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Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.

Yellow Vinyl

Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.

Created between Palm Springs, California and Hilo, Hawai'i, V is the first double album from the Hawaiian-New Zealand singer-songwriter, multi-instrumentalist and producer Ruban Nielson's Unknown Mortal Orchestra band. Designed to play as one continuous movement and road-tested on dry California freeways, V is the definitive Unknown Mortal Orchestra car record. It's also the fifth full-length album Ruban has released in twelve years. Across fourteen sunbleached songs - written solo or with his brother Kody - Ruban draws from the rich traditions of West Coast AOR, yacht rock, weirdo pop and Hawaiian Hapa-haole music. Over a laidback blend of singalong anthems and cinematic instrumentals, he evokes blue skies, afternoons spent lounging by hotel swimming pools and the alluring darkness that lurks below perfect, pristine surfaces. It's a duality expressed in the dilapidated sunset blues and the saltcorroded soul Ruban explores through tracks like `Layla' and `Nadja. ' During the pandemic's early days, Ruban reunited with Kody at a cousin's wedding in Hawai'i. With assistance from their father, Chris Nielson (saxophone/flute) and longstanding Unknown Mortal Orchestra member Jake Portrait, they brought everything Ruban had been thinking about together. The result was V, due for release on March 3, 2023, through Jagjaguwar. When they talked about records that moved them in that spine-shivering manner, Ruban started thinking about the 70s AM radio rock and 80s pop songs that had lurked on the edge of his subconscious mind for most of his life. He wanted to write his version of records like that, leading to the two glorious uptempo singles Unknown Mortal Orchestra released in 2021, `Weekend Run' and `That Life'. However, the golden good times never last forever. Not long after, health issues began to plague his extended family.Putting his recordings aside, he helped his mother and his uncle move home from New Zealand and Portland to Hawai'i, and began dividing his time between Hawai'i and Palm Springs. During this period he reconnected with his relatives, reassessed his past, and started to look at things with fresh eyes. Hawai'i brought back memories of the darker side of his parents' lifestyle as entertainers. On those trips, he heard those classic AM radio rock records everywhere. They were inextricably intertwined with the palm trees, swimming pools, and glamorized hedonism he'd internalized from his childhood. There's a type of music in Hawai'i called Hapa-haole (Half white). You can hear it expressed in signature Unknown Mortal Orchestra style through the humid guitar-led atmosphere of V's penultimate song, `I Killed Captain Cook'. Although the songs are presented in a traditional Hawaiian manner, they're mostly sung in English. Having been influenced by Hawaiian music since Unknown Mortal Orchestra's first album, Ruban saw a space for himself within the tradition. When he reflected on his success, he realised he had the responsibility and platform to represent Hapa-haole music on the global stage.

Luv*Jam presents The Legend Of Gelert 3000.8 ‘Tryfan’ with Lootbeg.

Anti lockdown nip alert. Lootbeg climbs out of lockdown hibernation and delivers a record to make us wiggle our hearts out with a gigantic dizzy sunbeam smile... Time to climb the 8th highest peak of the 3000’s - Tryfan with its two distinct large slabs marking the summit “Adam & Eve”, not forgetting the widely recorded “cannon” stone too. This is the 8th summit and 8th record of a highly collectable 14 piece series brought to you from the very same NiP headquarters that brought us Crow Castle Cuts and Blind Jacks Journey... Extra Peaky Nippiness from the ever secretive Rucksack Club.

Pressed on super duper yummy yellow vinyl, like the dream house classic “Blorp93” from Gnork!

When you play around clubs and festival you meet artists. Those Crossroads Project are the musical meetings done after those gigs. S3A REC is really proud to push those artists! The first track Mogan is absolutely stunning, right between UR and Lone. The second is a piano banger from UC Beatz. The third is a brand new S3A Original track, the the fourth is a mix between two promising but unfinished tracks by Mika Blaster and the Editing capacity of S3A.

Niklas Paschburg"s third album Panta Rhei arrives via 7K! on March 17th, 2023. The title and the music are inspired by Heraclitus"s Greek philosophy that "everything flows" and finds the Hamburg-born artist exploring an unrestricted world of post-classical music drawn from deep within himself. Across two previous albums, the now Berlin-based Paschburg has been captivated by the movement of the Baltic Sea (2018"s Oceanic) and the darkness of a Northern European winter (2020"s Svalbard). As a result of being unable to travel during the pandemic, this latest album finds him looking inside his own heart and mind. Niklas"s personal journey becomes a captivating and colourful musical journey that combines his melancholic and delicate pianism with synths and electronic beats, suggestive ambient and the evocative voices of German singer Lúisa, Spaniard Bianca Steck and the Icelandic Kaktus Einarsson, frontman of post-punk band Fufanu. It is a move towards ambient-pop that is intimate and meditative but with positive and uplifting vibes.

