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2022 marks the 100th birthday of Charles Mingus, renowned American composer and bassist in the jazz genre. After his death in 1979, he was acknowledged as one of the most important jazz composers, alongside Duke Ellington and Billy Strayhorn. Mingus was innovative in his use of melody, rhythm, harmony, and form, and his compositions have become a core part of jazz repertoire.
This boxset includes his final studio recordings for Atlantic Records, spanning from the 1970s, featuring previously unreleased outtakes of “Big Alice”, “The Call” and “Music For Todo Modo”. Mingus had two periods of recording with Atlantic Records, the first being in the 1950s and 1960s, and the second in the 1970s, which marked his last phase of music

"Recorded at Ardent Studios and released in 1972, the album has gone on to become one of the most influential and iconic debut albums of all time. This 50th-anniversary indie exclusive edition is pressed on 180-gram metallic gold with purple smoke vinyl and features all-analogue mastering by Jeff Powell at Take Out Vinyl. The album has been included in Rolling Stone’s 500 Greatest Albums of All Time, with the song “Thirteen” featured in its 500 Greatest Songs of All Time. Realeased on 180g Tip-on Jacket , Gold/Purple vinyl "

Sustained exercises in tension. Personal healing. Dischord Records. The Unit Ama make music that explodes outward: dense but soothing metronomic pulses morph into a wild fracturing of the traditional rock trio. The Unit Ama take their time. They act on their own terms. This applies to their music and their work-rate. Two albums and a handful of singles in twenty years. Sporadic gigs. No endless Bandcamp messages or weekly mailing list updates. Rare missions outside their native north-east. And then… Toward is their second studio album and their second Gringo release. It’s not their ‘pandemic’ album but does see the band considering the important things: post-traumatic growth, insight through experience. Utilising the past to navigate towards a meaningful future. Toward was self-produced and will probably get tagged as post-hardcore which is fair enough. But it’s also informed by post-punk, jazz and folk, and by working closely together for two decades. The Unit Ama play in other incarnations that inform their music and the way they dismantle expectations of the rock trio. There’s as much Richard Thompson as Minutemen. Toward takes the exploratory, explosive sound of their debut and adds twenty years of living and listening. Toward is eight tracks that are thoughtful and intricate without losing any impact. This is gut music as much as it is head music. The Unit Ama never let their abilities get in the way of their instincts and Toward is full of surging urgency and roaring anxiety. But there are moments of brooding calm too, and a song – Mary – that could be stripped down and sold as a folk ballad. The trio also play variously as The Long Lonesome Go, Archipelago, The Horse Loom and more. They have supported everyone from Fugazi to Lungfish, Lightning Bolt to Sunburned Hand of the Man

THE SOUNDTRACK OF THE MOST CONTROVERSIAL FILM EVER.

FOR THE FIRST TIME IN FULL IN A SPECIAL DOUBLE VINYL EDITION!!! (NON-RETURNABLE)

This Legacy Edition of “Cannibal Holocaust” includes the film score remastered and released in its entirety for the first time ever on double LP; graphically speaking, it includes a gatefold cover with glossy title letters printed on a special soft touch paper, OBI and an 8-page booklet complete with reproductions of posters, lobby cards and photographs from the set, plus presentation essays written by Fabio Capuzzo (one of today’s best soundtrack experts), Stefan Dimle (Landberk, Anekdoten, Paatos, Morte Macabre) and Mikael Åkerfeldt.

AMS Records is proud to present a special edition of the “Cannibal Holocaust” soundtrack, exclusively released on the occasion of Record Store Day 2023. It is, of course, one of the many 'cannibalistic' movies, but perhaps it’s also the only one of its a genre that even today generates mixed feelings and strong controversy.

The excellent soundtrack, composed by Riz Ortolani, makes extensive use of string instruments, masterfully arranged and directed to match the strong contrast between the more relaxed scenes - the incipit of the film is memorable, with the main theme accompanying the spectator in a flight over the Amazon forest - and those full of rhythm and tension; in the first case, the strings go along with guitar arpeggios, while in the second they vibrate alone or together with glacial electronic beats. There are also funk-rock episodes such as in “Cameramen’s Recreation”, “Relaxing In The Savana” and “Drinking Coco”, while “Cannibal Holocaust (Terror)” is pure noise mixed with haunting percussion.

