Search:big 200

Dies ist Apollo Browns allererste Beat-Kollektion, die er 2007 zusammenstellte, ein paar Jahre bevor er die Red Bull Big Tune Championship in Detroit gewann und dann bei der Mello Music Group unterschrieb. Die Kollektion war in den letzten Jahren im Büro der Mello Music Group so beliebt, dass wir uns entschlossen haben, sie für jeden als einmalige Pressung auf Vinyl zur Verfügung zu stellen. Über 30 Tracks von Apollo Brown. Gepresst auf Gold und Cream Splatter farbigem Vinyl.

This new opus marks a major comeback for Samuel Sanders, who made a name for himself in the 2000s with his first productions alongside Max Walder on Ghoststyle, whose track "Cyclone" was covered by big names such as Ken Iishi, Marco Bailey, Frank Biazzi, Technasia, Marco Carola ... but also on the Invasion label with "Dependance" (N.E.W.S label) and among others on the Kevlar "Illusion" label, where this EP received great support from Dave Clarke, Carl Cox, Chris Liebing ... He also produced alongside Manu Kenton on the Kentek, Frenchtek and Fanatix labels. With N.O.B.A, he returned to production, choosing Vibes Addikt for his comeback.

The A-side "Do You Like ... 2024" is a remake of a track he and N.O.B.A created in 2008 on Reaktion, in a much more Hard Techno version with a spirit all its own.
Side B is dedicated to Samuel Sanders himself and presents his new productions:
B1 "Desolation" a hypnotic spirit with a touch of Acid on the cover for lovers of this spirit
The B2 "Don't Be Afraid" is close to Hard Techno with a more clubby style for fans of this style.

One of the shining beacons of the UK post-metal scene, Bossk have steadily built up an unrepentantly loyal following since 2005. Before they reach the big 20, the band are taking this opportunity to take pause and reflect on their past and all the hard graft that has led them to become one of the most lauded bands in the genre. .4, the latest in a series of numbered releases that presents material outside the remit of Bossk’s full-length album output, is a celebration of those 20 years and provides an enticing aperitif for their 3rd album proper, to be released sometime in 2025. As is tradition with these numbered releases, .4 is not a Bossk album in the conventional sense, instead forging a more experimental path by presenting re-worked versions of some old favourites, as well as a smattering of re-recorded songs that only the most obsessed Bossk fan will be familiar with. One deciding factor that emboldened Bossk to celebrate their past is the amicable departure of vocalist Sam Marsh due to his permanent relocation to the United States. The band wanted to give Sam an epic recorded send-off and the colossal 13-minute Events Occur in Real Time provides a fitting farewell for the vocalist, who’s guttural razor-wire screams have provided tectonic shifting textures to the band since their inception in 2005. Acting as the centrepiece of .4, this is the first studio take of the song ever recorded, conceived as it was in 2008, just months before the band went on temporary hiatus.

Handpicked by Paul himself, Will of The People is a carefully curated collection of 31 tracks from Weller’s extensive cornucopia of tunes that never quite made it to one of his 9 studio albums since 2002. Here is a collection which reminds us that there has always been a parallel narrative to the main recorded output of Paul’s albums and singles. The B-Side, and the remix, is a space in which to explore, experiment, or to flex a different set of artistic muscles.
The story begins back in the autumn of 2003, when the Fly On The Wall 3LP & 3CD collection brought together a wealth of Paul Weller solo recordings that stretched back to 1991. The B-sides, 12” EP tracks, single remixes and ‘live’ recordings featured all had one thing in common, namely that they hadn’t been included on any of his hugely successful solo albums. Furthermore, in many instances, they’d become highly sought after in their original formats and were fetching significant sums from fans and collectors. Will Of The People follows up Fly On The Wall and takes the listener through a similar mix of rarities, this time spanning the period 2002 to 2021.
From covers to eclectic remixes, Will Of The People delivers a scintillating array of songs which skirt across many genres. Here you will find such gems as Paul’s cover of The Beatle’s “Birthday”, released to celebrate Macca’s 70th, and the sparkling disco-ball banger remix of Cosmic Fringes by none other than the Pet Shop Boys. It also includes Paul’s first foray into film soundtracks with the sublime “Ballad Of Jimmy McCabe” from the film Jawbone. Scattered across the tracks are appearances from the likes of Primal Scream, Simon Tong & Graham Coxon.
Will Of The People is released on triple vinyl and 3CD. The album features sleeve notes written by writer and broadcaster John Wilson.

