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The Isley Brothers “Knowledge is power. I’m a witness to that. Our parents wanted us to have a complete musical education. They exposed us to everything, classical to country, standards, show tunes.” Ronald Isley, Mojo Magazine, 2000 The Isley Brothers have delighted audiences since the 1950’s and are celebrating their eighth decade in show business. Morphing from their roots in gospel and doo-wop through funk, rock and then, finally, into slow-jam R&B, the Isley Brothers remain one of the most fascinating groups of all time.
This album contains some of the most life-affirming music ever recorded: Ronald Isley’s keening yelp offering strength and sensitivity as it is supported by brothers Rudolph and O’Kelly. Our collection picks up their story in 1969. By this time, they had been recording for 12 years for many legendary labels, from RCA, to Atlantic, to Motown.
The brothers decided to go it alone on their own label, T-Neck. The repurposed Isleys broke onto the scene with the US R&B No.1/Hot 100 No. 2, ‘It’s Your Thing’. The album of the same name was a Top 30 smash and the group’s decision was vindicated. ‘It’s Your Thing’ marked a meeting point of influences: Sly Stone, James Brown, gospel and one-time group member Jimi Hendrix, laying the template for the Isleys’ next decade, from the gritty rock covers of Givin’ It Back to the era-defining ‘3 + 3’ (with the formal addition of the two younger Isleys, Ernie and Marvin, plus brother-in-law Chris Jasper).
After the 1972 release of ‘Brother, Brother, Brother’ (featuring the classic ‘Work To Do’) T-Neck moved to CBS leading to their first Platinum-selling album (1973’s ‘3+3’). Produced with Malcolm Cecil and Robert Margouleff, ‘3+3’ was practically prescribed to every soul boy in the UK (witness Wham’s cover of ‘If You Were There’). For the Isleys to take their old R&B hit, ‘Who’s That Lady’ and turn it into hard-rocking psychedelic soul was a blazing statement of their
intent. Their version of Seals and Croft’s pretty ‘Summer Breeze’ became one of their biggest hits, with Ronald and Ernie stamping their authority on the ballad. A period of phenomenal success followed. For every standout ballad (‘For The Love Of You’, or ‘The Highways Of My Life’), there was strident, take-no-prisoners political funk - as typified by ‘Fight The Power’, a US R&B No. 1 in 1975.
It was written by Ernie on the same day as another of their greatest moments, ‘Harvest For The World’.
This collection is a beautiful overview to the group, a most fabulous re-introduction to old friends. This era is affectionately known by the Isleys as the ‘gold and platinum years’ - one listen and you will understand why.

Soundway’s telescope to forgotten and lesser known musical realms extends to Argentina on a brand new, triple vinyl compilation, Síntesis Moderna: An Alternative Vision Of Argentinian Music 1980-1990.

A digital rewilding of computer and synth powered music, dripping with an impressive variety of influence, from Italo disco, electro-funk, post punk, tango, ambience, jazz-fusion, Afro-folk and techno pop. The record is a cultural document of a musical decade transformed after the lifting of restrictions of English language music post Falklands War, and the end of Argentina’s military dictatorship.

Emanating from a ‘prehistoric’ existence near the end of the last millennium, Andy Votel and his slightly older college mates were once best recognised in Mancunian clubs and bars as teenage vinyl nerds and bum-fluffed battle rappers under the collective name Violators Of The English Language (which in acronymic form explains Andy’s own exotic pen-name).

As steadfast supporters of the 1980s / 90s Brit-core rap scene coming out of London, the multicultural Violators’ Mancunian accents were perhaps a bridge-too-far to secure dream job contracts for humble labels like Kold Sweat and Music Of Life. An unlikely constructive meeting with Gang Starr’s DJ Premier (while Andy helped out at a radio station), plus playing warm up DJ sets for countless US rap heroes might have temporarily added inspirational fuel to the fire, but after an active period combining graffiti, rapping, scratching, obsessive record digging and beat making into their daily operations, adulthood eventually began to rear its unwelcome head.

A decade later, Andy Votel and his digging skills would begin to provide direct sample material for the likes of Madlib, Mos Def, Jay Z, Nas, Dr Dre, Ghostface Killa and Action Bronson, amongst others, and the Violators’ black book of breakbeats and catalogue numbers soon began to feed a same-butdifferent rap beast.

For a project that has taken thirty years, it would be totally inadequate to call the formation of Hypocritical Beatdown Records a lockdown-project. There’s a deep history and psychology in these records by Violators Of The English Language and their spin-off groups Magnets (Rap Group) and ProVerbs, that combines stage-fright, loss, pride, creative-schizophrenia, racial inequality, surrealism, personal politics, brotherhood, artistic-constipation, better judgment, love, anti-love, soul searching and much more.

As well as Andy Votel taking care of both production and part of the microphone duties, some might recognise fellow MC and solo recording artist Figure Of Speech as a prominent voice here. The trio of Magnets (Rap Group) sees Andy also joined by local B-Girl legend Jeni Chan aka Penny Chew, and rapper and DJ Benjamin Hatton who has previously recorded with Kid Acne, The Mongrels and Sheffield’s Invisible Spies’ long-running squadron. Widely respected visual artist Rick Myers (now living in Massachusetts) also contributed scratches for many of these recordings via file sharing and custom dub-plates to keep the Violators’ authentic line-up intact, as well as galvanising the crew’s semi-reluctant art-school roots.

Extra production credits for the label also go to Sean Canty from Demdike Stare, and the late great Dan Dwayre aka Black Lodge (Mo Wax) who sadly passed away during the completion of these recordings. The members of Violators Of The English Language who you’ve not yet heard of will quickly make themselves known as the needle drops on this long-mooted debut vinyl release.

ONE OF THE BIGGEST JUNGLE TRACKS OF ALL TIME GETS NEW REMIXES & A PICTURE DISC!

Does this track need any introduction? Since the original release on London’s Dee Jay Recordings way back in 1995 Babylon is one of those rare tracks that doesn’t seem to date.

Andy C, founder of the iconic Ram Records & arguably the worlds most in demand drum & bass DJ, sighted Babylon as one of his favourite ever D&B tracks. The track still regularly features in his
sets some 27 years after its initial release!!

Over the years this genre defining track has been reworked by some of the scenes all-time greats; Dillinja, Trace, Bladerunner, DJ SS & Ray Keith, the latter two names featuring on this visually
stunning repressing with carefully remastered inclusions of their versions.