2026 Repress

Originally released in 2007 on CD and now re-released on double vinyl. "Heimische Gefilde" was the second full-length release on Traum at that time from Westerwald based DJ, producer and park ranger, Dominik Eulberg. Dominik has since then expended his activities enormously now appearing as a book author with best selling books in the German official bestseller list. He ist he ambassador of the most popular Conservation Union in Germany NABU, he has created a bird quartet and a hand made insect hotel and appears on national German TV regularly next playing in clubs world wide and producing stunning music. "Heimische Gefilde" includes spoken words by the man himself and the release won the price of the German critic awards for music. It is the only compilation that comprises a selection of Dominik Eulberg’s best early works and it is for the first time available on vinyl now.

As Dominik Eulberg says in his own words: „After more than 16 years, "Heimische Gefilde" is finally released on vinyl. At that time it was still a daring experiment to combine music with lustful science communication. Quickly one was thrown into the pot of the "weird eco-techno sound owl". Today, we are increasingly finding that we cannot stop the impending ecocide in a cognitive way. For more than 60 years we have known about the concrete threats to humanity from global warming and species extinction; yet nothing changes. Many alarmist efforts fail miserably, red lists grow longer and longer each year, and global temperatures continue to rise unchecked. It is becoming clearer and clearer that we have to reach out to our fellow human beings in a positive emotional way in order to make a difference, because we only protect what we love. Then sentimental minorities become majorities that change something. Art and culture are low-threshold vectors to make things majority-friendly. They are a fertile and valuable breeding ground to sensitize people outside the eco-bubble and to let their environment become a co-environment again. Today my transdisipilnary work is inseparable. I write books, develop games, lecture, make film, and am a visiting scholar at museums. "Heimische Gefilde" was a valuable cornerstone for my creative work, a very intrinsic work to go my very own way.“

We would also like quote here the description of Forced Exposure done at the time when the album was originally recorded and released to keep the authentic feel: „The influence of nature (bird twitters, owl hoots, flowing water, crunching leaves) and other domestic sounds has made his music easy to identify with. „Heimische Gefilde" means "native habitat," and this release takes the concept of his debut a step further and at the same time is a retrospective of his major hits. Tracks like "Die Rotbauchunken vom Tegernsee" and "Björn Borkenkäfer" are included here in unreleased edits that are even stronger than the originals, and as a bonus, previously vinyl-only

Vinyl Only

The four chapter of Captea is a solo EP from the label boss Jamahr. Four packed originals, suitable for all dancefloor vibes, from acid to tech. Don't miss it this black inc in your collections.

Klark Kent was the 1980 debut solo release from drummer Stewart Copeland, and the first solo release recorded by a member of The Police. It includes the song "Don't Care", which entered the UK Top 50. The album was originally released in 1980 as a 10 inch EP on green vinyl and receives an exclusive Record Store Day reissue on 12 inch green vinyl.

Following on from Part 2 (released exclusively for Record Store Day 2021) ‘I Do Like To Be B-Side The A-Side Volume 3’ includes 12 Madness B-Sides across hit singles from Wonderful’s ‘Lovestruck’, ‘Johnny The Horse’ and ‘Drip Fed Fred’ to The Dangermen Sessions’ ‘Shame & Scandal’, including covers of Kilburn And The High Road’s ‘The Roadette Song’ and Horace Andy’s ‘Skylarking’. Released on 180g heavyweight Black Vinyl, the LP features brand new artwork designed by Paul Agar in association with the band.

50th anniversary of the groundbreaking and influential compilation of the first generation of psychedelic artists curated by Lenny Kaye. This box set includes the original 2-LP set, the planned but unreleased Vol. 2, and a single LP of songs that were considered for the original set, but didn't make the final cut. Like the original, this set is curated by Lenny Kaye and with the full involvement of Jac Holzman - the original pioneers of Nuggets. Lenny is also writing new complete notes.