As the momentum continues to build for old-school blues rock trio GA-20, the band takes their expanding fanbase by storm with the release its first full-length live LP, Live In Loveland!. Featuring 11 rowdy, blistering performances (including five songs from 2022's Crackdown, three from their 2019 debut Lonely Soul and three previously unrecorded tracks), Live In Loveland! captures GA-20 feeding off the energy of the wall-to-wall crowd and delivering each song with raw emotion and body-shaking force. Live In Loveland! mixes band originals and vintage covers, from early electric blues and honky-tonk country to proto rock 'n' roll, all performed live with deep feeling and punk energy. The album was recorded direct-to-tape on a vintage Tascam 388 at Plaid Room Records in Loveland, Ohio, home of the famous Colemine record label. Produced by Stubbs and engineered by Colemine owner Terry Cole, the band blasts out of the gate playing Harold Burrages' I Cry For You, before tearing into Little Walter's obscure gem My Baby's Sweeter. The previously unrecorded original Hold It One More Time proves to be an instant classic, sitting seamlessly next to the vintage covers on the album. According to guitarist Matthew Stubbs (whose resume includes playing with blues legends Charlie Musselwhite and James Cotton, among others), "There is a special type of energy that is exchanged when we play in front of a live audience, and we definitely feed off of that and wanted to capture that. I love the power and energy of the best live blues albums. Historically, some of the most iconic blues and jazz records have been live ones. B.B. King's Live At The Regal changed my life. So did Hound Dog Taylor's Beware Of The Dog!, and Albert King's Live Wire/Blues Power. We really wanted to continue that tradition and do one of our own."

Avid Habibi Funk listeners may be familiar with Libyan composer / producer Najib Alhoush, who’s track “Ya Aen Daly” - the Bee Gee’s “Stayin Alive” cover - was included in our second compilation. While the original track never excited us, Najib’s version managed to strip it from its pop approach that had taken over disco during the genre`s peak. At that time, disco tracks mostly were aiming to appeal to the widest audience possible. Najib had turned the original track into something different and very unique. Upon further research we found that Najib was actually the singer and founder of The Free Music band alongside Fakhreddin, Salim Jibreel, Abdulrazzak ‘Kit-Kat’, Mukhtar Wanis and Mohameed Al Rakibi.
Initially, we only licensed Najib Alhoush’s “Ya Aen Daly” from Yousef Alhoush, Najib’s son, who was pleased to hear that there was interest in his father’s music form someone abroad. In the process of exchanging and learning about Najib’s music and career, our understanding was that The Free Music only recorded the one album. This couldn’t be further from the truth, in fact, there were ten albums produced by the group, all impressively coherent with a clear influence from disco, soul, funk and reggae.
The Free Music album was probably the longest it ever took us to gather information, photos and musical source material in a good enough quality to be reissued. This is largely due to the complicated political situation in Libya, compounded by the fact that Libya is still largely cut off from international payment systems, so getting an advance payment to the right person can be a process that takes weeks. The same goes for getting master tapes to a studio abroad and afterwards back to Libya.
When we look for music that works under the umbrella of Habibi Funk, we often come across albums where bands experimented with influences from Soul, Jazz, Funk, Disco and more, usually on a single track or two but then they often go down to a different path for the rest of the album. This was not the case for The Free Music. All their albums are fully dedicated to their unique blend of Disco, Reggae and Funk and it feels that when we made the selection for this album, we could have chosen a completely different number of tracks and the album would be been equally strong.
The lead-off single is the stupendously groovy “Ana Qalbi Ehtar” out February 3rd along with LP pre-order to capitalize on Bandcamp Friday. From the outset, the rhythmic strumming of the funkified guitars give way to the galloping drums and bass, opening up to anthemic vocals and rounding out with a blistering guitar solo, a certified disco-funk classic through-andthrough.
Second single, out February 17th is the disco slammer “Hawelt Nensa Ghalaak.” Guitars, harmonized horns, synths and bouncing bass and drums collide w/ spaced out vox to make the track a dancefloor sureshot for any party.
Third single is “Mathasebnish,” out March 3rd, a pure disco-funk slammer if there ever was one – with stabbing horns, funky bass riffs, a riding rhythm guitar and anthemic vocals, rounded out with stunning flute and guitar solos – the track will surely be on repeat along with the arrival of warmer weather.
Album focus track “Men Awel Marra” is another standout disco-infused tune, showcasing the immense creativity out of Najib and The Free Music. This past summer we finally had the opportunity to get together with Yousef face-to-face at a coffee shop in Istanbul’s central Istiklal road together with our friend Anas El Horani. Yousef told us the whole story of how his father got into music, the start of the band and his father’s continued conflicts with the Gaddafi regime that probably kept his career from becoming even bigger. As always, both vinyl and CD come with an extensive booklet featuring background on The Free Music and Najib Alhoush, including words from Najib’s son, Yousef, as well as unseen photos, cassettes and more.

Back in print for the first time since its initial release during lockdown in 2020!
The music of Current Joys has captured the imagination of millions through headphones and laptop speakers across the world. Rattigan's deeply emotive and commanding songwriting feels built for solitary walks or contemplative nights in one's bedroom, and that is why a Current Joys live performance is a whole different experience altogether. On Live At Kilby Court, the band rips through a stacked setlist of fan-favorites transforming these bedroom ballads into adrenaline-pumping anthems, creating an overwhelming feeling of togetherness.

