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Das fing mit Superpunk Mitte der 90er vollkommen ambitionslos an. Plan war es, eine Band zu gründen, um auf Partys Kracher aus den Sixties zu spielen. Leider scheiterte die Band bereits an relativ simplen Garage-Rock-Klassikern wie "I need you" von den Kinks. Und wer hätte gedacht, dass "Friday on my mind" derart viele Akkorde hat? Das kann sich doch nun wirklich kein Mensch merken. Da erschien es erheblich einfacher, sich eigene Songs auszudenken, konnten andere schließlich auch. Aber erst mal musste ein Name her. Zur Auswahl standen "Fifi", "Schnellbus", "Hamburg Spinners", "Superminister Riesenhuber" und "Superpunk". Mit einfacher Mehrheit und wie immer ohne viel nachzudenken, entschied man sich für letzteres Mit den ersten eigenen Songs wurden dann richtige Konzerte gespielt, die zum Teil gut ankamen. Bei einem dieser Auftritte war auch Thies. Dem gefiel, dass die Band, jetzt aus dem Stegreif memoriert, "wie eine total zerkratzte Ray-Charles-Platte auf falscher Geschwindigkeit" klang. So gut gefiel das dem Thies, dass er fortan als Keyboarder dabei war. Und das ist auch wirklich eine treffende Beschreibung für den frühen Superpunk-Sound. So, jetzt aber: Es wurden fleißig eigene Songs gemacht und als genügend da waren, dachte sich die Band: "Die könnten wir eigentlich mal aufnehmen." Auf der Straße, irgendwo zwischen "Eis-Gerd" und "Pudel" trafen sie Bernd Begemann, der sagte: "Ich habe einen 4-Spur-Kassettenrekorder, ich nehme euch auf!". "Toll, danke, Bernd!" Und so brachte Bernd seinen Kassettenrekorder, mehrere Kassetten (die teuren, Chrome II), Mikrophone und eine seltsame Apparatur (ein Stimmgerät) mit in den Übungsraum im Bunker bei der Apostelkirche und nahm mit einer Engelsgeduld das Album auf. Auf der Straße, irgendwo zwischen "Heinz Karmer"s" und "Komet" traf die Band dann Bernd Kroschewski, der sagte: "Ich habe ein Label, ich bring euer Album raus!" "Toll, danke, Bernd", hieß es erneut. Und so erschien ziemlich genau vor 25 Jahren "A bisserl was geht immer" auf Fidel Bastro. Da waren, muss man zugeben, etliche Hits drauf: "Matula, hau mich raus", "Ich kann nicht nein sagen", "Das ist heute nicht Dein Tag", "Die Axt im Walde". Aus der ambitionslosen, verhinderten Partyband wurde dann doch noch eine (beinahe) richtige Band, mit Platte und Label und dem ganzen Schnick Schnack. Sogar auf Tour sind Superpunk mit dem Album gegangen, das war was, zwischen Hölle (null Zahlende in Kassel) und Himmel (ausverkaufter Pudel, Rekordgage von 300 Mark + gekühlte Freigetränke). Falls ihr noch nie "A bisserl was geht immer" gehört habt, stellt euch eine Mischung aus 39 Clocks, Cockney Rejects und dem Ramsey Lewis Trio vor. Zugegeben, leichte Kost ist das nicht, aber einer, wenn nicht der einzige Meilenstein des Hamburger DIY/ Outsider/Beats

Bill Seaman is a musician, media artist and media researcher int the field of interactive and generative music (he calls this recombinant music). He has been working on a series of works that combine elements of ambient, noise, experimental, new classical and more. He describes these works as being alt.genre. He has recorded five solo albums (on Eilean Rec. and Fluid Audio) and a numerous of collaborative albums with some music artists such as Craig Tattersall, John Supko, Offthesky, Rutger Zuydervelt, Stephen Vitiello, between others. Seaman has also often created video works to accompany a number of his solo and collaborative pieces. Seaman is self-taught as a musician and composer, and is a Professor in the Music Department at Duke as well as Art, Arth History & Visual Studies.

Since releasing a track on the RND034873349921 compilation on the Pause_2 label in 2001, Tim Diagram has released over thirty-five albums as a solo artist or as part of collaboration projects. he has appeared on many well-respected labels, such as; False Industries, Static Caravan, Nomadic Kids Republic, Fluid Audio, Time Released Sound, Chemical Tapes – to name but a few. Tim runs the Handstitched* label in the UK which specialises in bespoke, handmade packaging for the more electro-acoustic and drone-like elements of his and other artists work, and he is involved in audio-visual commissions, including art gallery installations and music videos for a global clothing brand. As well as Maps and Diagrams, Tim also records music under the Atlantis name and works in collaboration with Genoveva Kachurkova as Bluhm, with Charles Sage as Hessien, alongside Rob Lyon as Somme & with Arbee under the name Emba.

Stephen Spera is a New York based artist working in sound, photography, and plastic arts. His works have been released on some labels such as Handstitched, Tesselate, and Editions Vaché. In 2020 he began a series of collaborations with Bill Seaman, as the two artists admired each other’s work and found much in common. Their work together was graced with an ease which kept them composing an album- “Architectures of Light” -which was released on Britain’s Handstitched label. The project was very well-received. The two stay in touch and kept working, joined now by Tim Martin whose work as Maps and Diagrams was long-admired by Stephen and Bill. They too found instant understanding of each other’s work, and “ The World was turning Before” is the result of their collaboration. The three artists possess an almost uncanny communication that enables them to work whilst still enjoying each other’s individual voice, and this trio has come together so well that, in Spera’s words, “We no longer know who played what…”

There's a new band in town! comforter2 is the new baby of Meetsysteem, Tammo Hesselink & Marianne Noordzij. Born from a residency space in Arnhem as they we're being snowed in over the pandemic, comforter2 is a band for club heads and a club act for band heads. Sometimes two worlds meet - and through this conversation love is found - that's a quote from the album > there's a lyric sheet included with the cassette so you can read along. If you're familiar with their solo projects you won't be surprised by the size of this debut; 16 fresh, club-leaning, indie pop/rock tunes that we'll release on cassette as well as digital. The tracks are formed by all members: Tammo's knack for bass and rhythms, Meetsysteem's song- writing skills (the album is sung in English) and together by Marianne's designs and voice, adding a touch of blissful psychedelia. It's an honest, upfront album about the highs and lows of modern life, seen through the eyes of a raver at their peak. It lends their sound a sense of alluring melancholy, a beautifully bittersweet sense of mood that stays with you long after the rhythms have finished. Like lullabies, for the dancefloor.