Repress!

The publication of "Jet Sounds" in October 2000 and its subsequent release on the international market represented the turning point from the initial productions carried forward by Schema and the new course taken by the label reaching sales of 40,000 copies and still counting. It's the year 2000 and the avant-garde of the new jazz pop Italian scene is called "Jet Sounds". The debut album by Nicola Conte features nearly 20 musicians and moreover the visionary, sophisticated appeal of Nicola with a sound that has already become T . He tells a cinematic story as the images become a soundtrack for the music: Scene 1: A young woman is walking on the sea shore. She's alone, only white sand and crystal blue water by her side. It's late in the afternoon and the sun is glancing over her shoulders while a soft bossa nova fills the air. Scene 2: He's drivin' fast, there's little time left and a man to chase. Like busy spiders working a web, the beat of the big band pulses a 5/4 jazz theme. Scene 3: It's night; the park; shadows following, shadows hiding mystery? Undefined eastern/oriental sounds adrift on a pulsing psychedelic beat. What's the next move...?

EN

DJ HS is undoubtedly one of the most emblematic figures on the nightlife scene in Belgium and Northern France. With a career spanning over 35 years, he made his mark as Lagoa's legendary resident for 8 years (1994 to 2002). His unique musical style, a skilful blend of Tek, Hardtek, Electro, Tekclub and Jumpstyle, has made him an essential reference. Always passionate about his work, he sets the dancefloors of the biggest clubs and festivals alight every weekend.

We're delighted to present the very first Best Of from DJ HS (The Anthems) on Serious Beats Classics, featuring no less than four of his best tracks on a single vinyl! These are no less than must-have classics in their respective genres. A must-have for all DJ HS fans. All tracks were composed and produced in collaboration with Frédéric de Backer (Ba-Back / Fred Baker), one of the most prolific producers of the last 30 years.

This previously unreleased Best Of is available as a limited edition. We strongly recommend that you order it as soon as possible, before it's too late...


FR

DJ HS est incontestablement l'une des figures les plus emblématiques de la scène nocturne en Belgique et dans le nord de la France. Fort de plus de 35 ans de carrière, il a marqué les esprits en tant que résident légendaire de Lagoa pendant 8 ans (1994 à 2002). Son style musical unique, un savant mélange de Tek, Hardtek, Electro, Tekclub et Jumpstyle, a fait de lui une référence incontournable. Toujours passionné par son métier, il enflamme chaque week-end les pistes de danse des plus grands clubs et festivals.



Nous sommes ravisde vous présenter le tout premier Best Of de DJ HS (The Anthems) sur Serious Beats Classics, comprenant pas moins de quatre de ses meilleurs morceaux sur un seul et même vinyle ! Il s'agit là non moins que de classiques incontournables dans leurs genres respectifs. Un "must have" pour tous les fans de DJ HS. Il est à noter que l'ensemble des morceaux ont été composés et produits en collaboration avec Frédéric de Backer (Ba-Back / Fred Baker), l'un des producteurs les plus prolifiques des 30 dernières années.



Ce Best Of inédit est disponible en édition limitée. Il vous est donc fortement recommandé de le commander dès que possible avant qu'il ne soit trop tard...

Interesting Decisions is the new album from Into It. Over It., the brainchild of Chicago, IL musician Evan Weiss . Considered to be one of the artists at the forefront of the 2010 emo revival, this is his eagerly awaited fifth studio album, after 2020's Figure. Into It. Over It. is an indie rock powerhouse that has been enchanting audiences since its inception in 2007. The band's emotionally charged lyrics and dynamic sound have garnered critical acclaim and a dedicated global following and their current formation includes Adam Beck on drums, Matthew Frank on bass, and Joe George on guitar.