Limited colour variant "battlefield aftermath with blood & dirt swirl" Following their 2020 debut, Ruin, FORETOKEN's latest album sees the group expand upon their foundations of meticulously lofty soundscapes, mythological narratives, and elaborate musicianship. Utilizing traditional narratives of myths, legends, and folklore from a wide range of Western and Middle Eastern origins, Triumphs examines the ignored collateral damage of the cost of victory through these established mythos. Taking musical inspiration from melodic and tech death metal, as well as power, folk and black metal, Foretoken's core sound on Triumphs is bolstered by subtle and captivating use of traditionally Scandinavian, Southeast Asian, and Middle Eastern instruments for atmospheric depth. Reunited once again with Hannes Grossmann (Hate Eternal, Alkaloid, Obscura, Necrophagist, Blotted Science, and Triptykon) on drums and boasting a guest guitar appearance by The Black Dahlia Murder's Brandon Ellis, FORETOKEN's technical prowess shines through without overpowering any of the nine songs' rhythmic charge. Triumphs was penned throughout 2021 by both Steve Redmond (guitar and orchestration) and Dan Cooley (vocals), with the pair settling on eight original compositions and a cover of Naglfar's I Am Vengeance. Grossmann then commenced drum tracking at his own studio, Mordor Sounds, with guitars recorded by Redmond himself and vocals captured at Trepan Studios by Tony Petrocelly, before mixing and mastering duties were placed in the accomplished hands of Jacob Hansen (Arch Enemy, Fleshgod Apocalypse, The Black Dahlia Murder, and more) at Hansen Studios. Visually tied together by portrait artist Tomas Honz's detailed cover painting, depicting a protagonist's journey in the aftermath of battle, Triumphs aesthetic component is a symbolic embodiment of the duo's enduring fascination with historial consequence via a folkloric lens. Taking fables and fantasy to extreme sonic heights, FORETOKEN's Triumphs is as lofty in ambition as it is accomplished in its musicianship and songcraft.

FÜR FANS VON: Steel Panther, Mötley Crüe, Poison, The New Roses, Kissin' Dynamite, H.E.A.T.
Am 17. März 2023 veröffentlichen die 80er-Hair-Metaller John Diva & The Rockets Of Love ihr drittes Album „The Big Easy“. Während die Band auf
ihrer zweiten Platte „American Amadeus“ noch die Grenzen des Glam Metal auslotete, kehren die fünf Musiker auf Album Nummer drei zu dem
zurück, was sie am besten können: gradlinigem, erfrischendem Rock mit markanten Riffs, harten Beats, vielschichtigen Texten und einem Frontmann
in Bestform. Keine Schnörkel, kein Bullshit, sondern Stadionhymnen für die ganz große Bühne. Wir haben darauf gewartet und endlich ist es so weit:
JOHN DIVA is back! „Remember 80-something — we never seemed to miss a thing“. Schon die ersten Zeilen des neuen John-Diva-Songs „Back In The
Days“ vermitteln, für welches Gefühl die Band steht. Spandex-Hosen, jugendlicher Leichtsinn, Partystimmung und volle Batterien im Walkman: John
Diva & The Rockets Of Love holen die sorglosen Momente der 80er in die Gegenwart und lassen sie klingen wie den neuen heißen Scheiß. Und
können wir nicht alle ein bisschen Sorglosigkeit gebrauchen? John Diva & The Rockets Of Love stehen für fette Partys, leidenschaftliche
Bühnenshows, aber auch für liberale Botschaften in ihren Lyrics. Bullshit? Fehlanzeige. So erteilen die fünf Musiker dem Genre-üblichen Sexismus in
ihren Texten eine klare Abfuhr, zum Beispiel in Songs wie „Boys Don’t Play With Dolls“. „Bei uns ist jeder willkommen und wird wertgeschätzt“, stellt
Frontmann John Diva klar. Gut so. Denn wir können wohl alle ein bisschen Sorglosigkeit gebrauchen.

This unique and unconventional set combines a 7“ single with two yet unreleased songs by NON BAND and a photo magazine, both of which provide essential evidence of the tsunami-like tidal wave of the Japanese post punk movement.

The two featured songs VIBRATION ARMY and SILENCE-HIGH-SPEED perfectly capture the charismatic formative years of NON BAND, with their sound emerging as an entirely unique mix of driving punk veering from No Wave and Folk into raw post punk mutations.
Both songs were committed to tape in 1981 at the legendary facilities of Mod Studio, Tokyo, by engineer Yasushi Konichi when the band recorded their eponymous debut album which was issued via Tokyo‘s Telegraph Records back in 1982. Although both songs were miraculously omitted from the final album. Like all of Non Band recordings they have withstood the test of time thanks to their mix of direct, experimental yet disciplined rawness and studio magick.

The magazine features a text and a careful selection of photos from the vast archives of photographer Yuichi Jibiki, who was also the man behind the label Telegraph Records. Since 1978 Yuichi Jibiki was intimately involved with the early Japanese punk scene as their photographer, manager and organizer. He could be found very much in the midst of all NON BAND live shows between 79-82 as well as pulling the strings behind the scenes.