Diese 3-LP Faksimile-Edition von Bremen-Lausanne, nun als Teil der gefeierten Luminessence-Vinyl-Reihe von ECM wiederveröffentlicht, enthält die beiden Solokonzerte von Keith Jarrett vom März und Juli 1973.

Sie stehen am Anfang der inzwischen legendären Reihe von Jarretts Solo-Erkundungen auf dem Klavier und haben auch heute nichts von ihrer musikalischen Kraft und Faszination eingebüßt. In einer im Begleitheft enthaltenen gemeinsamen Anmerkung schreiben Keith Jarrett und Manfred Eicher: „Wir sind der Meinung, dass dieses Album sich selbst und dem Publikum in jeder Hinsicht treu bleibt und dass wir in dem Wissen zufrieden sein können, dass wir hier eine Aufnahme geschaffen haben, die das Erlebnis dieser Abende einfängt, beinahe, als wäre man vor Ort.“

Vor fünfzig Jahren wurden die Solo-Concerts – über zwei Stunden Solo-Klavierimprovisationen – auf der ganzen Welt überwältigend positiv aufgenommen: Die Musik wurde mit Auszeichnungen überschüttet und im Time Magazine, der New York Times, Down Beat und Stereo Review in den USA, Jazz Forum in Polen und Swing Journal in Japan als Album des Jahres gefeiert.

In Deutschland gewann es den Großen Deutschen Schallplattenpreis. Die Begeisterung hat nicht nachgelassen – in einer aktuellen Umfrage zu Jarretts Gesamtwerk im britischen Mojo-Magazin wurde das Boxset Bremen-Lausanne auf Platz 1 gewählt:

„Dies ist das Nonplusultra des Solo-Live-Konzerts von Jarrett in all seinem improvisatorischen Reichtum.“

The black vinyl edition of Beast has been out of print for some time, and there hasn't been a color edition of Beast since 2013's clear vinyl edition.

Josh released a 2023 album titled Spectral Lines, and he will continue touring heavily.

New digital marketing content and videos are being created to support this vinyl

reissue.

It's because we want to show this quality to the world that we bring here our "Heavy Brazil" series once again. After the first two chapters, where we brought thrash legends VODU with their first two albums ("The Final Conflict" and "Seeds Of Destruction"), the time has come to present a new chapter of this series.

For all those who are fans of Brazilian thrash, KORZUS' first studio album needs no special introduction. "Sonho Maniaco" (Portuguese for 'Maniac Dream') is by all parameters a thrash metal classic! With a total of 7 songs, "Sonho Maniaco" has everything you'd expect from an 80's thrash album: speed, aggression and a good dose of insanity!

Originally released in 1987 and being a highly sought after record by collectors, it is with great pleasure that we bring you the first vinyl reissue of "Sonho Maniaco"!

Get ready for another ultra- limited edition by our label, with all the extras our followers are used to.

Taken from the Day & Age EP; African Warrior by Tesfa Zion, Ras Ruben & Ray Ranking is now available on 12" vinyl with an exclusive dub cut!

After being played by many different Sounds around the globe, it was a must we put it out on record. On top there is the Mama Africa Melodica/Nyabinghi Version on the b-side!

'The Moon Dance' Mark's the come back of one of Chi Towns most innovative and iconic figures to Apnea Records. Jamal Moss (Hieroglyphic Being) sound's were first released on Apnea in 2007. Now, in 2023, he's back with this double 12'' album flooded with synth jazz and cosmic acid explorations in his signature and irreverent style.

Das Debütalbum "A Dream or a Vision" von The Waning Moon wird sicherlich ältere Goths und junge Fledermäuse gleichermaßen zum Jubeln bringen! The Waning Moon ist eine reine, unverfrorene, gitarrenbasierte Gothic-Rock-Band, die an die Klänge der Gothic-Rock Szenen der 80er und 90er Jahre erinnert, mit ihrem eigenen modernen Ansatz des Genres. Die Band ist eine internationale Zusammenarbeit von Ariel Maniki (Costa Rica) von Ariel Maniki and the Black Halos und Zac Campbell (USA) von The Kentucky Vampires. Ariel übernimmt Gesang, Texte, zusätzliche Gitarren, Programmierung, Tasten und live Rhythmusgitarren; während Zac Gitarren, Schlagzeug, Programmierung, Tasten, Bassgitarre und live Gitarren beisteuert. Live-Shows beinhalten Unterstützung von Ian Joseph am Live-Bass und Maggie Campbell an den Live Keyboards. "A Dream or a Vision", das Debütalbum der Band, das über Danse Macabre Records veröffentlicht wurde, sind 10 Tracks reiner Gothic Rock von Anfang bis Ende.

The Spanish-Dominican label led by the Spanish Sergio Parrado and the Dominican Jee Bear presents its Lmtd series, where art, design and music go hand in hand. A collectible series where each reference is a piece of a mural by the Argentine designer Lucien Le Grub, this being the first of four.

This first reference is the work of Chilean Alejandro Vivanco (Cadenza, Melisma) who joins forces with fellow Chilean Dorian Chavez (8bit, Viva Music) to bring us this incredible “Dabtrack”.

The original cut (A1) is to go back in time, return to the essence of the mid-2000s where artists like Luciano or Ricardo Villalobos put the Andean country in the eyes of the world with their organic micro house. “Dabtrack” is about this, but with a renewed sound, where the organic and the digital embrace to create an intense track, with fat basses that will make the sound system rumble. Special synths that catch you to create a magnificent sound collage.

The A2 is for the master master and lord of the deep sound. We are talking about the Romanian Mihai Popoviciu, who brilliantly reinterprets the track and takes it to his own terrain, but without neglecting the essence of the original and giving it his particular groove that works so well late at night. The groove, together with the set of synths, which elaborates it magnificently, makes his remix of Dabtrack” an indispensable work in the DJ's suitcases.

