Hut mixologist CZ Wang. Both tracks were mastered by M. Geddes Gengras.

Following this release will be an extremely limited cassette of material recorded in the same time and (head)space. Keep an ear to the ground for that one.

Patience is an outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

Repress!

For its second release, Radiant Love sticks to family values. Paying homage to the party and label’s co-director and resident Byron Yeates, Byron’s Theme comes from the likes of Vani-T (one half of Berlin’s forceful, femme party Climax) and D. Tiffany (who threw down a ruthless remix on the label’s first release by Fio Fa). Together, they take the name of Pillow Queen – a semi-pejorative term for the kind of sub who expects to receive pleasure like a well catches rainwater. No reciprocation, just a reign of sexual passivity.


Their tracks, however, give plenty. “Byron’s Theme” presents a rich palette in its 2-minute buildup: a dry trance hook, high-end synths buzzing and wavering, pitch-shifted voice samples and a pan-flute ran through with tremolo. Throbbing, the 303 bassline picks up after a breakdown at the 4-minute mark, and only then does one realise the song’s still building. There’s still room in the last 40 seconds for some percussion modeled on a breakbeat loop – which is to say, the track is incredibly cheeky and hard-hitting – all that I would hope for in any lover.

While the EP’s first track feels wide, rangy, “Estrel Nights” opens the EP’s B-side in a much closer, tighter space. The build is percussive: bongo taps, claps, cowbell; then a hi-hat snaps things into shape, and in lopes the kick drum. And rhythm remains the central player here. It’s not until 3 minutes in that the percussion finds a melodic backdrop – a dreamy, detuned pad, choral, like a moan.

Ex-Terrestrial’s remix of “Byron’s Theme” repositions some of the elements and ratchets up the tempo of the original, but maintains its respiration: the energy and erotics flow into a different structure, closer to traditional trance, with sharp hi-hats and loopy arpeggios that phase in and out of syncopation, measure to measure. Diagonal, we incline to a climax that dizzily plateaus at 6 minutes, de-escalates and breaks down over the next 2, glows until it’s just a kick drum, slower, slower still; we’re catching our breath.

Harlem Pop Trotters is one of the best jazzfunk albums in the French library, and one of the grooviest too. Written & produced by Jean Claude Pierric & François Rolland for Les Tréteaux in the mid ‘70s, this real masterpiece is now reissued on Underdog Records (Janko Nilovic, Martial Solal) in a rare colored edition!

The Magic Movement welcomes Anatta to the family with her Fields Of Play EP.

Following her debut Album on Random Collective, her new EP comes as a four-track package:

In the original mix, Anatta invites us to discover a sonic world between pitched down UK House and future-primitive downbeat.
Rough Drumbeats, quirky synths, and catchy vocal chops guide us through a sophisticated arrangement with unforeseen twists and turns.

Salon des Amateurs resident Tolouse Low Trax delivers the 'Knights & Wheels Remix' in his signature style: While a hypnotic vocal loop hooks you up from the very beginning, minimalistic and dreamy synths slowly submerge the listener into a jam of stripped-down Lo-Fi funk.

The 'Beat Mix' by Rio de Janeiro's sound wizard Carrot Green and long time family member of the label, speeds up the tempo, and puts together a groove of classic electro boogie vibes with a P-Funky bassline that sounds like a futuristic liaison between Afrika Bambaataa and George Clinton.

Increasing the UK house vibe with strong drums and a wobbly bassline, Noema's 'Acid Ghetto Style Remix' works the mysterious vocals of Anatta into a delicious hook and creates a highly animating and fun dancefloor monster.

And now, let's get weird!!!