After the reissue edition of NON BAND‘s debut album via Stefan Schneider‘ TAL imprint in 2017 the label is excited to be able to offer another key release showcasing the creative peak of Japanese Post Punk.

Music by Non Band. Recorded by Yasushi Konishi in 1981 at Mod Studio, Tokyo.
Mastering by Detlef Funder at Paraschall, Düsseldorf 2022
Photographs by Yuchi Jibiki 1979-82

Memoria Recordings is back! And with a very special release this time. Ilario Liburni, known for his work on the labels Cardinal and Invade with artists like Villalobos, Thomas Melchior, and Valentino Kanzyani, has just released a brand-new project together with Izaakson, the man behind Memoria Music Group. This is their debut EP after working together in the studio.

"Operator," a straightforward track with gritty kicks and snares meeting harsh chords and melodies, is the ideal way to open this EP.

Another club anthem with slamming beats, resonant chords, and captivating vocals is "Get Around."

With "Look At The Line," the B-side, we delve a little deeper.

Pure minimalism!

In seinem neuen Projekt mit der Sängerin von The Unthanks offenbart Maximo Park Sänger Paul Smith seine Liebe zum Folk. Über 10 beeindruckende Songs mit wunderschönen Harmonien entsteht ein Folk-Album mit Einflüssen des US-Avantgarde Rock der 60iger ohne auf die klassische Fingerstyle-Gitarren zu verzichten. 'Nowhere And Everywhere' ist erhältlich auf CD und LP und ein absolutes Muss für Fans von Paul Smith und Folk-Liebhaber:innen.

Clear Vinyl

Queens Of The Circulating Library stands alongside Time Machines and Nurse With Wound's Soliloquy For Lilith as a post-industrial pinnacle of sensory-warping long-form drone. Crafted by the distilled duo of Thighpaulsandra and John Balance, the 49-minute piece unfurls in swirling, cyclical waves, tidal as much as textural, channeling the spirit of levitational minimalism pioneered by La Monte Young. Touted as the first part in "a continually mutating series of circulating musickal compositions" upon its initial release in 2000, the album remains a compelling case study in Coil's exceptional capacity for mutation and extremes. The theatrical introductory monologue delivered by Thighpaulsandra's mother - a career opera singer, in her 80's at the time of recording - sets the stage for a grandiose ascension. Written by Balance, the text is declamatory but dreamlike, refracted through megaphone echo: "Return the book of knowledge / Return the marble index / File under "Paradox" / The forest is a college, each tree a university." As her voice fades, the lulling synthetic infinity deepens, congealing into transient crests of volume and haze, like slow-motion surf misting in moonlight. Thighpaulsandra describes their aesthetic intention as a "bliss out," static but shape-shifting, an amniotic drift towards an eternal vanishing point. A supreme sonic embodiment of the slogan on the sleeve of Time Machines, two years prior: "Persistence is all.

Dip Shim returns to Malmo Traxx with a 8 tracker LP from Up North waters. Electro beat excursions, downtempo, trippy ambient cuts and experimental 303 hypnotic rhythms. Scandinavian waves from Up North captured on a limited edition vinyl, 300 copies!

Taka Noda AKA Mystica Tribe has been releasing deep music on vinyl since 2011 on labels including SD Records, Solar Phenomena, Silent Season, and his own Mystica Tribe Records. Working in the dub/techno continuum, he is one of only a handful of artists who creates brilliant tunes at both ends of the spectrum, from heavy, psychedelic warehouse techno to beautifully orthodox reggae-infused dubwise. For his first ZamZam, he leans hard into the latter.

Noda describes his approach to these tunes as a “virtual live band,” and while “the only real live instrument is the melodica, I wanted to capture the energy of a live band with this song.”

A master of both melody and rhythm, Noda does exactly that with “Ido” (which means a well for water). The mood hits immediately with a loose & confident groove built from impossibly-live sounding drum work, a perfect orthodox bassline, and achingly beautiful interplay between piano, clav, and melodica. Somehow both melancholy and bright, it captures that moment when winter gives way to the first hint of spring, sun finally breaking through clouds after months of rain and darkness.

Rather than a simple dub of the A side, the version is a complete rebuild of the tune. “Ido - Renren Version” (which means flowing like tears, or a river) drops the tempo down to 120 but goes harder rhythmically in spite of its slower tempo. Opening with a stark, dark, and menacingly driving bassline and warped dub siren, the vibe is completely transformed from above-ground to below. Hard percussion, new melodica parts, and 4-4 hats & kick take it into that full post-punk dub territory that the world needs more of. Much more!!

German project founded in 1984 by Peter Mergener and Michael Weisser. This release features two cheery picked exemplary moments in downtempo contemplative cosmic travels. A side sends the listener well out of orbit with a 10 min long gradient of Krauty arpeggiated showers that grows elegantly, a concerto to the astros of the mind. Flip it and it gets better as your space capsule gets sucked into some distant planet's gravitational pull, feelings of other-worldly sounds, slowed down beautifully almost eerie nuances one won't forget so easily. Sunrise on a Balearic island from another solar system. Berlin-School by trade but also heard on mixes by Jose Padilla. Heftily remastered.