Now it's time to close this incredible album. For this we have reserved the entire B-side for one of the Chilean artists who has left the most mark in the last two decades on the international electronic scene: Pier Bucci. He takes us on a 12-minute journey through his signature style where anything can happen. Little more to say, we invite you to discover it for yourself. Because it is a work of art.

Available again on vinyl, note new price. Choice collection of B-sides, rarities, alternate takes and previously unreleased tracks dating back to 1993. Geffen Records CD release December 12, 2006. New York’s most influential avant-garde rock band, Sonic Youth, follow up their critically acclaimed 2006 release, Rather Ripped, with a special set sure to please fans and completists. The Destroyed Room: B-Sides And Rarities, a collection of near-hidden Sonic Youth gems hand-picked by the band, brings together songs from throughout the band’s tenure at Geffen Records. Focusing on tracks previously available only on limited-edition compilations, vinyl-only releases, or as B-Sides or international singles, The Destroyed Room also features material that has never before been released. This deluxe, double-vinyl LP edition is being released on the band’s own Goofin Records imprint with a CD version available via Geffen.













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Early 90s' UK club oriented project comprised by "two young lads that made a record", as innocently described by Mark Lloyd, one half of Deep Pearl together with Mark Robertson. Originally released on mysterious private press label called "Big Apple" based in Croydon (South London).

A dancefloor oriented production that seems to transition from earlier acid sounds into more hypnotic early progressive directions, propelled by an established Mediterranean appreciation of its epoch combined with a somewhat naive rawness and energy in the studio, keeping it simple and effective at upper 130's BPM. Clearly the work of someone with veteran status in rave mileage. A-side features dreamy female vocals (courtesy of two other young lads from Germany, at the time, also known as "Air Liquide"), easy to imagine being played over a dusky horizon in Ibiza or an airfield in Suffolk. B-side mix is another peak dancefloor torpedo armed with heavy breakbeat shrapnel, hard to miss - if you know you know - newly re-issued with new artwork channeling Sean Connery memorabilia in acid mode "Hunt for Tie-dye October".

The highs is Mike Stud’s first album to be officially released under his new name and style of music. He now goes by the name “mike.” This is the first album of the upcoming trilogy he has in the works. “the highs, the lows and the inbetweens.” These are all part of the KEEPGOING trilogy under his new name and style.

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

Rico Friebe is back with the album "Faces Meet" after his recent debut "Word Value" and delivers his personal "deer in the headlight"-moment. What once appeared sparely uncertain and questioning, equalling the fragile try to overcome a state of darkness and forsakenness, now forms into a frenzy of confrontational flashes on "Faces Meet".

Like reflecting on the uncertainties presented on "Word Value", "Faces Meet" reveals some genuinely harrowing findings, creating a wholesome musical moment in time that might never happen like this again.
Besides the uncompromising statements as to find in the opener "Look At Me", refined perceptions in "Nowhere To Run" or "Fifty-One", open-hearted calls in "Do More" and "Let Go", Rico's pivotal confrontation with the irrevocable truth and emotional dissection peaks in his heartbreaking story on "The Best Talk" which marks the crucial lynchpin of the whole album.

Like faces (and therefore people) are constantly meeting everywhere, being faced with the decision how honest and open to meet at all, "Faces Meet" happens to be an even more involved metaphor about surrendering to your true inner self in a mirror-like situation.
Deeply rooted in the seeds of his debut album "Word Value", Rico follows a highly natural and severely plain musical language while implementing new and further ideas and elements throughout his sonic landscape.

"Faces Meet" is an album of insight and self-awareness and the inevitably necessary foundation for his third double LP and magnum opus "Anthems For A Lost Generation" (set to be released in Spring 2024), accelerating a lately unstoppable story into unforeseeable pathways.

12” black vinyl, standard sleeve, limited to 500 copies, download card included. The long sold-out ‘Random Acts of Total Control’ EP by French outfit Unschooling is now being reissued by London-based label and promoters Bad Vibrations. The five-track EP was originally released in 2021 and deals in an energetic, lo-fi post-punk that revels in calculated discord. Their chaotic ensemble of complex mathy guitar lines, dissatisfied vocals and twitchy rhythm sections have drawn comparisons to such contemporaries as Omni, Crack Cloud and Women, but all wrapped up in a Contortions-esque No Wave spontaneity. Unschooling emerged with their self-released nine-song ‘Defensive Designs’ cassette in 2019 which made a splash in the French indie scene (and is now also being reissued on vinyl for the first time by Bad Vibrations). Its follow-up, the ‘Random Acts of Total Control’ EP, solidified their reputation further afield and established them as one of the most exciting new acts in the current school of post-punk revivalists. The band have since toured heavily around UK and Europe and appeared at Great Escape, Green Man, Wide Awake, Le Printemps De Bourges, Levitation France, Dot to Dot and more. Tracklist: 1) More Is More 2) Boo Boo Dragon 3) Social Chameleon 4) No Shoes 5) NYE

On My Own Terms / Time, a new non-label created for Yorobi's self-released projects.

The first ep "Projection Palace" features 4 tracks across various genres and tempo's.
From bass heavy breaks and house to sound along the hardcore jungle continuum.