This is the 1973 solo album by Ghanaian percussionist Anthony Kwaku Bah, who was given the nickname „Reebop“ by American
jazz legend Dizzie Gillespie. He passed away early at the age of 39 in Stockholm in 1983, but before made himself a name for his
works with UK 70s rock heroes TRAFFIC and German Krautrockers CAN, amongst others. If you might expect here the prototypical
Afro Beat and Afro Rock you mostly know from British bands, you will be surprised that this is only one part of the deal. Yes, there
are African elements to be found, buried somewhere in this boiling cauldron where polyrhythmic grooves are the base for jazz
improvisations by the brass section, that range from naughty swing and bebop, to freaked out free jazz and enchanting soul jazz
the way it was popular in the late 60s. The arrangements are utterly lush with so much going on here in every aspect that you
would get lost if there was no trace of melody to be discovered, but there they are and they tell you fantastic stories of exotic
places that only exist in your wildest dreams. Kwaku Bah’s rhythm patterns grab you by the horns and pull you into a world of
their own. Hypnotical, irresistible, hot and vivid. The tunes combine jazz, soul, funk and each one is constructed like a self –
contained story. One could imagine these tunes being used as library music for 70s movies from action to romance. All pieces
though are characterized by the constantly pulsating rhythm. To avoid drifting into the field of insubstantial disco dance music,
the performances witnessed here were executed with the highest possible emotional intensity and dedication. Lay back, close
your eyes and float away on a raft of sound upon the wild river of grooves and melodies. Some haunting Exotica jazz passages
with a typical „jungle“ feel get thrown in for the good measure. There are even vocals in an African language hard to identify,
which create and even more mysterious atmosphere. This is just an introduction part of another powerful speed funk groover but
the vocals stay and make this a clear standout track. Saxophone and guitars seem to have a duel here. You will not sit still while
having this tune „Iphonohimine“ coming down on you like a thunderstorm. Blues, Afro Beat, Psychedelic Rock, Funk, it can all be
found in here and the band goes wild into an everlasting improvisation that deprives you of your breath. Can this record get even better? Do not ask, just enjoy what comes next. If you think that some melodies by the giant brass section sound a bit too catchy
just reach out beyond these harmony lines and find yourself in a thicket of grooves, pulsations, bits and pieces of melody with a
dense, sultry atmosphere. Some smaller parts might make you think of cruise ship big bands and white suits, but everybody will
soon drop these and dance in their underwear for the hot blooded power funk base of the tune called „Africa“, which will take
over one’s soul and set it on fire. So clean, so nice and so filthy and dangerous at the same time, this album is a masterpiece of it’s
style. The exciting and very sensual funk rock of „Lovin‘ you baby“ with crazy fuzz guitars and a dark and haunting approach is
another reason to kneel down when you put this record onto your turntable. Great clean lead guitars give it a latin garage rock
edge Carlos Santana would commit serious crimes for. If you love bands like OSIBISA, Eric Burden & WAR, GINGER BAKER
AIRFORCE, SANTANA, Miles Davis, all around 1969 to 1973, this is what you always wanted to listen to. Grab your copy now.

The Story Itself

On the 12th of April 1961, Yuri Gagarin was launched into orbit for the first and - so they tell us - the last time. Upon returning to Earth, Yuri became a global hero, travelling the world to tell of his adventure.

Secretly, he was plagued by strange hallucinations and a persistent glow around his vision; a cornucopia of colour in a constant corona. In 1964 - following a silent coup by Leonid Brezhnev - Yuri was banned from embarking on further manned missions into space. At first fearing madness, the cosmonaut came to see these apparitions as a signal, an invitation, a welcoming beacon from a distant lighthouse blinking across the cosmic void.

On the 27th of March 1968, aided by trusted friends within the space program, Yuri Gagarin swapped places with another cosmonaut on a secret test flight and was once more blasted into outer space. Knocked unconscious by the extreme velocity of his experimental craft, Yuri awoke a mere 15 minutes later in view not of the rapidly shrinking Earth, but an entirely alien vista; he was elsewhere...