The success of this track made Splash aka Undercover Agent one of the most sought-after names in jungle / drum & bass and was the launchpad from which he instigated his own Juice & Splash label imprints.

The artwork for this picture disc has been reproduced with kind permission from the original Dee Jay Recording sleeve artwork for Babylon and proudly features both the Dee Jay Recordings and Juice Recordings logos.

Alongside those very high value classic Ray Keith & DJ SS remixes come two brand new remixes!

Ego Trippin, is both a popular DJ on today’s D&B circuit, and under previous guises was one of the original artist signings to the Juice / Splash labels… Who better to breathe new life into this classic track? This 2022 Remix brings all the flavours of the original & injects a new energy for today’s audiences.

Deadly Silence is a new artist head hunted by Splash himself and entrusted to bring a new take on his legacy music, providing yet another exclusive unreleased version to this incredible package.

This picture disc is extremely limited. We’re expecting this to sell out as soon as it goes on sale. Act fast to be one of the few to own this exquisite collector’s item.

Over the better half of a decade, Time is Away, the London-based duo of Jack Rollo and Elaine Tierney, have made tender and heartfelt transmissions through countless mixes, sound works and radio. Exploring deeply human themes of memory, persistence and resistance using an assemblage of source material, the duo's unique mode of storytelling culminates in Ballads, a new suite of songs and, significantly, their first officially licensed compilation.

From the opening notes of Horvitz Morris Previte Trio's jazz romanticism to Gilles Chabenat and Frédéric Paris's lively reimagined standard, the haunting vocal seance of Tanto Pressanto and the mesmerising swirls of The Unthanks, Yuko Kono and Rachel Bonch-Bruevich, the spirit of Ballads roams through generations of affectionate songwriting and conjures images both candid and surreal. The voice of poet and longtime collaborator Christina Petrie appears briefly and contemplates the "sighs and replies… the space between verses" of the Ballad, its beauty, its place in our lives. What is the Ballad but a reflection of our soul? "Perhaps I'll wander in search of it", she bittersweetly concedes.

At the suite's cusp is an alternate version of David Lang's 'Just (After Song of Songs)', a thirteen-minute meditation on devotion which featured in Paolo Sorrentino's Youth (2015). The track's universal themes of faith and desire radiate throughout and elucidate Time is Away's peerlessly precise yet gossamer touch.

Wau Wau Collectif's second album, Mariage, is instilled with a newfound sense of purpose. Expanding upon the inspirational themes of their acclaimed 2021 debut, Yaral Sa Doom (Educate The Young), this long distance collaboration from musicians in Senegal and Sweden's Karl Jonas Winqvist is an even more stylistically expansive affair. Joyful children's songs collide with fuzzy guitar solos and thumping hip-hop beats. Shimmering synths lift off from the plunky percussion of the balafon and versatile sounds of the 22-string kora. Familiar voices from the first album return with more explicitly political lyrics, while the music feels both rhythmically dense and sonically weightless, flowing from one spellbinding moment to the next. For Mariage, band members from each country were inspired to include a wider array of instrumental flourishes unique to their cross-continental collaboration. "Yay Balma" revolves around the cycling riffs of Jango Diabaté's xalam guitar, as this song's fuzzy tones and soaring sax solos open side two with a bang. "Pitchi Goubidi" provides a stark contrast, with the kora played like a harp and Gilbert Badji's gravelly lyrics about "the bird of the night" disappearing into dubbed-out chamber pop. Winqvist's omnichord hovers back into focus on "Yonou Natangue," a free-floating jam that maintains the messages of Wau Wau Collectif's debut, promoting youth education to address the social issues facing contemporary Senegal: "Peace is the better wealth / The way to wander."

The Person is back on the dancefloor and she brought the delicious Australian version of a good old Italian recipe - ITALOZ DISCO. Mouthwatering rhythms spiced with everyday hustle, cosmic boogie and the extra dose of synthesizer! Changing the Meatballs for Oddballs to worship the Magic $ properly. Sull' alto lato (aka on the B-Side) we're changing the Oddballs for the Mothballs as the one and only Hysteric warms up the magic ragout in his unique steam-powered kitchen. Now go to work!

You still need to be convinced? Take these great lines by Patrick:
"Magic $" beams into the discotheque direct from deep space; a shimmering body of squelching bass, nebulous pads and snapping percussion which hosts Minna's bewitching vocals. The arch delivery and vintage sequences flirt with kitsch, but that playful genius particular to The Person pushes this into wonderfully wonkier territories. Basslines climb, keys collapse and the whole thing chugs and bubbles through a flawless arrangement. We thought they didn't make them like this anymore, but we were wrong. Stepping in on remix duty, renowned (Moth)baller Hysteric turns out a treatment that's worth a million bucks, boosting the bottom end with an acidic sequence, supercharging the percussion and punching in some strange sampler fun to guarantee utter club chaos.
Every superhero needs a theme song, and "The Person" sees Minna step away from the dancefloor to deliver a synthetic ballad for lucid dreamers everywhere. Jamming on top of a malfunctioning Jomox, Minna channels chimes, piano and a gentle chug into the classiest chord progression this side of Mike Francis. Closing cut "Go To Work" gives us neon lights and nighthawks as The Person indulges in a little Antipodean electro, proving once and for all that Australians Do It Better.

After almost a year waiting for the records, we finally present to you our new 7”, a new collaboration between Ojah and Hada Guldris.

The A side contains the track “Time To Be Ready”, featuring jazz singer Hada Guldris on vocals, who delivers wonderful melodies and harmonies paired with a strong message in the lyrics. It was recorded a few years ago at the same time as their previous collaboration “Life Is Better When You Smile” that came out on this label in 2017 (ALDBS7004).

On the B side we find the track “Dub To Be Ready”, a trippy and introverted instrumental dub version full of effects and modulations, mixed live by Ojah on his analog board.