The name of the ep refers to a psychological principle of "projection", whereby you project certain (negative) qualities onto others without them being necessarily right.
Quite often the projections say a lot more about the person who's doing the projecting rather than the person on the receiving end.
The idea then was to make an EP that revolved around this theme. The palace bit being a metaphor as if you were a house which would show you all these mirrors which are wonky and distorted, like a fun house on a fairground

'I heard about Seif Abu Bakr and The Scorpions maybe 3-4 years ago. Their album 'Jazz, Jazz Jazz' ended up on my radar because of an eBay auction with the bids eventually rising daily up to a staggering 1000$. The music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's vocals uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions traditional rhythms of the diverse regions of Sudan and even an excursion into Colgolese Soukouss.
I went for my second trip to Sudan in December 2018 and after doing some research on the first trip my local colleagues Larissa and Yassir had managed to reach Amir, The Scorpions band leader and he was happy to meet. We got together with him in a Cafe right at the Nile in Omdurman. It was a happy occasion for everyone. He told us stories about him meeting Jimmy Cliff and Lewis Armstrong when they visited Sudan and how he and his band mates from The Scorpions played extensively in Kuwait, both in club residencies as well as for television. Amir brought tons of incredible photos illustrating not only the bands history but the vivid cultural live in the many music clubs in Khartoum of the 1970s. During this decade up until 1983 the capital was home to a huge number of clubs, bards and concert halls. This scene started to perish after president Nimeiry's turn away from his socialist policies, that he was widely associated with in the first decade of his rule, towards the implementation of Sharia law in 1983. During the first decade of his rule he had actively supported various artists of the Jazz scene, taking some of them on trips throughout Africa. The 1989 coup of Bashir and his generals then caused the final blow to a once thriving scene. Both of these political events within 6 years lead to significant drawbacks for the Sudanese jazz scene resulting into hardly no gig opportunities left and parties and concerts being critically observed. A number of musicians faced prosecution, most of the time for their political views; some left Sudan for good. Music never completely vanished from public life and even the regime kept selected artists close, but for a majority of those bands affiliated to the jazz scene life and making ends became a lot harder. The Scorpions dissolved as a group around the same time.
The re-release was produced with a clean copy of the vinyl version as a source. The original reel tape of the album stayed with Saif Abu Bakr along with another reel with other recordings that were never released. Unfortunately it was lost when Saif Abu Bakr had to flee to Kuwait temporarily during the second gulf war when Iraq raided Kuwait. Vinyl version comes with extensive booklets with photos, interviews, liner notes. The vinyl version also has a DLL code.

The first release from Microtonal Records, Residents of Aotearoa: Microtonal Showcase (ROAMS) EP, presents producers currently living in New Zealand and their interpretation of a warm, atmospheric and dark sound with a groove that provokes movement and thought.

Track A1: Astral Aura by Seb Selknam
A pure analog production from Seb Selknam - Astral Aura provides an instant groove from a warm bassline that sits in pure harmony with the kick to give structure to the melodic and atmospheric landscape you are led into. Minimal crisp percussion and echoing vocals add a familiar and human element to the journey as you slowly float through vista's unknown and aura's unseen. This is 08:22 of pure bliss.

Track A2: Bosun by HRZNTL
The last beat drops, the party ends, the taxi awaits. Bosun by HRZNTL is a reflective piece, the transition from pure adrenaline and the buzz of the rave into a lasting memory of a night spent with family and friends dancing at a castle in the hills of Barcelona. The track itself is built around a detuned dubby key which represents the emotions of ending an epic night, it is surrounded by dark and haunting stabs to add to the atmosphere and a bubbling synth which brings an optimistic reality that it's only day one at Sonar.

Track B1: Admiral Frick by Harvo x Patella
The first ever demo sent to Microtonal HQ, Admiral Frick by Harvo and Patella is pure energy. Taking elements of tribal percussion and combining it with acidic stabs, it is balanced perfectly with a wandering atmospheric pad. There are subtle shifts between four four and breakbeat, as it builds with syncopated snares and a beautiful unrecognisable monotonous vocal calling you deeper into mysteries of the jungle at night. Calmness descends to create space for a powerful sweeping drone like bass that drops you back into a hypnotic state of being. Your relationship with this track will be like an addiction, constantly seeking a hit.

Track B2: Introspection by Felipe Martinez
The epitome of a Microtonal Records track; warm, atmospheric, dark and with a groove. Introspection by Felipe Martinez is a microbreaks track that draws you in with a wide pulsating low end and irregular percussive stabs that float from left to right at the high end. A soft acid synth builds and explodes like a solar flare creating an outer planetary experience. The beautifully crafted breakdown gives you time to pause, observe and contemplate, creating space to process your mental state and explore your emotions from the past, present and future. Introspection; 10 minutes of self healing.

For Volker Bertelmann, aka HAUSCHKA, music is not solely about its sound, but also a means to facilitate the exchange of ideas and foster meaningful interactions between individuals, revealing his fascination with human connection and engagement. Despite being known for his distinctive prepared piano sound, the Academy Award-winning composer intentionally named his 15th solo studio album PHILANTHROPY to express his compassion and openness. The album's song titles, such as "Diversity," "Nature," "Loved Ones," and "Altruism," perfectly align with their respective musical compositions. HAUSCHKA's albums often serve as a platform to provoke dialogue on specific themes, and PHILANTHROPY follows this pattern, aiming to offer optimism and energy in response to the challenges of recent years. The album combines upbeat and pensive pieces, featuring moments of joy, introspection, and peaceful interludes. Overall, PHILANTHROPY showcases HAUSCHKA's compositional prowess and serves as a gift that sparks reflection and celebration.

In the early 1990s, a team of linguists, engineers, anthropologists, and archaeologists were tasked with constructing a type of communication that could transcend time. How might we converse with future civilizations when language may evolve or dissolve entirely? The result yielded the design of spike fields; a strange construction of granite thorns bursting from the earth to alert its viewers to the deadly uninhabitability of nuclear waste disposal sites. For Maria BC (they/them), this state of temporal focus molds the wanderings on their second full length album Spike Field. How do we connect with the weathered shadow of our experience, while envisioning the self a few steps ahead of us? While their debut album Hyaline (2022, Father/Daughter) explored grief and anxiety through a series of character-led accounts, Spike Field recognizes that the past will continue to lurk below the surface until we decide to break through the soil. Spike Field was recorded in the home of a family friend. The home featured an out-of-tune baby Steinway piano, complete with squeaky hammers and strange, sporadic sounds. The piano is sprinkled throughout the album, and features extensively on opener "Amber," showcasing Maria BC's looser, more extensive arrangements. The song flickers with electronic wonder, like a wave seeking out its station, before crashing into the angelic choral introduction of "Watcher". Strings, plucked guitar and buzzing swells accompany their classically-trained mezzo-soprano voice on "Return to Sender," a song that focuses on the frustrations and turmoil of being unable to reach a loved one--both physically and emotionally. Spike Field reminds us that despite our best efforts to bury certain aspects of ourselves, they will always lurk beneath the surface. Instead of ignoring the seeds striving to break through, we can point to these places with a curious grace, concocting a language that transcends words to converse with our previous selves. Maria BC pieces together juxtaposing sonic landscapes and oscillating vocals to represent the thread of miscommunication, or the failure of words, that weaves throughout the album, transforming it into a distinct and ever-evolving sonic tongue. If we listen, we might find something new within ourselves.