"25th anniversary expanded edition of Scott Weiland’s 1998 debut solo album 12 Bar Blues. First ever vinyl release includes originally intended tracklist with two additional, previously unreleased tracks plus the unreleased demo of “Barbarella”.

Config: 2LP; 140-gram; gatefold sleeve.
"

A compilation of Minimal Wave from around the world ‘79-‘85. »The Hidden Tapes« features rare, unreleased, and licensed tracks from as far as Japan and the former Yugoslavia. Most of the bands on this compilation recorded on 4-track tape in their bedroom studios while two of them went further to collaborate by sending tapes through the mail. The sounds on this record range from raw proto-industrial to naive danceable Belgradian new wave, to filmic synthesizer music to more complex, vocal-driven melodic synthpop.

Taavi Suisalu is an Estonian media artist particularly interested into complex and adventurous sounds, field recordings and harsh audio emergencies, organized under the form of symphony or as a result of performative interactions.

In 2014 Suisalu received the Young Estonian Artist Prize as curator of Project of In-existent Villages, an articulate exhibition full of installations and site-specific sound performances. The use of peripheral spaces and the crossovers, sometimes extremely creative, of human interactions, data, sounds and technologies, are recurring in the works of Suisalu, whose subjective perspective unconventionally investigates different social and cultural phenomena. He is always attracted by the different forms of technologies. It can be an old seismograph he reconstructs to record the underground vibrations of a volcano, or, it can be some 3D models he uses to analyze a grain of soil coming from the ancient Pompei. The results of the researches would lead to the installations. The whole set of data is often the premise of a narration, a datafiction, as in the case of the signals recorded from some abandoned satellites, who are later presented with a speed set by the position of other satellites gravitating above the gallery hosting the event.

“Noisephony of Lawn Mowers" was originally composed in 2013, but it was unreleased until now, when Staalplaat, a fundamental label for its unusual experimental connections and for the sound events performed in unconventional spaces, decided to publish it. It's a score for lawnmowers, whose making is given to a conductor and executed by a group of artists. Suisalu reminds us that historically, lawn has been a symbol of power and wealth as it required substantial upkeep and unused land. Today, it still indicates wealth, but is mainly maintained by the owners themselves. This puts us in a schizophrenic situation where we strive to be privileged by taking the role of the servants.

“Silver Meets Ted” is the other track included in the selection. It's a recording of over ten minutes, whose trend cryptically moves on and with some unsettling minimal tolls, always more metallic. Some deaf beats follow, and then we have a splash of water and some slightly hinted neighs, chirps, different spills of liquid, more intense and measured, clackings and vibrations, some hardly identifiable frequencies and again a series of punctuated metal bells. The work by Taavi Suisalu stands out as a calibrated combination of mathematical coherence and elements of surprise, automatized and causal processes, some small oblique utopias, that work well together by improving highly subjective resources and create some slightly unsettling final results.

Club toilet door-shakers by the incredible Lisene on his Craigie Knowes debut. Technical and intricate club-fodder prepped to shake the foundations of your favourite nightclubs. Watch your hinges!

Ancient A&O is a selection of unreleased tracks and dubs we like from our old DAT tapes all created during our early years between 1989 and 1993. It includes Here For A Reason, a rare unreleased track featuring Nishka. We're very pleased the great Lantern Rec are releasing the vinyl and we hope you like it, many thanks... A&O"

Irish-born, Manchester-based Kerrie is a multi-disciplinary artist, incorporating live sets, DJing, producing and running her label Dark Machine Funk across her repertoire of work. Now, Kerrie follows up last year's 'Raw Regimen' (BP063) with a second EP for James Ruskin's seminal Blueprint Records.

Having garnered a rich musical education through working at and holding a DJ residency for one of the UK's most respected record shops Eastern Bloc, Kerrie's in-depth knowledge and unwavering dedication to music shines through her notable back catalogue and bolshy, unforgiving DJ and Live sets. Honing her craft for over a decade, Kerrie has played worldwide in celebrated venues such as Tresor, Berghain, fabric, FOLD, Elsewhere NYC and festivals including Freedom Medellin, Freerotation, Drift and Basilar.