‘Happiness, Guaranteed’ is about the cyclical nature of our modern dissatisfaction. It’s a brief dive into the frustrations our desires bring in our attempts to reach a level of contentment. Each song explores the pursuit of happiness within our relationships, our work, and our wealth all whilst finding ways to be content with what you have whilst balancing a desire to grow. Having come off the back of touring our first record Shadowboxer we were keen to get back in the room together and start writing new material. Traditionally we had taken the approach of writing sketches alone and sharing them with each other in the studio. We wanted to shake this process up and decided to rent a house, set up our instruments, and play freely together with no expectations, we did this over a couple of months. A lot of the music we made during those sessions felt like new territory for us and a move in the right direction. One of the first songs we landed on was MORE, which is based around a character disillusioned by their desire for consuming possessions. It’s a tongue-in-cheek exploration into how we’re sold happiness with what we can buy, something which we all really resonated with at the time -filling our apartments with furniture, buying gear, and settling back down into a post-tour life. Don’t Wait was another important piece of the puzzle. It’s a song that reckons with a break up and greeting the great unknown. It was a more joyous moment in the record, touching on the freedoms of growing up and having a better understanding of who you are and what you want in a relationship. The Trouble with Us was a similar exploration but focused more on the pain and frustration of a relationship ending. Throughout the record there’s this desire to arrive, to reach what we’ve been promised in life, a sense of completion and happiness.

Charly Records presents THE BEST OF THE YARDBIRDS The Yardbirds blend of blues, rock and pyschedelia paved the way for heavy rock… The definitive introduction to one of the UK's most successful and influential groups of the Sixties. This comprehensive band overview draws on the hugley important Giorgio Gomelsky recordings that defined the sound of The Yardbirds during their pivotal period 1963 through 1966. The distinctive and groundbreaking blues style of Eric Clapton features on half these tracks, whilst Jeff Beck and his pioneering brand of swaggering, ear-bending, psychedelic rock takes lead guitar duties on the rest. The compilation features the group's hits from the era, including the top 10 singles “Shapes Of Things”, “For Your Love”, “Still I'm Sad” and “Heart Full Of Soul”, as well as “Stroll On” from the soundtrack to the cult 1960’s film ‘Blow-Up’ scored by Herbie Hancock. Part of a new and lavish “Best of” series highlighting the key artists in the Charly Records catalogue.

Nico Santos
Nach seinem erfolgreichen Release des Albums „Nico Santos“, das u.a. Hits wie „Better“ mit Lena, „Play
With Fire“ und „Like I Love You“ mit Topic enthält, folgt nun der Re-Release als Vinyl. Inklusive der
Single „Running Back To You“ mit DJ Megastars Martin Jensen und Alle Farben, sind insgesamt 5 neue
Songs enthalten.
Streets of Gold
Mit seinem Megahit „Rooftop“ schoss Nico Santos im Jahr 2017 sprichwörtlich durch die Decke. Schon
nach kürzester Zeit wurde der Top 5-Track für mehr als 400.000 verkaufte Einheiten und 75 Millionen
Streams in Deutschland und Österreich jeweils mit einem Platin-Award ausgezeichnet. Und auch für die
im Juni 2018 veröffentlichte Nachfolgesingle „Safe“ konnte der 26-jährige Singer/ Songwriter Gold von
unseren österreichischen Nachbarn entgegennehmen. Nun erscheint sein Debütalbum „Streets Of Gold“
als um drei exklusive Bonustracks ergänzte Neuauflage erstmalig als schwarze 2LP Vinyl Edition!

Folk Implosion's fan favorite album is available on cassette for the first time! They say there's always something special about the first time and this record is that first time for the Folk Implosion. The band left the acoustic guitars and fragmentary sketch modus operandi of their earlier cassette behind to focus on an eccentric version of home studio craft, held together by a few cheap microphones (including a Radio Shack PZM) and a Tascam cassette 4-track recorder sequestered under the eaves of a 3rd floor, Cambridge Massachusetts double-decker house apartment. Wood floors and Christmas lights were as much a part of the vibe as an Ampeg VT 40 guitar amp and a small chord organ. The duo would wait until the downstairs neighbor went to work in the morning and then would play until the tunes snapped like a high-pitched snare drum. The setup would close down just before the neighbor came home from work, keeping the peace long enough to see the project through to completion. Once tracked, the band snuck into Fort Apache studios with Tim O'Heir (producer of Sebadoh's 'Bakesale' LP) early one morning, freeloading off the Sebadoh sessions that were set to get going that afternoon. Tim mixed the songs through a very hi-fi Neve board in a matter of hours with the Tascam sitting right on the giant board like a tugboat keeping time with an oil tanker. The duo hoped that the spirits of ancestors like The Troggs, Devo, Al Green, and The Bee Gees would be pleased with the scent of tribute that arose from the ashes of the pyre. Today, they are pleased to see the Slaps and the Sputniks on view again nearly 30 years later. Tracklisting: 1. Blossom 2. Sputnik's Down 3. Slap Me 4. Chicken Squawk 5. Spiderweb-Butterfly 6. Had To Find Out 7. Better Than Allrite 8. Why Do They Hide 9. Winter's Day 10. Boyfriend, Girlfriend 11. Shake A Little Heaven 12. Waltzin' With Your Ego 13. Take A Look Inside 14. Start Again

Re-mastered from the original master tapes.
180 gr vinyl pressed by Optimal in Germany using the Metal Mothers from Pallas.

Facsimile reissue using the original photo by Jean-Pierre Leloir.
Double insert using an original color photo by JP Leloir.
Each record has been visually checked to prevent defects.