Reissued on limited edition 180 gram Clear vinyl. On The Blackened Air (her second album but first for Touch and Go, originally released in 2002), Nina Nastasia and her band are not content to just support a vocal melody; they pry it apart and look down its throat. The stringed and wind instruments (viola, cello, mandolin, accordion, bowed saw, acoustic and electric guitars) reach up out of the songs into rarefied territory. Little stories of Peeping Toms and the police lights they bring with them, graveyards and impolite family, epigrams against disaster, depression, simple forgetfulness, all delivered so effortlessly that the precision of the delivery registers long after its substance has left its mark. When she sings "I'm not hiding anything / I'm not trying to fool you at all," in a song titled "That's All There Is," it is all the truth. A generation-plus of young troubadours pine for things they never had to lose, as if sadness and depression were inevitable consequences of being alive. Nastasia's music is an antidote to all of that. The Blackened Air is a darkish record not just in title, but by examining everything without caving in to decadence or solipsism, it is a rejuvenating experience. It is informed, without affect, unique, and succinct. Above all, it is beautiful to hear and a pleasure to have in one's home.

Since its release in 2013, Nick Lowe’s holiday album Quality Street: A Seasonal Selection for All the Family has been critically lauded for “the retro-reinvention of the Christmas album” (Uncut) and was heralded by TIME and Rolling Stone as one of the greatest holiday records of all time. Featuring original tunes by St. Nick himself, such as the witty “Christmas at the Airport” and tender “I Was Born in Bethlehem,” to reimagined covers like an ironically bombastic, swinging rendition of “Silent Night” and the rearranging of
Wizzard’s “I Wish It Could Be Christmas Every Day” and Roger Miller’s “Old Toy Trains.”

Some of Lowe’s collaborators and admirers make songwriting appearances on the album as well, including the Ron Sexsmith-penned “Hooves on the Roof” and Lowe’s co-write with his former Little Village bandmate Ry Cooder on “A Dollar Short of Happy.” Rolling Stone said it best that an album like Quality Street is “worthy of your holiday bonus.” For the album’s 10th anniversary, Quality Street is being reissued on red color vinyl and includes a bonus 45 single of Nick Lowe’s covers of “Winter Wonderland” and “Let It
Snow.” Nick’s longtime tourmates Los Straitjackets are his backing band on both tracks and this marks the first time that either song is available on vinyl. The 10th anniversary LP is limited to 1,000 copies worldwide.

McCombs is one of the most highly regarded bassists/guitarists working today, known for his pioneering band Tortoise, his bass playing in Chicago"s Eleventh Dream Day, and his innovative instrumental group Brokeback. He has released albums with guitarist David Daniell, and collaborated with the likes of Tom Zé to Yo La Tengo, Stereolab to Daniel Lanois. In addition to being the touring bassist for The Sea and Cake, McCombs has somehow found time to form a new trio Black Duck with guitarist Bill MacKay, and percussionist Charles Rumback. Douglas McCombs" VMAKMcCombs" debut solo album is a mix of improvisation, textural explorations and recurring melodic themes. Taking after Brokeback"s classic Morse Code in the Modern Age: Across the Americas, "Two To Coolness" is a piece that McCombs refined through a series of improvised performances and features Calexico drummer John Convertino, as well as singer/guitarist/synth player Sam Prekop (also of The Sea and Cake). "Green Crown"s Step" was largely improvised working through melodies and patterns. The stately "To Whose Falls Shallows" reshapes three key themes that Tortoise and Brokeback fans will find to be signature McCombs, buoyed by fellow Brokeback member James Elkington (Tweedy), who also engineered and mixed the album. On the album, McCombs plays with spare instrumentation and primarily plays electric and acoustic guitars as well as the Bass VI, drawing out textures that stretch the scope of his instruments. McCombs" work is pastoral and expansive, his playing is refined and nuanced, and his melodies often bely his admiration for Ennio Morricone as his guitar imbues endlessly sprawling fields of the midwest with the same sense of magic. It is a true pleasure to hear him perform in such an intimate way. This is an absolute essential for followers of McCombs and newcomers alike, as the album lays bare his influence on each of his groups as well as firmly stakes McCombs as a force all his own.

Limited to 300 copies, this 2x12" double vinyl VA is the third physical release of the industrial techno label, Askorn Records. Including 8 tracks ranging from dark and tortured slow beats to hard and industrial techno bangers, this release brings together 9 producers from Belgium, UK, Poland, Australia and France: Twan, Dahryl, Mickey Nox, Tripped, 14anger, Draugr, Hel.IV, Ogmah and Hatelove.

A1: Twan & Dahryl - Ammunition
Pure industrial techno banger. 142bpm bomb full of fast rolling drums and screaming synths, this collaboration between
Belgium based artist TWAN and Dahryl from United Kingdom, is a furious dancefloor destroyer.

A2: Mickey Nox - Switching Horsepower
Classic industrial hammer by Mickey Nox from Australia. A crazy 4-4 techno track with his famous stomping kick, strange FX sounds, chopped with some glitchy voices. Sounds like an unstoppable engine.

B1: Tripped - Fat Load
Tripped demonstrates the perfect mix between hardcore and techno into this track, using his famous and indescribable style. Industrial hardcore and destroyed 909 gabber kickdrums, scary synths, amen breaks and terror atmosphere.

B2: 14anger - Bachman
Heavily distorted bass-line, overdrived kickdrum, an acid break and some electrical noises: Bachman is the latest 14anger
banging track. This raw industrial techno track definitely brings some oldschool rave vibes to this project.

C1: Draugr - Discipline
A dark and groovy track by Draugr. He brings his famous threatening atmospheres, spooky bass and catchy drums on
this one. Crunchy kickdrum, radar noises and a perfectly chosen speech about order and discipline.