RAWAX presents EAST155 aka Mattia Ewas, Germano Ventura, Claudio Capizzii - Critical Schema (12")

Tartelet Records is thrilled to present the debut album from Doc Sleep – 10 tracks of exquisitely rendered melodies and rhythms shaped with grit and beauty in equal measure. Birds (in my mind anyway) is a widescreen vision of electronica as a medium to express your personal situation and respond to your environment – a rave adjacent art form free from the perceived rules of the dancefloor. To date, Melissa Maristuen known as Doc Sleep has established herself in the context of the club – first engaging with the culture in San Francisco before moving to Berlin. She helps run the Room 4 Resistance party, DJs on Refuge Worldwide, co- owns the Jacktone label and has released on Detour, Dark Entries and her own label. But in making Birds (in my mind anyway) she set herself an ultimatum.

“At the time of recording this album, my life, all my routines and priorities had to change – music was no exception. I decided if I couldn't be happy making an album free of the dancefloor, I was finally going to be done with music. Instead, I found a musical voice free of tempo and textural restriction. Eventually, I had a sound, and once I had the sound, the album came pretty quickly. It was a very different process writing music for no one...except myself.”

If the impression given is one of a consistent style across the album, think again. Doc Sleep moves freely between tempos and themes, even if there are some recurring qualities binding the music together. She weaves fluttering arps with poise, lending them an almost choral quality which gives the album a very human touch. But they’re equally emotionally ambiguous or pockmarked with sonic interference – reflections of the collisions and conflicts
that typify the human experience.

Every inch of the album is a personal touch – the title was pulled from Doc Sleep’s mother’s response to hearing the album, while her friend Kiernan Laveaux offered a beautiful text which appears on the back. Those closest to her all fed into the artwork process, which captures the curious dichotomy between urban brutalism and botanical finery often found in the parks of Berlin – a vital place of respite when she was making the album.

The talented producer and sound designer that is Farron is an artist also known as Lachriz, Quiem and Twuan and has made notable moves on Forbidden Planet, Renascence, and his own Shaw Cuts label. The good folk at Kimochi sign up his widescreen sounds here on a gorgeous 7 track 12" that mixes up plenty of slick techno & ambient styles. There are spacious and jittery rhythms with moody ambient pads, immersive and beatless dreamscapes, dubbed out rhythms and body-popping broken beat workouts with war undercurrents of sub-bass. It's a stylish record that is captivating throughout and looks as good as it sounds with its hand-sprayed sleeve.

As a self-described “sponge for club music”, London-based Bristol transplant Ian DPM has cut a singular figure in both the West Country and the capital in just a handful of years. Already situated as the tastemaker behind music curation platform Definite Party Material, co-owner of Scuffed Recordings, and Noods Radio and Rinse FM resident, Ian DPM’s emergence as a producer has marked him as an expansively curious, bass-forward figure at the bleeding edge of genre boundaries.

After retreating to his hometown of Portsmouth during lockdown to absorb the blueprints of ‘90s techno, Ian emerged with a new phase of experimentation: techno-inspired and indebted, yet eschewing loops and grids for a loose-limbed, open minded engagement of the form.

Taking inspiration from the iconic carnival rides that are inseparable from their high-octane happy hardcore soundtrack, “One For The Waltzers” begins with a distant rumble of muffled breakbeats that inch ever closer. But rather than dizzying lights and in-the-red maximalism, “One For The Waltzers” gradually reveals its knowingly deep shimmy and groove. It is a drum-heavy and rhythmic production, masterfully using negative space to showcase every contour of its slowed-down rave horns and acid house synth lines.

“KE01” inhabits the flipside of the same sonic world “One For The Waltzers”. Here, feverish percussive energy contrasts against pensive melodic synth chords. It’s a heady warehouse affair, familiar and complex, referential yet contemporary, and only adds to the momentum that Ian DPM is gathering.

Electronic duo Pale Blue return to Crosstown Rebels with ‘No Words’, the second single from their forthcoming album ‘Maria’, with remixes from DJ Tennis and Perel.

Italians Do It Better founder Mike Simonetti and Silver Hands’ Elizabeth Wight’s rich and storied careers within the electronic realm and beyond only elevated further with the launch of their Pale Blue project in 2015, unveiling a series of critically acclaimed releases via Simonetti’s 2MR imprint with plaudits including Pitchfork, FACT and Resident Advisor, to name just a few. Having provided the first look into their forthcoming album on Crosstown Rebels entitled ‘Maria’, scheduled for release on the label later this year, the pair return to open March with the second single from the project, ‘No Words’ - accompanied by remixes from DJ Tennis and Perel.

Detailing the backstory to the record, Simonetti notes both upcoming single ‘No Words’ and the majority of the tracks on the duo’s forthcoming album project were made on the exact synths used to create Jaydee’s iconic 1993 hit, ‘Plastic Dreams’.