About Tony Neptune

Tony Neptune is a multi-media persona created by the Leeds-based artist and producer Sam Jefferies who, inspired by the narrative and musical legacies of early Detroit techno culture, aims to tell a complete story for the senses through a combination of image, sound and text. Asa member of the DimensionsDJ Directory three years running, some know Jefferies for his notorious DJ sets—whether he’s playing new wave or booty bass; as Tony Neptune or Yuri; solo or alongside Mark ‘Turbo’ Turner in another peak time marathon b2b, it doesn’t take long for crowds to catch on to his deep knowledge of all things riddled with Hi-Tech Funk and Soul. But this isn’t the only storm he’s cooking up: in his visual work, Jefferies uses oil paint to unveil the surreal and celestial adventures of the original cosmonaut and space pioneer, Yuri Gagarin, capturing every aspect of their dream-like surroundings with an eye devoted to detail and depth. This painting lies at the heart of his debut EP, Reflections on a Daring

Two high grade tracks by one of Grime’s greatest producers D.O.K. 06 is Grime at its purest; gliding synths, weird bleeps and a heavy bassline whilst the flip Look Uno continues on the Coolie Joyride path. Relentless beats, a heavy sub and catchy samples. Perfect. Out on the 19th of July on marbled purple vinyl

A memorable name with an outstanding cover, Fuzzy Duck is a classic slice of underground London art rock and melodic psychedelia. Originally released on MAM in 1971, it’s truly a musical force of infectious riffs and fiery solos, sharp tempo changes, a tight rhythm section and heavy, Hammond-drenched grooves. With echoes of Spencer Davis Group, early Grand Funk and Vanilla Fudge, it comes on like a heavier Soft Machine or Caravan. No wonder Fuzzy Duck’s cult appeal has endured.

The album features Mick Hawksworth (Five Day Week Straw People, Andromeda) on bass, acoustic 12-string, electric cello and some of the vocal duties, and also Roy “Daze” Sharland (Crazy World of Arthur Brown, Spice) on organ and electric piano. Accompanying those two were Paul Francis on drums and percussion, and Grahame White on guitars and the rest of the vocals.

Originally released in an edition of 500, Fuzzy Duck became legendary all over the world through a holy trinity of scarcity, personnel and its sheer brilliance.

The album kicks off with a heavy, bass-fuelled, Hammond rocker titled “Time Will Be Your Doctor”. This is pure hard-edged blues rock, brilliantly played. Its drum break intro was sampled by DJ Premier for Gang Starr’s “Mostly Tha Voice” on 1994’s legendary Hard To Earn. And we can hear its personality all over Harvey and Thomas Bullock’s Map Of Africa.

Rollicking highlight “Mrs. Prout” follows. At nearly 7 minutes long, it incorporates more psych-leaning guitar and drawn-out keyboards à la Ray Manzarek with the band effortlessly switching from jazzy rhythm section to a progressive one. That magnificent instrumental jam that starts half-way and continues through to the end is a true wonder.

“Just Look Around You” is propulsive folk-rock with a soaring, proto power-pop chorus, backed by frenetic organ and heavy bass high in the rich, intoxicating mix. Back comes the heavy, strung-out psych to both close out side one with “Afternoon Out” and kick off side two with “More Than I Am”. Both tracks are improvisational winners that stylistically nod to the late sixties and “More Than I Am”’s guitar hook, catchy organ and memorable chorus would’ve surely made it a great single.

“Country Boy” quenches the thirst for rhythm and melody, only the lyrics and vibe are wonderfully creepy. The sudden cut of the groove and the drop into a more sinister tempo will make you stumble, before the band pick up speed and toss you back again into the opening jam, this time with a badass organ to ride you home. The final, fully fleshed out track is the majestic “In Our Time”, which oscillates between endless organ-driven boogie and heavenly, genuinely moving vocals. Just stunning.

Infamous instrumental cut “A Word from Big D” rounds out the album. Yes, that’s the band jamming with duck quack sound effects accompanying the music. “Ducking vocals” as the sleeve says. You know, just in case the whole “duck” theme had passed you by. It’s an appropriate closer for what sounds like an album that must have been *a lot* of fun to record. It’s definitely fun to listen to.