C2: Hel.IV - Brave & Thick
Hard, dark and punchy as usual, let's introduce Hel.IV from Paris. Deep and hard kickdrum with catchy drums patterns
surrounded by a screaming distorted vocal sample, and an epic and menacing synth.

D1: Ogmah - No Feelings, Pure Wrath
New harsh and scary bomb by Askorn's founder, Ogmah. A slashing and industrial beast with some shrill highs drums,
creaky and industrial FX sounds, and a long break with scary vocals about sins.

D2: Hatelove - Snakebyte
A slow and dark track with a deep as hell atmosphere, produced by the one and only Hatelove from Poland. Full of filters
automations, psycho and spooky noises, banging drums and crazy sound design. Angering af.

The artwork is an engraving by the artist Daniel Girault from Brittany in France. This is the result of a dark and disturbing
abstract design engraved on a hard metal surface, made by cutting grooves into it with differents sharp tools. After being
drowned into an acid bath, this metal plate is finally pressed with black ink on a thick paper sheet.

Originally released in 1986, Life Is Hard Then You Die was the debut
album from Liverpudlian indie-pop band It's Immaterial - Now reissued
and repackaged by Last Night From Glasgow, available October 2023
Simon Braithwaite of Smash Hits wrote that Life's Hard and Then You Die shows
that It's Immaterial "write jolly good pop songs - In fact everything else here is just
as inspired and original as their recent hit."
In a retrospective review, Michael Sutton of All Music wrote, "Musically, the LP is
all over the place - new wave country, blues, folk, and synth pop - Somehow the
smorgasbord of styles works, because the band members aren't being eclectic
just for the sake of it; they simply have a wide canvas, keeping the album fresh
from beginning to end."

Tallahassee, FL singer-songwriter Sarah Morrison's debut studio album
Attachment Figure depicts the strangeness of exploring new
relationships with subtle and spacious electronic production - As a
former live keyboardist in Locate S,1, Morrison co-produced Attachment
Figure with fellow bandmates Ross Brand and Clayton Rychlik, both of
whom also play in Of Montreal's backing band
She was motivated to experiment with looser song structures and more
unconventional chord progressions by her collaborators' fondness for avantgarde jazz, as well as Locate S,1 frontwoman Christina Schneider's idiosyncratic
writing style.
Throughout the album, echoing keys, woodwinds, and guitar ripple like a moonlit
lake from which Morrison's voice emerges. Her presence is spectral, yet
conversational, willing to conjure concrete imagery of mango- flavored vitamins
and the warmth of phone chargers alongside ghost stories of mannequin corpses
and epistolary curses, a balance shaped by an obsession with the theatrical
sincerity of Kate Bush and Mark Hollis.
Lyrically, Attachment Figure meditates on questions about identity, personal
growth, and helplessness - whether within a relationship or the oppressive
structures of society itself - often rooted in Morrison's experiences growing up in
the South. "There's a connection between Southern hospitality and femininity and
just allowing things to happen," Morrison says. "I've been in many relationships
with people who have used that 'southern charm' to their advantage. I think a lot
of people, non- men in particular, put on this charm instinctively. It's a defense
mechanism that I was interested in studying."
Attachment Figure is perpetually suspended between states of being, harmony
and dissonance, and contradictory sentiments we all hold as we enter into the
arms of someone new, but ultimately, it's guided by a desire for authentic love--
and a flair for intricate, intuitive songcraft.

MARKING 25 YEARS, THE CLASSIC FOURTH ALBUM FROM THE UK MASTERS OF EMOTIONAL PROGRESSIVE ROCK & METAL, PRESENTED ON LIMITED MARBLE VINYL Anathema formed in Liverpool in 1990, initially under the name of Pagan Angel & grew from a heavy doom/death metal style act into a more progressive & melodic group, blending rock elements with strong atmospherics inspired by classic acts such as Pink Floyd & Radiohead. The band signed with Peaceville Records after recording the 'All Faith Is Lost' demo in 1991 & is known for being part of the hallowed Peaceville doom metal trinity in the early 1990's (alongside fellow UK bands Paradise Lost & My Dying Bride), with some highly influential releases in the early part of their long, esteemed career. Released in 1998, 'Alternative 4', Anathema's fourth studio album, quickly became the band's best- selling & most highly regarded release to date. Containing evocative atmospheric passages & emotional Rock anthems, 'Alternative 4' represented a giant progression from the band's previous work & hinted at the massive changes to come. Displaying a more mature sound than the band's earlier recordings, this is the album that gave birth to the more conceptual approach, which the band took further on such albums as a 'A Fine Day To Exit', 'A Natural Disaster' & beyond, leading up to some of their most revered work under the Kscope label. This edition of 'Alternative 4' marks 25 years since release & features the album presented on limited marble-effect vinyl.

[a] a1 Mongoloid (Warner Version) [2023 Remaster]
[b] a2 Jocko Homo (Warner Version) [2023 Remaster]
[c] a3 (I Can't Get No) Satisfaction [2023 Remaster]
[d] a4 Come Back Jonee (Single Edit) [2023 Remaster]
















[u] d2 Here to Go (Go Mix Version) [2023 Remaster]

[w] d4 Disco Dancer (7-Inch Version) [2023 Remaster]
[x] d5 Post Post-Modern Man (Macro Post-Modern Mix) [2023 Remaster]

‘Reach For The Sun’, their debut album, helmed by produced by Paul Leavitt (All Time Low, Circa Survive) cemented ‘The Dangerous Summer’ in the Pop-Punk scene.  Blending melodic rock, pop-punk and emo, lyricist and vocalist AJ Perdomo explored a wide range of themes in ‘Reach For The Sun’, including love (‘Never Feel Alone’), life (‘Settle Down’), death (‘The Permanent Rain’), the past, the future.  What makes ‘Reach For the Sun’ truly remarkable is its universal appeal and resonance. The album consistently garners recognition on lists of essential pop-punk and emo releases, often being mentioned alongside legendary records by Green Day, Paramore and Sunny Day Real Estate.  For fans of Taking Back Sunday, The Starting Line, The Wonder Years

As we get ready to say goodbye to the Telomere Plastic series, we are excited to present Telomere 020.1, aka the first part out of 5.
Each release will have four different artists, making it a compilation of twenty different artists who will deliver unique, juicy and eclectic frequencies that will keep your telomeres bopping for the rest of time!