Guided by a captivating bassline accented by Wight’s charming vocals, which flutter amongst the mix, ‘No Words’ is a hooky and compelling production that ebbs and flows across its near five-minute duration with effortless ease, capturing the playful nature alluded to by Simonetti. Life and Death head honcho DJ Tennis’ remix arrives next, veering down a hazy yet absorbing path as crisp organic drums and engrossing melodies form around the vocals and journey through light and dark textures.

The B-side of the record belongs to DJ/producer, vocalist and DFA Records favourite Perel, offering a cosmic dive through spacey synths, skittering bleeps and pops, and tough kicks across her take on the production - before distorting and warping the vocals and shifting the emphasis on the ever-evolving electronics across her ‘Dub Version’.

This has to be the holy grail of Weldon’s work, with his unique interstellar musical language. Back in the early 70s, Weldon Irvine was well ahead of his time both with his relatively radical, ‘modern’ jazz scores, and his overtly humanist lyrics. The almost Alice in Wonderland world of the late great Mr Weldon Johnathan Irvine, is one to get totally submerged in. Mr Irvine was such a calm and gentle person who just oozed music, baring his soul onto vinyl. It is such a great honour to be able to release some of my absolute must-haves, from his Nodlow music label on to 7” for the first time.

First recorded in 1973 and released on Nodlow records, we have taken 3 wonderful tracks from the epic “Time Capsule” LP – “Déjà vu” this quirky, yet catchy, song has been edited down, from 9 minutes to 3mins 43secs and this is the first time on 7’ for this 45 release. Weldon on Keys and vocals; back up with Emerson Cain; Lenny White on Drums; Tony Wiles, percussion; and Alex Blake on bass. Speaking to the family, I found out that Weldon had wanted to release a 7” of this back in the day, but it never happened, so this is for you, Weldon.
On the flip is “I am”, A spiritual interlude of words, and a feel that bring Weldon into the room, poetic masterpiece of earthly ideas and musical chords.
“Bananas” is a 90s Jazz Club dancer, this again shows Weldon doing his thang. Super funky drums and bass; plus it has that signature Weldon turn around rift

First time reissue of a legendary and undeservedly obscure salsa collector’s album from 1969. Led by rebel accordionist Alfredo Gutiérrez and featuring singer Lucho Pérez of Sonora Dinamita fame, “Así es… Con salsa!” is just that: raw, heavy duty NYC salsa performed through a Colombian “Costeño” tropical filter, with trombone, accordion and deep bass. Contains three hot bonus tracks in the same style and insert with liner notes. “¡Así es… Con salsa!”, by Colombia’s Alfredo Gutiérrez y Los Caporales del Magdalena, is a legendary collector’s album, yet still undeservedly obscure (and perhaps sonically surprising) for the uninitiated. It’s an experimental mash-up of seemingly disparate genres from different origins that on paper would seem to be at cross purposes. Yet at the same time the release is a masterpiece of raw pan-Latin fusion from the dawn of Colombian salsa that holds its own as a bonafide heavy duty pioneering record of the genre, despite its outsider status. Probably the most shocking musical element is Alfredo Gutiérrez’s fiery accordion, an unexpected instrument in the idiom of salsa, as it’s usually associated with the tropical music of Gutiérrez’s Caribbean home region of Sucre. Gutiérrez has always been a provocateur, never shying away from the controversial or outlandish, which has earned him the richly deserved sobriquet, “El Rebelde Del Acordeón” (The Rebel of The Accordion). Gutiérrez started Los Caporales in 1968 as a rival to Discos Fuentes supergroup Los Corraleros de Majagual, and the band had made three popular albums prior to “¡Así es… Con salsa!”, yet most of the repertoire on those records consisted of typical Colombian tropical and coastal rhythms and genres, none were purposely devoted to the newly minted genre of salsa. From the start, Gutiérrez lays down a salsa manifesto when the album kicks off with ‘Guadelupe no va’, a four-minute workout with pile-driving force that demonstrates the uncompromising power of this 14 piece orchestra. The listener is instantly hooked by the rawness of the sound, the bouncy energy, heavy brass and piano arrangements and the looseness of the improvisational sections. Gutiérrez was given the green light by Codiscos A&R head Humberto Moreno to dedicate an album to New York style salsa, giving more prominence to the voice and compositions of Lucho Pérez, an already proven expert in Cuban genres who previously had been only one among many vocalists in the band. Several tunes on the record are remakes of older compositions by Lucho Pérez from his early tenure with Discos Fuentes group La Sonora Dinamita, the new versions are much more raw and menacing, as if put through a Bronx filter. The band was made up of Codiscos’ regular stable of ace studio musicians from Medellín for the recording date. The album was both a success and also not abnormal in its mixing of salsa and costeño Colombian sounds, as there were several other similar hybrid records by other artists at the time. Both the desperation of the lyrics (about not being able to afford anything) and Lucho Pérez’ forceful delivery leave an indelible impression of street wise authenticity, which is backed up by the fact that both band members grew up poor

Following the tumultuous riots of the late 60's, youths in Washington, DC were looking for two things: positivity and an outlet to relieve tension. MUGO, aka "Music, Unity, Guidance, & Organization", offered just that. Formed by 8 high school friends during the summer of 71', this high-octane machine was driven by Manager and retired Marine Sgt. Reuben McNair Sr. His son, Reuben McNair Jr., was a leader within the group, and consequently wrote the B-side of their only public release. This cut, entitled "Space Travel", boasts a driving rhythm section as well as synthesizer overdubs likely to captivate even musically ambitious extraterrestrials. The flip, "Organize", became the group's unofficial theme song; submitting to the public a deft vocal response to rampant inner city blues.