Mastered by Be With’s chief sound duck Simon Francis and cut with glee by the veteran Pete Norman, this reissue of Fuzzy Duck’s one-and-only LP sounds as mighty as it should. That unforgettable sleeve artwork has been carefully restored and the records pressed by the wonderful Record Industry in the Netherlands. Essential.

When your roots have a broad geographical diversity, it’s very likely this will resonate in the music you make. This is certainly the case with Alma Negra and their new release on Heist. It seems they have embraced all their cultural influences more than ever in their new ‘Dakar Disco EP’. The whole record oozes class and musicality and feels like a carefree collage of the rich musical lives they live. The three originals on this EP vary in tempo and energy, giving you something for each moment of the day or night. They are accompanied by a remix from none other than the Japanese master of cosmic funk: Kuniyuki.

The EP kicks off with the title track ‘Dakar Disco’; an island style mid-tempo burner, rich with filtered guitars, bells and bleeps. Soothing chords and synth melodies are introduced for a lovely build up, but it’s the live horn section that takes centre stage. Here, the track really comes to full fruition, with a squeaky lead accompanying the horns for an electronic twist to what is above all a lovely summer jam.

‘Contra’ ups the pace and moves more into dance floor territory with loose claps, spacey pads and faraway chants. This track really gets to you with the live percussion and extremely catchy lead running throughout the track. This is afro house just the way we like it.

We’re very proud to have Kuniyuki remixing ‘Dakar disco’. This master of his craft has done an outstanding job with his cosmic take on ‘Dakar disco’. He lays down a great riff on bass guitar, while playing around with all the live elements and adds a serious bit of reverb for a stunning effect. This track is a perfect example of Kuniyuki’s musical skills and we can almost see him jamming this out, eyes closed and directed towards a distant point in space only he can see.

The EP’s closing track ‘Back in town’, is perhaps the clubbiest track of the set. A friendly acid line squeaks over tribal drums & chants and you immediately get pulled in by a great balafon hook. You can really hear how the guys feel at ease combining these worldly elements with modern electronics and ‘Back in town’ is a great example on how to blend these sonic worlds.

So there we are. A taste of the Alma Negra summer with a healthy dose of Japanese funk. Enjoy!

Yours sincerely,

Maarten & Lars

Ltd. White Label

Limitierte White-Label-Auflage mit exzellenten Remixes von Gerd Janson und Abel Ray zu "What Do We Care" aus Moscomans brandneuem Album "Time Slips Away", das dieser Tage parallel erscheint. Insbesondere Gerd Janson transformiert den Track in einen ansteckend-catchy Synth-Pop-Ohrwurm mit hohem Suchtfaktor.

SNK, Brave Wave Productions and Limited Run Games are proud to reveal their fifth collaboration, Generation Series 012: Fatal Fury for both CD and vinyl. Known as Garou Densetsu (餓狼伝説) in Japan and originally released for NEOGEO in 1991, Fatal Fury is one of SNK’s earliest, but also most popular 2D fighting games. The soundtrack, composed by TARKUN (Toshikazu Tanaka), features catchy and exciting tunes for each character in the iconic SNK fighters lineup.

This release marks the first time the soundtrack of Fatal Fury will be made available on vinyl. As with all Generation Series and other Brave Wave releases, this release will be remastered specially for vinyl, CD and digital (via a free download code included with the vinyl edition) and restored to the highest possible quality. The rest of the package will include our usual offerings, including high-resolution artwork and liner notes contained in a full-color booklet.

As a special bonus, Side B of the vinyl (the final track on the CD) will contain the track The Hero Raiden -ROF Arrange ver.-, which was originally featured in the 2015 mobile title The Rhythm of Fighters. The bonus track, an arrangement of the original song from Fatal Fury, was composed by TARKUN.