This first VA, features producers, ESB, Synaptic Voyager, Vinaya and Vonsuck.

A1, Fancy Organ from Vinaya, is a sexy deep and house cut that is guaranteed to bring smiles all around the dance floor. Arpeggios and groovy bass lines galore. Prepare your piano hands because you will find yourself playing that sweet air organ on this one!

A2, Self Destruct Sequence from Synaptic Voyager (aka Telomere 014’s Illuminators), is a very emotional cut. Originally released digitally on Frame Of Mind, we were overjoyed to be given the green light to put this beauty on wax. Deep pads, tommy drums, hints of IDM and techno, and soul striking arpeggios pave the way for a special sonic journey. Close your eyes and melt away with this one!

B1, Keio Acid from ESB. We are always delighted to share more ESB with you. Elan’s love for analog and tape give off a raw and authentic energy that is hard to come by. This deep, jazzy and loopy cut will keep you on your toes from start to finish. We can only dream of being on the dance floor as this one plays out!

B2, Unemati from Vonsuck, is a deep and dubby cut that beautifully blends the three genres dub techno, house and techno. Dark rooms and dark skies are recommend for this one here, even though we could see these frequencies accompanied by a pink and red sunrise bringing waves of energy and nostalgia to your soul. Its a real treat to have Vonsuck aka Galaktlan on the Telomere series!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

In the late 1980s, Disco was taking a backseat to the burgeoning psychedelic scene in San Francisco, marking a pivotal shift in musical culture. A dynamic transformation was underway as the younger generation sought a fresh auditory adventure, all while the devastating AIDS epidemic cast a somber pall over the city's nightlife. Amidst this evolving backdrop, a subtle yet distinct sonic movement quietly emerged within the confines of San Francisco’s vibrant club scene, often referred to as "The Beat." Although Hip-Hop, New Wave, Gothic, Punk, and the burgeoning Modern Rock genre held considerable sway, the pre-RAVE clubs in SF witnessed the fusion of these genres into a unique amalgam of sound that insiders dubbed “The Beat.” This musical tapestry encompassed everything from Hip-Hop and Freestyle to Industrial, New Wave, Boogie, Miami Bass, and Techno – the unifying thread being the distinctive vibe that characterised this eclectic mix.

As House, Techno, and Raving gradually gained prominence along the West Coast, a distinctive interpretation of these evolving sounds took root. Drawing inspiration from influential hubs like New York, Chicago, Detroit, Europe, and notably the UK, which saw a wave of talented young DJs migrate to California, San Francisco became the backdrop for its own version of the second Summer of Love. While the exact chronology might spark debate – some recalling '92, while others leaning towards '93 – what remains indisputable is the era spanning from 1990 to 1994, an unparalleled epoch of exuberant dancefloor revelry on the western shores.

In the face of limited backing from major labels or established independent dance music entities of the time, a grassroots movement of labels and producers emerged organically, ardently championing this distinct sound and catapulting it onto the global stage. This sonic identity was deeply influenced by “the Beat,” acting as a creative wellspring that informed the musical landscape. While the tracks compiled in these volumes might not encompass the entirety of this transformative musical epoch, they offer a vivid snapshot of the melodious tapestry that coloured San Francisco and the broader West Coast during that era. Each track featured stands as a 100% Sure Shot that was played heavily by DJ Spun back in those very heady days.

Finally, but by no means least, we unveil the third and concluding volume of this extensive, impeccably curated chronicle of San Francisco's underground rave scene and its unique soundscape. Mirroring the same fervour and meticulous track selection as the first two volumes, 'The Beat By Spun' is nothing less than indispensable for any dedicated music enthusiast, DJ, or dancer. Once again, this collection showcases an outstanding array of tracks, featuring music from talents like Mattski, Bass Kittens, Hawke, and Deep2, all maintaining the high standards set by the previous volumes. It's a blend of rarities, classics, and obscurities, combining to deliver an exhilarating, almost transcendental experience to those who dare to immerse themselves in the sonics!

Maw Records are proud to present the masters At Work Remixes of the Kenlou classic “Moonshine”

Masters At Work are in top form, ready to fill dance floors,clubs & festivals in 2022. Kenny Dope & Louie Vega met at the Kay-Dee headquarters for a few days and jammed together.

Moonshine being one of the tracks they put up in the studio to createnew fresh versionswith a Maw TwistAce beats, programmimng in excellence by Kenny Dope, layered withLouie Vega Keyboards, Synths & Baselines.

The two once again set it off with a bang !!!

Moana Pozzi in the late 1980s, following in the footsteps of her illustrious colleague Ilona Staller/Cicciolina, made her official singing debut by recording several songs arranged and produced by Jayhorus. The music ended up in several of her films as well as being performed in her hot live shows.

Discographically at the time only a few tracks were released on 7″ and 12″ singles that are now cult collector’s items for fetishists and weird DJs.

At last, Cinedelic has gotten their hands on the original masters, unearthing some unreleased ones as well, producing a luxurious gatefold LP.

This is part two. From the original master tapes. Unmissable!

Known for being part of the INNA DE YARD family for almost 20 years, Jamaican singer extraordinaire DERAJAH is a major figure in Kingston music scene. He is the bridge between the old and new generations, passing the knowledge from the elders to the youths. We are delighted to present his latest effort in collaboration with A-class studio band The 18th Parallel: ‘PROSPERITY’. A showcase album of 6 songs with dub versions produced between Geneva, Switzerland and Kingston, Jamaica. With the expert touch of mixing maestro Westfinga, the 11 tracks of ‘Prosperity’ are sonic masterpieces, timeless and innovative.

In between the raw and brutal sound of 80’s Jamaican rub a dub and today’s sophisticated and polished modern sound. Derajah's raw and emotive vocals paint vivid pictures of struggle and resilience, carrying a profound message of social consciousness and resistance against oppressive forces, while The 18th Parallel's ultra-solid riddims create a rich tapestry of sound that will transport you to the heart of roots reggae. With its impeccable production quality, ‘Prosperity’ captures the essence of reggae's golden era.