Nachdem Steve Winwood die erfolgreiche Spencer Davis Group verlassen und die hellen Lichter zugunsten
der Countryside und der Jam-Sessions mit Jim Capaldi, Dave Mason und Chris Wood hinter sich gelassen
hatte, gründeten sich Traffic in Birmingham im April 1967. Traffic begannen als Psychedelic Rockband
und diversifizierten ihren Sound durch den Einsatz von Instrumenten wie Keyboards sowie durch die Einbeziehung von Jazz- und Improvisationstechniken. Bald darauf, im Dezember 1967, veröffentlichten Traffic
”Mr. Fantasy,” ihr Debütalbum, über Island Records. Das Album nannte der Rolling Stone „one of the
best from any contemporary group“ und es ist zu einem festen Bestandteil fast jeder Umfrage zum besten
Album des 20. und 21. Jahrhunderts geworden!
Nun erscheint das Album als individuelles Re-Issue aus dem phänomenalen ”Traffic 2019 - The Studio
Albums 1967-74 Boxset.” Aus den Originalaufnahmen remastered und auf 180 g schweres Vinyl gepresst,
ist es ein Muss für jeden neuen oder erfahrenen Traffic-Fan.
”Mr. Fantasy” erscheint als Deluxe LP und digital.

"Ela", Dom La Nena's first album, was released in 2013. Co-produced with the complicity of Piers Faccini, the album received the highest praise from the international press (New York Times, NPR, Les Inrocks, Wall Street Journal, etc). On the occasion of the 10th anniversary of its release, here is a reissue of the record, now available on vinyl.

Dom La Nena is a Brazilian singer, cellist, songwriter and producer based in Paris. Having accompanied artists such as Jane Birkin, Jeanne Moreau, Etienne Daho and collaborated with the likes of Marcelo Camelo, Julieta Venegas and Piers Faccini, Dom's solo work has drawn comparisons as disparate as “a young Brian Wilson” (Wall Street Journal), “a bossa Joanna Newsom” (Time Out New York) and “Cat Power’s lost sister” (Pop Dose).

Dom sings in Portuguese, Spanish, French and English. Her lyrics touch upon feelings of longing, melancholy, and nostalgia of a childhood spent living in Brazil, Argentina and France. Performing in a solo capacity alone on stage with her cello, ukulele, electric guitar, keyboard and percussions, Dom employs sophisticated looping techniques, layering vocals and instrumental tracks, building audio soundscapes that create a full band atmosphere in each venue.

Dom’s debut solo album, “Ela”, was released during 2013 and immediately praised by the international music press including the New York Times, Wall Street Journal, Le Figaro, Les Inrockuptibles, Voir, O Globo and many other media outlets. Dom's second album “Soyo”, an internationally flavored collection of indie-folk songs with wandering melodies and lightly layered vocals, was released in 2015 and co-produced with Brazilian musician Marcelo Camelo (Los Hermanos).

Dom's third full length album, titled "Tempo", was self produced and mixed by Noah Georgeson (Devendra Banhart, The Strokes, Rodrigo Amarante) and is scheduled for a spring 2019 worldwide release.

Red Vinyl

With the newest techno release from Marco Bailey & Sigvard, be ready to party all night long! This EP is going to be popular because it has four upbeat songs that will make you move.

First, "Faded Game" introduces a funky, chord-heavy sound that will have you bobbing your head to the beat. The captivating melodies and frantic rhythms of the following song, "Live For Yesterday," maintain the momentum.

With its relaxed, yet still danceable sound, "Smooth Mind" slows things down a notch, and "Out Of The Past," the EP's final track, wraps things up with a techno track with influences that will take you back to the dance floors of yore.

Overall, if you're a fan of techno and want some groovy, upbeat music to add to your collection, you should definitely get this EP.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