In its October ‘58 issue, the title carried by Jazz Hot magazine was: »Revelation at the Chat Qui Pêche. The spirit of jazz (which some thought was dying) is sparkling with life in the Donald Byrd Quintet.« And indeed, on its first appearance at the Cannes Festival in July (the Jazz Festival, not the other one), the Donald Byrd Quintet brought the house down. Its members were hardly the Who’s Who of jazz, however. People vaguely knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins had played bass with them, and that pianist Walter Davis Jr. had been with Charlie Parker before he was 19. As for Art Taylor, if he’d already enjoyed a career longer than that of his colleagues, it hadn’t yet brought him recognition beyond a small circle of cognoscenti. Only Bobby Jaspar – who’d shone at the Club St. Germain – was famous with the Parisian audience. At the beginning of 1956, he’d decided to try his luck in the United States; J.J. Johnson had hired him, and then Miles Davis (for a brief spell) before Donald Byrd brought him into his own group. After appearing in Cannes (in the sun) and Knokke-le-Zoute (a much smaller audience) for almost three months, the Donald Byrd Quintet settled down for the autumn in one of the capital’s top jazz spots, the Chat Qui Pêche on the Rue de la Huchette. »In that tiny room,« wrote Frank Ténot, »where the owner used to bump into the soloists by accident when she was serving her customers, the music they played was hot, and always surprising.« To crown a tour that had been extremely satisfying for everyone, a concert at the Olympia theatre was organised (there were gigs there called “Jazz Wednesdays”). Byrd and Co. took things very seriously, even though they preserved the relaxed approach that their (relatively) long association now permitted: "La Marseillaise", and "And The Angels Sing" are both present in the introduction to Parisian Thoroughfare played by the two horns. The latter then went on to imitate other horns, those of the cars on 52nd Street ... However, when it came to "Stardust", it was with all the seriousness in the world, almost in meditation in fact, that Donald Byrd improvised over the backing provided by just Walter Davis Jr. and Doug Watkins. Bobby Jaspar, of course, was marvellous. If he showed a marked obedience to Sonny Rollins, he still preserved, intact, the virtues of sobriety that prevented him falling into the trap of serving up torrents of notes in pieces taken at a rapid tempo ("At This Time", for example). During the exchanges on "Formidable", you’d be forgiven for saying that he gets the better of Donald Byrd. As for the complicity that reigned between the members of the rhythm section, it gave the formation a homogenous character that was very rare in a quintet. One can’t thank François Postif enough for taking the risk to release this concert at the time. Now, almost half a century later, one

Widely-loved electronic maestro Gigi Masin returns with ‘Vahinè' – a mini album of beautiful and distinct music that is unmistakably his, sounding better than ever.

Masin always pours his heart into composing, but here it takes on a potent new level of heavy emotion – as it’s a tribute to his late wife, who sadly passed away last year.

“There is a Tahitian dance called ‘Aparima’. It consists of graceful, sinuous and fascinating movements, which tell you stories and legends about love or tradition. The ‘Vahinè' are now dancing, the Tahitian females, with smiles and gestures that could be symbolic or descriptive but are always gentle, harmonious, charming. I was watching this documentary, it was almost 4 in the morning, but I couldn't sleep; I was in front of the television for hours, my wife had passed away the day before, and I was watching hands and arms swaying.

I told myself that maybe it’s so, at the end of the road it’s possible to realize dreams, and I’m sure that she is finally able to dance like never before, and is able to move without any impediment, with no suffering, free to make all the movements that she couldn't make for so long, turning to me with a smile and a wink. So, in the clouds, you will discover and see an extraordinary 'Vahinè', because she will move and dance and smile until the end of time.”
Gigi Masin

A future-retro dreamscape where stripes of early evening sun pour through partially closed venetian blinds; kalimba, piano and steel pans meet on the incredibly evocative ‘Marilene (Somewhere in Texas)’.

The Balearic/Italo house heart of ‘Barumini’ throbs throughout a celestial epiphany, whilst ‘Shadye’ is a sun blinded ambient mirage where angelic voices and electric guitar intertwine, before more heavenly music ensues on the trance-like ‘Malvina’.

A heart-wrenchingly beautiful evocation of transitioning to the other side, ‘Valerie Crossing’ is Gigi’s compelling and inspirational take on death, with a vivid evocation of something spiritual, existential and metaphysical. His exemplary approach shows decease not as a cause for despair, but a philosophical and poetic exploration of where souls go, when they leave their earthly bodies.

Masin closes with ‘Vahinè' – a twitchy, levitational piece of sublime deep techno, which transmits high strength vibrations of powerful emotions. On both this track, and the album of the same name, there’ s no pseudo intellectual ambient posturing with cod academic angles tagged on; This is music of real substance, coming from a real place. It’s saturated with feelings, but turns mourning into affecting art, and even a beacon of hope.

Sarathy Korwar returns with new album KALAK. The follow up to the politically charged, award-winning More Arriving is an Indo-futurist manifesto - in rhythmic step with the past and the present, it sets out to describe a route forward. It celebrates a rich South Asian culture of music and literature, which resonates with spirituality and community, while envisaging a better future from those building blocks. Recorded at Real World studios with meticulous production by New York electronic musician, DJ and producer Photay, who translates these communal rhythms and practices into a timeless and groundbreaking electronic record. There"s a spirituality and warmth at play in the polyrhythms, group vocals and melodic flourishes. The KALAK rhythm is the fulcrum upon which the 11-track project balances. After an intense lockdown induced period of reflection and meticulous note-making, Korwar boiled this down to the circular KALAK symbol which he then presented to his band before recording began. With the symbol projected on the walls in order to de-code and improvise around, Korwar had utter faith in the musicians he"d assembled and conviction in the concept.

Es ist gar nicht so selten, dass ein Künstler seine eigenen persönlichen Erfahrungen und sein Wachstum durch die von ihm veröffentlichten Platten ausdrücken kann, aber nur wenige Elektronikkünstler haben das so gefühlvoll getan wie Gold Panda.
Der Albumtitel The Work ist sowohl eine wörtliche Aussage über die Platte, für die er sechs Jahre gebraucht hat, als auch, wenn man tiefer gräbt, eine Offenbarung darüber, dass er (der Titel) genauso viel darüber aussagt, wie er jetzt geschafft hat an diesem Ort anzukommen. Das Ergebnis ist ein reichhaltiges Album, das eine sichere Ruhe und das kreative Wunder eines sich weiterentwickelnden Künstlers ausstrahlt.

"Playing The Angel | The 12" Singles" enthält in dieser als Deluxe-Box Set aufgelegten Sammler-Edition insgesamt zehn 12" Vinyl-Schallplatten, die die Single-Auskopplungen aus dem im Oktober 2005 veröffentlichten elften Depeche Mode-Studioalbum "Playing The Angel" repräsentieren, und die neben den eigentlichen Titeln "Precious", "A Pain That I'm Used To", "Suffer Well" und "John The Revelator/Lilian" auch umfangreich mit B-Seiten, Remixen, Instrumental- und Dub-Versionen sowie anderen Aufnahmen aus dem Album-Umfeld ausgestattet sind. Die zehnte und letzte Platte, speziell für diese Kollektion zusammengestellt, offeriert B-Seiten und Remixe, die seinerzeit verstreut auf CDs und Maxi-Singles erschienen waren.Jedes Box Set innerhalb dieser Reihe enthält die Singles jedes einzelnen Depeche Mode-Albums auf hochwertigem Vinyl, wobei die remasterten Tonspuren direkt von den ursprünglichen Mastertapes stammen. Die spezielle Box Set-Grafik wurde von den jeweiligen Original-Alben inspiriert, während für die 12" Singles selbst die damaligen Cover-Artworks herangezogen wurden.