This groundbreaking album is a testament to the enduring power of music to inspire, uplift, and ignite change.

The story towards the creation of this album also needs to be shared. As Fruits Records members were in Jamaica on tour and to record their first projects, they crossed Derajah paths a couple times without getting a chance to work together. But this was enough to set a strong foundation to a relationship that goes way beyond the musical side only. A few years after this meeting, one phone call only was enough to start the process. The rest is pure magic! Spontaneity, trust and loyalty became the guidelines for the creation of this gem, which stand out of time and space, and aim to carry on its path anyone seeking for knowledge, love and prosperity.

So This Is Christmas is a compilation of Coloured Vinyl, Limited Edition 13 christmas tracks released as LP on 26 Nov 2021. So This Is Christmas includes a.o. the following tracks: “De Staat - Let It Snow”, “Miss Montreal - Being Alone At Christmas”, “Elske De Wall - Last Christmas, One Last Time”, “Pete Philly - Have Yourself A Merry Little Christmas” and more.

Cogan Has Been Part for Many Years of Parisian Collective House of Underground With Whom He Played Records All Over the French Capital as Well as the Country's Main Cities Clubs and Festivals From North to south.

He Recently Joined the Collective and Label Friendsome as a Resident to Take His Career to Another Level, Releasing His First Solo Wax : Power Source EP.
This Ep Is an Extract of His Live Performance, Which He Has Been Working on for Almost a Year, and Will Be Shown for the First Time at Badaboum on September 9th 2023 as Part of Friendsome's 5th Anniversary Party. We Will All Discover a New Side of Cogan's Work, Being More Known for His High Energy House Music, This Ep Takes Us on a Ride of Acid Techno With 90's Rave Inspirations. a Music That Will Not Let the Dancefloors and Audiences Restful !

Opening Up "Softly" on the Track for the Hackers Will Get You Into the Vibe of the Whole Ep, Before Taking Off on the Banger for the Racers. Track 2 and 3, Being for Gamblers and Farmers, Conclude This Beautiful Ep to Keep It Engraved in Your Mind Until the Next Party! Enjoy the Ride......

French Psych-JAZZ-Soul-FUNK original soundtrack for initial soft erotic drama from 1973, later re-edited into "Sex Revolution" hardcore! "Jeu de Dames, la libération des femmes" (1973), a film by director Christian Lara, is a vaguely subversive charm flick that won't be remembered for a long time. An amusing detail, however, is that Georges de Caunes, father of Antoine de Caunes, the famous French TV personality, plays the lead role alongside Danielle Palmero. It's just one of a number of naïve films that, without being erotic, is sufficiently olé-olé that it failed to find a place in theaters on the traditional circuit. Faced with this commercial failure, the unscrupulous producer at the time, anxious to save his investments, decided to re-edit the film so that it could be screened in the X-rated circuit. He rechristened the film "Sex Revolution" in a more racy style, inserting more hardcore scenes to appeal to fans of the genre. Although Georges de Caunes is no longer credited on the poster or in the credits of "Sex Revolution", he finds himself, in spite of himself, promoted to lead actor in a porn movie, much to the delight of his son Antoine de Caunes, who is still dreaming 50 years later of finally being able to watch this forgotten masterpiece of the 7th art. The film seems to be a dud (pn: the author haven't seen it), but as for the music, Jean Claudric is particularly inspired and offers us one of the best French jazz funk soundtracks, which would not blush at the comparison with the best of the genre, such as Michel Legrand's "Un homme est mort", or Jean-Pierre Mirouze's "Le mariage collectif", previously released by Born Bad. Four short tracks, one with pyschedelic touches, the secomd more funky, the third a bit soul-jazzy, the fourth a French typical melancholic-melodic one makes a hot 7"-EP.

Even as a little boy, Johnny Cash has a feeling he was going to be famous one day. It wasn’t the kind of premonition he could go about telling people. They’d have thought dreams of fame and riches pretty far removed from the Cash’s barely-productive 40-acre cotton farm in Arkansas. Especially since Johnny had no idea how he was going to make his mark.

Johnny left the farm to go into the Air Force — and in his travels he acquired first, a wife — and secondly, a guitar. Assigned to Germany and forced to leave his wife behind, Johnny found a faithful companion in his guitar. The boys in his barracks seem to like his “pickin’ and singin'” and gradually the plan for a career began to take shape. He would be a singer — a country singer.

When he got back from service, Johnny was not so modest about his plans for the future. He let his Memphis friends know he was going to be a singer — a good singer, a famous singer — a singer who would revolutionize country music. No matter how long it took — he was determined!

As it happened, Lady Luck inclined her face toward Johnny almost immediately. His releases on the Sun label were instantly acclaimed, and in 1956, one year after Johnny Cash launched his recording career, he was named the most promising country and western artist of the year in four separate polls.

After the success of “I Walk the Line” as a simultaneous C & W and popular hit, it was indicated the course Johnny’s career should take. Though always identifying himself as a singer for the country fans — a favorite entertainer on the Grand Ole Opry — Johnny Cash with “Ballad of a Teen-Age Queen” came to be a top selling artist in the pop recording field.

Almost reluctantly, Johnny evolved a pop-county style in arrangement and instrumentation, evident in such hits as “Guess Things Happen That Way” and “The Ways of a Woman in Love” to supply the demand for Cash records by fans of both types of music. It is ironic that Johnny Cash caused more of a revolution in pop music than in country music, as was his aim, by being one of the first C & W artists exposed on national “general entertainment” TV shows; and the first C & W artist to capture the LP market with one great release (Sun 1220).

Johnny Cash — in his voice, looks and demeanor — carries a certain aura of “specialness.” He is a very dramatic figure — tall, muscular, with blue-black hair. He looks the part of a folk singer — a 20th century wandering minstrel. And his fatalistic style, both in composing and singing, has a quality of monotone, but of “emotional monotone” that defies analysis, but which is genuinely powerful.

Johnny Cash is one of those persons endowed with an exceptional talent which has to express itself. And being expressed, his talent has been uniquely recognized and applauded by many loyal fans, who will enjoy this reminiscent album of the songs which to date are landmarks in the career of the one and only Johnny Cash.