First learning to mix via her brother's turntables in the early 2000s, it wasn't until 2009 that Kerrie invested in her own set-up and built an extensive record collection, covering everything from ambient, electronic, house, EBM, acid, electro, and her go-to genre, techno. Kerrie delivers tough moods from the turntables, as conveyed in her mixes for Reclaim Your City, Bassiani, SLAM and Crack, where she carefully blended high-energy styles of UK, Detroit, and European techno, many of which stem from the 90s and the 00s. It's frequent to hear Kerrie weave broken elements into her mixes too, chopping up the 4/4 groove at just the right moment to keep things propulsive. Kerrie's Live sets are fast becoming renowned for their trippy motifs and high impact on the dancefloor, applauded by Berlin's long-running club Tresor, where she made several appearances with her Elektron machines. Kerrie's Live set at Freerotation in 2019 was one of the festival's most talked-about debuts, and this year, Kerrie will return to and debut at multiple festivals and clubs across Europe and the Americas.

Following well-received releases on labels such as Don't Be Afraid, Cultivated Electronics, I Love Acid and Symbolism, Kerrie launched her imprint Dark Machine Funk DMF in 2020. The label homes her distinctly raw aesthetic and honours her love for dark, gritty, metallic and industrial sounds melded with elements of funk, heavily influenced by second-wave Detroit artists, UK techno and music by some of her favourite artists; James Ruskin, Blawan and Surgeon. Kerrie's first release on DMF, 'Inner Space PT1', was praised by Resident Advisor, who credited her ability to make "lean, fierce techno that knows how to groove."

2022 was a watershed year for Kerrie's productions. She debuted on the monumental UK techno label Blueprint with her EP 'Raw Regimen', which landed acclaimed reviews. Truly welcomed to the Blueprint family, Kerrie shares her second EP on the label in May and joins the crew at Blueprint showcases around the globe. This year marks the release of Kerrie's 10th EP on vinyl, and considering her consistent output on DMF, Blueprint and many more labels, the producer shows no sign of slowing down.

Coming to international prominence in more recent years, regardless of her decade-long tenure in Manchester's vibrant scene, Kerrie is deeply invested in the culture of electronic music, starting from her teenage era as a raver in Ireland up to her innovative projects today. In 2017, she founded Eastern Bloc's in-house event space to nurture local talent, which remains at the heart of Manchester's music community. Having ended her 11-year stint at the shop in 2023 to fully commit to the studio and accommodate her increasingly busy tour schedule, Kerrie is forging a long-lasting path fuelled by drive, passion, authenticity and a community-first way of thinking.

This album, entitled "Walimizi" will be composed of three original tracks: "Tseki", "Tsindzaka" and "Laisse-moi danser" by Sarera x Blanc Manioc, as well as four remixes by well-known artists of the pan-African electronic music scene: Cornelius Doctor & Tushen Raï, Deena Abdelwahed, PANGAR and Praktika! All these artists are close to the Blanc Manioc and Kayamba collectives, and have already come to Mayotte for the festival. They will be considerable assets to increase the international visibility of the project.


Also, a remix contest will be organized and open to anyone living on the island or originating from the island in order to select a remix created by an artist from Mayotte that will be integrated into the fnal online album.

Repress!

From its creation in the late 90s until its closure in 2009, the Toytronic label witnessed a digital revolution that transformed the record industry, turning glitch into a production tool for a whole generation heir to the of bleep ‘n’ bass sound. Thanks to their impeccable A&R credentials, its head honchos, Martin Haidinger and Chris Cunningham, created an incredible IDM label catalogue, as well as producing their own material under pseudonym Abfahrt Hinwil. Their only album to date ‘Links Berge Rechts Seen’ Toytronic, 2002 was released as a compilation featuring tracks from their brief career that over the years has become a benchmark for the Toytronic sound. This album included their first –and only– three releases signed to Expending Records and Toytronic, and also included two previously unreleased songs: ‘Planquadrat’ and a hidden track at the end of the CD version. Lapsus proudly presents ‘Links Berge Rechts Seen’, which will be released on vinyl for the first time as part of its'Perennial Series'. The collector’s format marbled 2LP is accompanied by a double-sided lithographic print, which includes a unique and exclusive interview from Martin and Chris, talking to prestigious electronic music journalist Philip Sherburne.