Bubbling up from the psychedelic tar pits of L.A., Frankie and the Witch Fingers have been a constant source of primordial groove for the better part of the last decade. Formed and incubated in Bloomington, IN before moving west to scrap with Los Angeles’ garage rock rabble, the band evolved from cavern-clawed echo merchants to architects of prog-infected psych epics that evoke a shift in reality. After a stretch on Chicago/LA flagship Permanent Records the band landed at yet another fabled enclave of garage and psychedelia - Brooklyn’s Greenway Records, now working in tandem with psych powerhouse LEVITATION and their label The Reverberation Appreciation Society, the groups latest effort is dually supported by a RAS / Greenway co-release. After years of searching for the specific alchemy that would tear open the cosmos, they found the formula with the addition of Shaughnessy Starr on drums in the summer of 2018. They began a new cycle and tripped into tip-on double gatefold territory, flesh-ing out their lysergic impulses into a monolith of sound that closes in from all sides. The band reached new levels of grandiosity and utilized every minute to manifest their psych-soul Sabbath in four dimensions, spilling psychic blood on a populace ready and eagerly waiting. Yet, as expansive, inventive, and immersive as any studio album might be, the band is born for the stage. As their live prowess caught the ears of some legends in their own right, the band practically lived on the road last year with stints opening for Oh Sees, Cheap Trick and ZZ Top. Along the way the constant pulpit of the stage would form ZAM into a transformative experience while plotting their next permutation of space and time. That transformation, Monsters Eating People Eating Monsters... (repeated infinitely,) rises like a Phoenix from the road tar, van exhaust, and ozone crackle of amps in heat. Once off the road it was recorded in just five blistering days. Though, while the tour may have hammered the album into shape and brought about a wind of change, those changes stretched to the band itself as well. In the wake of the tour the band’s longtime bassist Alex Bulli made his exit, with the majority of bass parts on the album being written and played by multi-instrumental magician Josh Menashe with occasional pitch in from songwriter Dylan Sizemore. Stripped to their core the band has created their most ambitious work to date, an album that takes the turbulence of ZAM and crafts it into a beast more insidious and singular than anything in their catalog. Moving forward, the band has taken on new blood. Completing their lineup, Nikki Pickle (of Death Valley Girls) will join them working the new album out roadside on bass. A new horizon of Frankie and the Witch Fingers draws near and we’re all set to follow them into the unknown.

Finnish metalheads have always been puzzled by the question of which is our country's first heavy metal band. Svart Records gives the answer. It's Hard Rock Sallinen, which was founded in 1974, and so far we haven't found an older Finnish metal band. If you have better information, you can contact the history and UFO department of our record company. In any case, the band's founder and bass singer Seppo Sallinen says he is looking into the band's background. -"Even though Hard Rock Sallinen was our country's first heavy band, it wasn't my first band. I already played with my nephew Juke Salline in various gigs in Ostrobothnia, covering Led Zeppelin, Cream and other contemporaries with the band Jew's Harp", When Hard Rock Sallinen was founded, the source of inspiration for the line-up moved to the heavier department, when Rainbow, Deep Purple, Uriah Heep, Mountain, Aerosmith and Cactus were selected as influences. The band started with the name Sallinen, but the words hard and rock were soon added to the name. This was simply due to the fact that the band was mistaken for a hit band based on the name at early gigs. After facing an aggressive and drunken crowd, the band changed into Hard Rock Sallis to make a clear difference to the music taste of the trampers. It took a long time before the band signed their first recording contract, when in the early 1980s the Finnish Zero Records signed the band. The debut album Heavy Metal Symphony began to take shape quickly and the album recorded at Esko "Suikki" Jääskä's Botnia Sound Studio still evokes emotions in its creators. -"Contemporary critics and the public liked the record, musically it is on point, but of course the overall sound is a product of its time. Of course, it's great that the album is being re-released after 40 years, because the original edition has become a valuable collector's rarity", Seppo Sallinen says about his feelings. Why then did Hard Rock Sallinen stop already in 1984? The background is a familiar story: the band worked excellently, but in Finland at that time there were no managers, proper gig sellers or really any infrastructure that could have pushed heavy rock forward. The result was only frustration and the band simply disappeared from the world map.

Monophonics cordially invite you to attend the grand re-opening of the once thriving, once vibrant establishment, the legendary Sage Motel. A place where folks experience the highs and lows of human existence. A place where big dreams and broken hearts live, where people arrive at without ever knowing how they got there. It's where folks find themselves at a crossroads in life. So join us as we examine where the stories are told and experiences unfold.....and sink into a soft pillow of soulful psychedelia.....down at the Sage Motel.

Ron Carter and Richard Galliano decided to risk intercontinental
collaboration for the second time after 1990, when they recorded their
acclaimed album "Panamanhattan" in Paris
Here the French accordion master, whose fingers fly over the keyboard with
acrobatic ease and can make the instrument weep in melancholy or rejoice with
joy. There the American bass wonder, whose deeply tuned strings enhance more
than 2,500 (!) recordings and are among the cornerstones of the complete artistic
works of Miles Davis, Eric Dolphy, Archie Shepp, Herbie Hancock, Aretha Franklin,
Roberta Flack and Antonio Carlos Jobim. Two who have already gained hero
status in their own worlds and can actually only lose when they transgress into
each other's terrain. "Believe me, there is nothing more real than to go on stage
with a gambler," Carter raved about the refreshed liaison with his Gallic buddy.
The two rediscovered the once lost central thread in March 2016 at Jazz Week in
Burghausen as a short intermezzo during a joint appearance with the WDR Big
Band. The provisional climax was then the recording made in Theaterstu?bchen
in Kassel on October 29. Galliano recalled: "Before we got going, I said to him:
"Can you believe it? Twenty- seven years have passed, we are still the same and
I'm still playing the same accordion. To which Ron just responded: "And we have
still same fingers!" With these 20 nimble tools, the two protagonists of the
musical joint venture interact without fear of contact. Neither remains in his
accustomed position. Like two intrepid mountaineers, they balance over a
yawning abyss, perform daring maneuvers and clear the way for each other time
and again. The longer the intimate wanderings of subtle nuances and sensitive,
dancing elegance last, the greater the familiarity seems to be. "Richard really
seizes every rhythmic and harmonic chance," the American marveled about his
French partner. And he replies gallantly: "Ron still looks so young, fresh and
elegant like three decades ago. And he is still enthusiastic, straightforward and
comes straight to the point." An often thoughtlessly used image rarely fits better
than on this very special evening: Ron Carter and Richard Galliano create a
universal musical language, whose vocabulary consists of notes. Risk- free
enjoyment