- The third chapter in the acclaimed Pacific Breeze series! - Artwork by renowned illustrator Hiroshi Nagai - Compiled by Yosuke Kitazawa and Mark "Frosty" McNeill (dublab) - Newly remastered audio - 2xLP housed in a deluxe wide spine jacket with full color inner sleeves and custom die-cut OBI - Extensive artist bios by Yosuke Kitazawa // Light in the Attic's Pacific Breeze series has supplied the world's growing legions of Japanese music fans with an expertly curated selection of the most sought-after City Pop recordings-the mesmerizing and nebulous genre of Japanese bubble-era music of the '70s-'80s that encompasses AOR, R&B, jazz fusion, funk, boogie and disco. These familiar sounds are spun through the unique lens of optimistic, cosmopolitan fantasy colored by Japan's affluence at the time. Much of the music has previously been nearly impossible to acquire outside of Japan and continues to captivate listeners with its unique blend of groove-laden escapism, even birthing wholly new genres such as Vaporwave. Pacific Breeze 3: Japanese City Pop, AOR & Boogie 1975-1987 marks the latest chapter in the famed series and features holy grails plus under-the-radar rarities. The collection bursts at the seams to reveal some of the greatest Japanese tracks ever laid to tape, pushing towards the edge of City Pop to reveal glimmers of the next waves of styles to spring forth from the country's creative minds. The appearance of Pizzicato Five hint at the emergence of Shibuya-kei while the influence of hip hop and electro as an emerging global trend are also evident here through the prevalence of heavier programmed drum beats on tracks such as "Heartbeat" by Miho Fujiwara. This volume of Pacific Breeze, like its predecessors, is a female-forward offering with many tracks being voiced by women who would become household names in Japan as actresses and pop idols. Their songs here subvert the norm and brim with an innovative spirit that shatters gender roles in favor of sonic transcendence. Techno-pop classics from Susan, Miharu Koshi and Chiemi Manabe sit alongside sublime funk from Atsuko Nina and Naomi Akimoto while Teresa Noda slides into the mix with a sultry reggae jam. The genre span is stretched wider with hypnotic jazz fusion by Parachute and Hiroyuki Namba, a synthesizer fantasy from Osamu Shoji, and magnetic pop by Makoto Matsushita and Chu Kosaka. Although not front and center, the visionary members of Yellow Magic Orchestra are still very present on Pacific Breeze 3, with Haruomi Hosono, Ryuichi Sakamoto, and Yukihiro Takahashi taking up producer and musician roles on many of these tracks. Pacific Breeze 3 serves up a captivating musical journey that adds an essential chapter to the iconic compilation series.

Essential reissue of the 3rd and final BL'AST! studio album from 1989.

Sonically enhanced with an aggressive remaster from Brad Boatright.

Visceral, brash re-design via a gatefold jacket! TAKE THE RIDE FOR LIFE! Black Vinyl - NON RETURNABLE.

Jewel case CD with fold out poster cover insert and a clear tray card.

In June of 1988 the mighty BL'AST! went into the studio with Black Flag’s live sound engineer GOAT : Dave Rat (RATSOUND). The result was the album: Take The Manic Ride. It was released by SST in 1989.

After the dust had settled the band was somewhat dissatisfied with the production of the album and regret ended up eternally haunting the band. The massive intensity of the songs completely outmatched what the recording ultimately captured. The master tapes were destroyed and were never to be recovered. Through some incredibly magical surgery a new heavy as fuck version of the album has been produced.

After a stay on the Côte d'Azur, Claude François moved to Paris in 1961. Determined to take the Capital, the young performer recorded new songs for the Fontana label. A few months later, the stunning success of “Belles! Belles! Belles! is soon followed by that of “Si j’avais un marteau”, an adaptation by folk songwriter Pete Seeger. At the dawn of the 1960s, Claude François joined the closed circle of yé-yés idols. Appeared under the pen of the sociologist Edgar Morin, the name "yéyé" designated a generational movement inspired by Anglo-Saxon pop culture. Adored by post-war baby boomers, his protagonists caused a veritable popular tidal wave and shake up the charts. Here starts the yé-yé revolution, and the legend of Claude Francois Ads –London Macadam Reviews –London Macadam, R2

The stunning orchestral soundtrack is written by three-time academy award winning composer and conductor Howard Shore. Shore’s score credits span over 90 films, most notably for The Lord of the Rings and The Hobbit film trilogies. A long-term collaborator with writer and director David Cronenberg, Crimes of the Future marks Shore’s 16th feature film collaboration with him since 1979.
Set in a not-so-distant future, Crimes of the Future depicts humankind learning to adapt to its synthetic surroundings and, as humans alter their biological makeup - some naturally, some surgically - the body itself becomes art. With his partner Caprice (Léa Seydoux, No Time to Die, The French Dispatch), celebrity performance artist Saul Tenser (Viggo Mortensen, A History of Violence, Eastern Promises), publicly showcases the metamorphosis of his organs in avant-garde performances. Timlin (Kristen Stewart, Spencer, Twilight), an investigator from the National Organ Registry, obsessively tracks their movements, which is when a mysterious group is revealed… Their mission – to use Saul’s notoriety to shed light on the next phase of human evolution.

Pentiments continues its work spotlighting post-conceptual artist and writer Joseph Nechvatal. They have already dropped a retrospective Selected Sound Works album that spans 1981-2002 and now comes a companion across two slabs of wax that focus on more recent audio works. This is in cahoots with Andrew Deutsch and it makes use of anonymous reading of Virginia Woolf's 'Orlando' as an anchor point around which the "virus-modelled artificial life audio material" from Nechvatal's 2006 piece viral symphOny: the enthrOning is reanimated. The second then uses a rather controversial record performance of Antonin Artaud's radio play To Have Done with the Judgement of God which the artist takes apart and reweaves into something radically new.