Since relocating to Brazil some years back, Needs Music co-founder Lars Bartkuhn has returned to his long-held love of musical improvisation. Although it’s a product of his jazz roots and classical training, the German producer has constantly found new ways to apply it to his work in the sphere of electronic music.

‘Dystopia’, his first solo album for almost nine years, was born out of two interlinked ideas: a desire to create improvised music without the aid of computer sequencers or an electronic drum set, and a deeply held love of storytelling through sound. Bartkuhn set to work improvising with modular synthesizers, acoustic instruments and hand percussion, later adding light-touch overdubs to a handful of pieces. When he listened back to the recordings, an aural narrative emerged, and you’ll hear it if you listen to the album from start to finish, as is intended.

As you’d expect from a musician and composer of Bartkuhn’s undoubted ability, ‘Dystopia’ is a stunning album – an undulating, expansive ambient journey packed with emotional resonance. While Bartkuhn naturally sees it as a logical progression of his previous ambient-leaning work with Kabuki as The First Minute of a New Day (and particularly their self-titled 2020 album Séance Centre), ‘Dystopia’ also features subtle nods to many of his long-held musical loves, including John Hassell’s ‘fourth world’ recordings, the impossible-to-pigeonhole 1970s catalogue of deep jazz imprint ECM, and the far-sighted American minimalism of Terry Riley and Steve Reich.

The album’s emotional depth is evident early on, with the slow-burn title track – all bubbling electronics, billowing chords, clarinet-style notes and gently strummed guitars offering the most melancholic and bittersweet of openings. The becalmed ‘A Drop Of Water In The Ocean’ follows, with discordant aural textures and hand percussion mimicking the rolling ocean, before ‘Largo (Calm Before The Storm)’ hints at unsettling times ahead.

‘Water and Warm Air’, the only track on the album whose starting point was not Bartkuhn’s cherished modular set-up, bleeps and bubbles across the sound space, adding a starry and otherworldly slant to proceedings, while ‘Disembodied Journey (Parts 1, 2 and 3)’ is a sublime, slowly unfurling journey in three movements – all Tangerine Dream style synthesizer motifs, Pat Metheny-esque guitars and jazz-fusion instrumentation.

So the album continues, with the poignant warmth and looped motifs of ‘Still Existing’ and the sparse, dubbed-out minimalism of ‘Do You Know How To Get Out?’ – a kind of 21st century jazz-fusionist’s take on sparse electronic hypnotism – giving wat to closing cut ‘Into The Waves’, a gentle combination of undulating electronic arpeggios and echoing instrumentation that offers a hopeful and undeniably picturesque conclusion.

Fittingly, the album cover features a painting by the late Dutch artist Franz Deckwitz (1934-94), whose images of alien landscapes were used by Phillips on a series of music concrete compilations. The image featured on the cover of ‘Dystopia’, depicting a deep blue ocean and shoreline, was painted by Deckwitz in Amsterdam in the late 1970s and inspired by a trip to the island of Ponza, Italy.

Matt Anniss

Adam Beyer kicks off 2023 with a huge future classic, ‘Legend’.

Since his Ibiza studio was completed, Adam Beyer has been on an inspired production run. Highlights over the past year include a tight three-tracker 'Dirty Lagoon' which dropped in March, followed by a standout remix of Sam Paganini's 'Rave' with Layton Giordani during the summer. ‘

‘Legend’ has all the markings of a future classic, driven by a hypnotic synth line, silky pads, chants, and a truly memorable build and drop that’ll make it a highlight of any set it features in. A special contribution from the boss.