On her debut album Alone at Last, Tasha celebrates the radical political act of being exquisitely gentle with yourself. For years, the Chicago songwriter has dreamed hard of a better world_she's worked with the local racial justice organization Black Youth Project 100 and has been on the front lines at protests around the city. But as she returned to the guitar, an instrument her mother first taught her to play when she was 15 years old, she began exploring the ways music can be a powerful force for healing. Across Alone at Last's seven tracks, Tasha sings mantras of hope and restoration over lush guitar lines inspired by the stylings of Nai Palm and Lianne La Havas_both artists who, like Tasha, opt for a sweetness in their playing over the masculinized bravado that often accompanies the electric guitar. Alone at Last is a powerful talisman in a demanding world, and a reminder that kindness toward the self can help unlock the way to a world a little more livable than this one.

We, the label, asked Ben Wallers (ex-Country Teasers) to write a press release for his new album. "Press Release And Give Me The Disc as Peter said to Murphy said to Daniel said to Ash said to J said to the drummer subs please check name was it Martyn Atkins? No... scratch that please Roger, there's nothing funny about not knowing all the members of Bauhaus. Announcing the new album by The Rebel, yay! Wow! Fucking hell, great! How long is it this time? Oh it's getting on for the optimal 45 mins. Fit on side of a D90 but go bit wobbly near end of SA90. I am listening to my copy on vinyl record, it's much better than tape. That's the intro. Once upon a time there was a man/boy a sort of immature Peter's Pan type pan-pipe type who COULDNT WOULDNT grow up a bit like Keith Richards and who er where was i? The Vagina Museum is very near Maureen Paley's art gallery where if you hurry you can see some INCREDIBLY GOOD paintings/art. Anyway once upon a time it was february 2021 if that's last year or 2020 if it was the one before that, i've lost count, honestly this Covid thing is SO confusing isn't it? Anyway. Ducking fomestic crisis as usual reached boiling point again and i fucked off didn't i, did a runner, off to Turkey wiv a lih-ooh bih-uh ragarahn me ed, first of all 2 weeks on George's spare mattress, then 2 weeks in Merlin's magical tower, then a week in a fucking EasyJet Hotel with no windows, then at last my new exile retreat, Congreve Ho. Meanwhile Dad got me a new recording device the size of a VHS tape, the Tascam D-POO 8 S-E-X multitrack. Quality, oscar mike golf!! Urine for a surprise Listener/s! Ural b sayin "Y could ont he ov get 1 of these B4?" Well! Paid off the fuckin mortgage, didden Eye listenerz. Paid the fucking mortgage of. Dad said "Lets get you a reward Son! Anything name it!" Well i said ... can you fix it for me to touch Britney's hat? The one she wore for the Milkshake video. Great album. Recorded it in exile, from where i write this press release and give me the tape Kevin Haskins." And he did. Tracklist: 1. Nemo To Self 2. I’m Wok Inner Gdn.C 3. A Cretian Build-Up 4. Lays A Seamless Transition 5. A Bottle Of Timotei Hair-Shampoo 6. Long Way Off 7. Teulleodd Hapys (Dave 1) 8. I Aint Gonna Lie To Ya 1 9. Bisgeden Am Swper Eto (Dave 4) 10. Put Your Fucking Glasses On So You Can Fucking See 11. Happy Families (Dave 3) 12. Pyfgosycfs 2/Aquafauna 13. Dave Two Ukraine Nil 14. Nemo Self 2

Stretch and enjoy a.k.a. The Last Ronin returns to AKO150 Arcade with two beautifully crafted jungle tracks.

Changeling VIP starts off with a rare groove rift with sound system samples that build up before the drop comes that will get you going on the dance floor.
Roll the dice is another track that rolls and keeps getting better as it goes along with pads, subs, brakes, and deep baseline with the iconic sample ‘roll a dice’ do you know what movie this is from?

Available again. Note price increase. The contributions of the late Detroit producer James DeWitt Yancey –better known to the world as J Dilla to the world of hip-hop can't be overstated, and nowhere is his legacy more apparent than his work as a member of Slum Village. A founding member of the trio, (Alongside rappers T3 and Baatin) Dilla provided the group's distinctly esoteric, free-wheeling sound, built around winding basslines, quirky drumbeats, subtle low-end frequencies, and classic jazz & soul samples. Against the backdrop of Dilla's rich production, T3 and Baatin's free-flowing style of rhyming would also earn wide critical praise, leading to comparisons as the successors to A Tribe Called Quest. (A label they themselves have rejected.) It's on Slum Village's 1997 studio debut, Fan-Tas-Tic Vol. 1, that all these elements come together in the most proficient manner. An instant hit among Detroit's underground hip-hop scene, the album seemed to combine all the best elements of the reigning alternative and gangsta styles of hip-hop into one cohesive style that was a hit among critics. Fan-Tas-Tic's influence extended far beyond Detroit, as its sound heavily influenced the sounds of D'Angelo, Erykah Badu, and The Roots just to name a few. (Roots drummer ?uestlove has even declared that: "Hands down this album birthed the neo-soul movement.") Ne'Astra Media Group now presents the album reissued on vinyl, for the first time in several years. Every wobbling bass note of J Dilla's production has been preserved and every freestyle line of T3 and Baatin has been re-created, to maintain the legacy of a late-90s rap classic, and the legend of one of hip-hop's greatest beatsmiths.

We would like to present Paloma's seventh release: Tom feat. Rose - Lose Yourself EP
Throughout club music history, the combination of vocals and groove remains a vital element. Countless anthems have prompted singing on the floor, and have raised arms in the air. There might have been times where vocals mattered less, but right now they are probably more needed than ever.
Tom & Rose are well aware of all that, and they were willing to place themselves and their music in a tradition of dancefloor euphoria, universal messages and also a bit of bittersweetness.
Tom is a DJ, producer and mix engineer, and also a booker and resident at Paloma. Rose is an Irish singer and producer. Together they created these tunes, a testament to better times gone and ahead."How Wrong" is the sound of heartbreak, albeit locked in a UKG tinged sureshot that swings back and forth with ease between jubilant piano bliss and monolithic bass weight, and it kicks like a mule. "Lose Yourself" is both an ageless acid slam and a joyful paean dedicated to all nights that should never end. There is a pumping dub too,
equally designed to be the soundtrack to blowing a nocturnal kiss to everyday sorrows.
Also included: complementary remixes by Eluize and Massimiliano Pagliara that come up with a different take, but a similar vision.
Enjoy the music, and stay safe!

We are delighted to bring out this timeless classic techno track signed by the brilliant MARINE BOY with his ATOMIX crew, the fabulous "S.T.K. (Eternal)" released in 1991 (!) (prices on discogs are ridiculously unsane) and which has never been repressed until this day. This record represents for us all that techno has best, an incredible dynamic, sounds coming from space, when techno rhymed with FUTURE. We even think that this record also strongly influenced what later became breakbeat, led by the legendary Prodigy. Huge honor, Marine Boy also gratifies us with an unreleased from 1991 "The wonder of science" which could appear easily (& sound a million times better !) in any techno & trance mix in its noblest form today. Cherry on the cake S.T.K. (Eternal) is remixed by the great HECTOR OAKS in a version that will delight today's techno dancefloor as well as by HARDROCK STRIKER & JOE LEWANDOWSKI in an italo techno version. The sound is more than perfect since we had the chance to get the master tapes. This 12 inch is a concentrate of rage and madness, capable of reducing any dancefloor to ashes. A wonder.

"The tape is bleak, quite literally – the entire narrative is subsumed by the slate-grey oppression of winter, seemingly every scene soaked by perpetual torrents of North West rain. In fact, you'll probably never find a better evocation of the foul weeks before the respite of Christmas sparkle; those late November days of frozen, sodden-coated darkness on the silent walk home from work." – Stonecirclesampler.

Hailing from Brighton, InTechnicolour are a riffy, groovy, rock band with a knack for creating a colourful song or two. Formed in 2015 through a want to play loud music through slightly broken amps, the basis of the band was created. Comprised of members from the likes of Delta Sleep, LUO and Broker the five-piece are a fully-formed band of technically gifted musicians, cutting loose and playing music that’s about as far removed from their day jobs as it’s possible to get – and they are doing it better than a good portion of their contemporaries. Landing somewhere between the slack desert-groove of Kyuss and Karma to Burn, the band combine deeply satisfying riffs with a dynamic vocal style, which calls to mind the sounds of Baroness, Gojira and Mastodon.

MorMor is the artist project of the multitalented writer, producer and performer Seth Nyquist. From a young age he would sit in front of the stereo in his mother’s house in Toronto, fast forward to a particular section in a recording, and immerse himself in those precious seconds. As MorMor, Seth works in not so dissimilar a fashion: He has an idea for a sound, and he works intensely until he’s created it. The first song he released was a tangy synth pop anthem called “Heaven’s Only Wishful”, which arrived in early 2018 and was met with critical acclaim. Following two acclaimed EPs—Heaven’s Only Wishful in 2018 and Some Place Else in 2019— his debut album Semblance is by turns contemplative, jittery, wistful, gentle, and generous. His distinctive voice—a svelte tenor that sits comfortably higher in pitch—leaps out of the speakers, alighting over the sturdy bass lines, guitar riffs, and drums he played himself. The album pursues difficult truths about love and growth and relationships, uncovering feelings that Seth couldn’t have revealed in any other way. Semblance offers a beguiling feeling the listener chases but never quite pins down. A record to put on again and again, reliving the moments.

"Hello, It's You" is the Canadian pop punk outfit, Bearings, second studio album following their debut album, 2018's Blue In The Dark.

'Ella Wishes You a Swinging Christmas' reissued on limited edition solid white
180g vinyl, comes with its own unique sticker. "This is a delightful Christmas jazz
issue featuring Ella Fitzgerald in prime form. Fitzgerald clearly had a fun time
recording such songs. These concise performances (all under four minutes) are
charming, making this one of the better Christmas jazz sets." - ***** Scott Yanow,
AllMusic

The Trashmen's defining moment, 1963's "Surfin' Bird," is perhaps the
ultimate lightning-in-a-bottle record
Their first true studio recording, it captures the group's interminable energy and
mastery of live performance. But it also is the culmination of spirit and
experiment that turned it into something new and, from the perspective of 50
years, unique.
This collection shows them to be variously a first- rate surf band, a great
protopunk outfit, solid rockers with the raw essence of the earliest originators of
the sound, and adept enough to work in some comedy and country. This scope of
ability and interest is probably the true basis of the band's following now. But
"Surfin' Bird" has more tenacity than other bands' entire better- performing
catalogs, and with it, the Trashmen created a work that is arguably today the
most relevant release from that storied decade.

Chris Crack is back with a brand new album called Growthfully Developed. Fans and critics alike are already calling it the Westside Chicago native’s best album in the last few years. Pitchfork said “Crack’s latest album is a delicate balance of fresh and familiar from one of the funniest and most thoughtful rappers working today.” With song titles like “Pussy Better When You Eat It First” and “Shitting With The Door Open,” it’s no wonder why he’s said to have the best song titles in the game. Whether it’s heavy hitting 808’s, soul loops or head nodding boom bap Chris laces up the variety of beats with style and finesse. Praised by media outlets such as Billboard and Rolling Stone as well as by iconic hip hop artists such as Earl Sweatshirt and Madlib. Like the album title suggests, Chris has fully grown and developed to reach this point in his career and critics will believe that Growthfully Developed be looked back upon as a pivotal album in his prolific career. The 18 track effort is set to drop on vinyl this fall via Chong Wizard Records in partnership with Fat Beats. TRACKLIST: 1. I The Buck They Couldn’t Break 2. Chicago Don’t Make Industry Plants 3. Therapy Don’t Work, Try Drugs 4. Jordan Never Did That Move 5. Pussy Better When You Eat it First 6. Whoa Dair 7. Celebrate Everything Until Further Notice 8. Uknowwhereihadderat 9. Ate Ball in My Sock 10. Illuminati Phone Numbers 11. Shitting with the Door Open 12. Nine 2 Fives Make You Fake 13. Beer Just Bread in a Can 14. A Blunt Forced This Trauma 15. That Hate Us Because We’re Magic 16. Air Mattresses and Machine Guns 17. Weed is an Expensive Habit 18 . No Shortcut to Enlightenment

Combining elements of indie-pop, punk, emo and just a little bit of 2009 vintage math-rock for good measure, adults are four pals trying to find their way in a disintegrating world. for everything, always reflects on how we look after ourselves, one another and people in our community; it’s a riotous collision reminiscent of Johnny Foreigner, The Beths or Trust Fund, bursting with crunching guitars, speedy drums and yelping dual vocals. The first single all we’ve got // all we need is a song about individual torments: “having a breakdown on the Megabus to Bristol", and about collective support: “mutual aid, building strong networks of community resistance to the hostile environment, to food insecurity, to the homophobia and transphobia by the state and about trying to look after one another”. the secret song to end side one deals with loss, guilt, rejection and anxiety, exploring the travails of a messy breakup and the masculine urge to bury everything deep down despite the fact that that only hurts people more. tfl has a lot to answer for is a “reflection of drinking way too much in yr mid 20s, staying up too late, burning yrself out and how it impacts on yr relationships and mental health”. Recorded and produced by Rich Mandell (Happy Accidents, ME REX) over a couple of weekends in the summer of 2021, for everything, always is the constantly naive, but optimistic, outlook: always striving for a better future in the face of modern society’s bullshit. lts are a noisy pop band desperately clinging on to the ghosts of 2009. Their songs are a silly, joyful, and occasionally sad, look back at the tail end of their 20s, a way to grapple with breakups, parties, alcohol and loneliness, and looking hopefully into the future. They’ve released singles with Art Is Hard and For The Sakes Of Tapes, and self released an EP (The Weekend Was Always Almost Over), which was subsequently released on vinyl by Caballito records. adults are based in south London. Faster, messier and sillier than they have any right to be, adults are hopeful and joyous, fighting through the existential angst of youth to try and find their place in a world on the brink, as grown ups, as adults. Like the octopus on the artwork says: “we're all we've got, we're all we need”. // “a cacophony of clattering drums and belt-it-out choruses Los Campesinos! or Martha would be proud of evidence that adults seem to have stumbled into something rather marvellous” For The Rabbits // “There’s an ample buoyancy from the vocal work, and the guitars are crunchy, though I like how they’re a bit tempered here; think of Martha having to play at your local library…hooks, but just a little more subdued. There’s just something about this that radiates joy” Austin Town Hall // Tracklist: A1) I Had A Little Snooze & Now I Will Probably Never Arrive At Yr House A2) Janine (JG Forever) A3) All We’ve Got // All We Need A4) Tfl Has A Lot To Answer For A5) 2 Sqs A6) The Secret Song To End Side One B1) Things We Achieve B2) The Nod B3) The Pitch And Yaw Of The 6.12 To Brighton (Plain Wrong) B4) Between Buildings B5) Killing & Dying & Something More Positive B6) The High Watermark (Thoughts Of U) B7) Wasn’t Like That

Debut album from Cardiff indie-pop collective Live, Do Nothing (ex-members of Rosehip Teahouse/Deadlines). Hiraeth & Loathing explores feeling disconnected from your childhood self. The record questions if there is value in re-discovering this inner child, or if we’re better off eschewing the trappings of nostalgia and living for our current reality instead. Since their debut Ep, 2018’s “Oh Dear”, a collection of scrappy indie-punk songs from the original four-piece line-up, the band has doubled in size (and is still growing!). Countless numbers of new instruments have been added to the mix, including: vibraphone, toy piano, violin, flute and saxophone. Recorded by Thomas V. Westgård at Sail Loft Studios, mixed by Bob Cooper at Chairworks Studios and mastered by Leon West at After Life Studios. Track listing: The Hardest Band In Cardiff Presents...; The Real Animals Of...; Mouse Death; All Wax No Honey; Novelty is the Best Policy; A Legendary Run; Hopelash; Delusions Of Ganja; Oso Jugoso; Too Late In The Day; Chromatic Delight

Thirty years into their career, Canadian indie rock perennials Sloan return
with their 13th album - Steady
Featuring the band's trademark harmonies and every band member taking lead
vocal duties on at least a couple tracks, there's no better musical commonwealth
than this quartet. You'll hear the power pop rockers like "Magical Thinking" and
"Keep Your Name Alive" to the moving, stripped-back introspective numbers like
"Simply Leaving" and "Human Nature", and the psychedelic trips of "Panic of
Runnymede" and "Close Encounters." It's hard to think of another band that has
stayed as consistent for three decades musically and still has all the same band
members for their entire career. Thirteen albums later, slow and steady wins the
race.

At any given time, you’re likely to find Jim Lauderdale making music, whether he’s laying down a new track in the studio or working through a spontaneous melody at his home in Nashville. And if he’s not actively crafting new music, he’s certainly thinking about it. “It's a constant challenge to try to keep making better and better records, write better and better songs. I still always feel like I'm a developing artist,” he says. This may be a surprising sentiment from a man who’s won two Grammys, released 34 full-length albums, and taken home the Americana Music Association’s coveted Wagonmaster Award. But forthcoming album Game Changer is convincing evidence that the North Carolina native is only continuing to hone his craft. Operating under his own label, Sky Crunch Records, for the first time since 2016, Lauderdale recorded Game Changer at the renowned Blackbird Studios in Nashville, co-producing the release with Jay Weaver and pulling from songs he’d written over the last several years. “There's a mixture on this record of uplifting songs and, at the same time, songs of heartbreak and despair—because that's part of life as well,” he says. “In the country song world especially, that's always been part of it. That’s real life.” Lauderdale would know: He’s been a vital part of the country music ecosystem since 1991, when he released his debut album and began penning songs for an impressively long roster of country music greats. “When I was a teenager wanting to be a bluegrass banjo player, I never would have imagined that I would get to work with people like Ralph Stanley and Robert Hunter and George Jones and Elvis Costello and John Oates,” he muses. “Getting to work with them inspires me greatly to this day, and I know it always will.” From rollicking guitar riffs on “That Kind of Life (That Kind of Day)” to the slow, sweet harmonies of “I’ll Keep My Heart Open For You,” Game Changer shows off Lauderdale’s ingenuity as a singer, songwriter, and producer—while reestablishing him as one of Americana’s most steadfast champions..”