American rock band Vixen was formed in Saint Paul, Minnesota, in 1980. During its most commercially successful period from 1987 to 1992, the band consisted of Jan Kuehnemund (lead guitar), Janet Gardner (lead vocals, rhythm guitar), Share Ross (bass guitar), and Roxy Petrucci (drums). The band‘s eponymous first album was released in 1988, and reached No. 41 on the Billboard 200. As part of the Los Angeles glam metal scene, the band has been described as „the female Bon Jovi.“ Several singles reached theBillboard Hot 100, including the Top 40 singles „Edge of a Broken Heart“ and „Cryin“. While the band originally disbanded in 1992, it reformed several times and in 2018 ’Rare Vintage‘ was released. As of 2022 the band currently consists of Roxy Petrucci, Britt Lightning, Lorraine Lewis, and Julia Lage.

American rock band Vixen was formed in Saint Paul, Minnesota, in 1980. During its most commercially successful period from 1987 to 1992, the band consisted of Jan Kuehnemund (lead guitar), Janet Gardner (lead vocals, rhythm guitar), Share Ross (bass guitar), and Roxy Petrucci (drums). The band‘s eponymous first album was released in 1988, and reached No. 41 on the Billboard 200. As part of the Los Angeles glam metal scene, the band has been described as „the female Bon Jovi.“ Several singles reached theBillboard Hot 100, including the Top 40 singles „Edge of a Broken Heart“ and „Cryin“. While the band originally disbanded in 1992, it reformed several times and in 2018 ’Rare Vintage‘ was released. As of 2022 the band currently consists of Roxy Petrucci, Britt Lightning, Lorraine Lewis, and Julia Lage.

In 2012 we at Soul Junction were able to release two previously unissued songs on the Internationally renowned recording artist, Oliver Cheatham. The songs recorded in Detroit circa 1974/75 were cut under the supervision of Olivers cousin William R. Miller. “Don’t Pop The Question (If You Can’t Take The Answer)” went on to become Soul Junction’s biggest seller, selling in excess of over a thousand copies, but such is the enduring quality of the song that there hasn’t been a week gone by where we haven’t received a sales enquiry for a copy. So, after much deliberation we have decide to re-release the 45 again with a nifty 300 limited press run to hopefully satisfy this continuing demand. During the ensuing years the soulful sweet soul ballad b-side “Good Guys Don’t Make Good Lovers” has also grown in stature with collectors of this genre with many of the sales enquiries received coming from the direction of the West Coast’s lowrider scene.



Oliver Cheatham will forever be remembered for his timeless 1983 R & B hit “Get Down Saturday Night” on MCA records, which he co-wrote with fellow Detroit musician and ‘One Way’ group member Kevin McCord. Oliver’s own career began way back in the mid 1960’s when his future brother-in- law Allen Cocker invited Oliver to join his group the ‘Young Sirs’ to recorded the mellifluous “There’s Something The Matter (With Your Heart)” for Ernest and Barbara Burt’s Magic City label with Oliver now being the groups lead singer.

Into the 70’s the Young Sirs, briefly became ‘Butch & The Newports’ who under the auspices of George McGregor recorded “I’m Only A Man/Out Of My Mind” on the Black Rock label, with Butch being Oliver’s nickname. “I’m Only A man” was released for a second time on Marvin Higgin’s Grand Junction label, this time credited to ‘The Gaslight’ along with a further two releases. A subsequent Gaslight release “Just Because Of You/It’s Just Like Magic” reputedly came out on the local T.E.A.I label before being picked up for national distribution by Polydor Records. Under the guidance of influential Detroit radio DJ and record producer Al Perkins, Oliver firstly became the lead singer of the group Sins Of Satin later re-named Roundtrip and then following a further re-naming just becoming known as Oliver.



Following on from “Get Down Saturday Night” Oliver continued to score chart success with “SOS”, “Celebrate Our Love” followed by two duets with Jocelyn Brown “Turn Out The Lights” and “Mind Buster”. Further chart success came in 2003 when Oliver featured as a guest vocalist on Room 5’s UK No1 hit “Make Luv” which incidentally sampled Oliver’s “Get Down Saturday Night”. Oliver at this juncture was residing in England and had previously recorded a garage version of the old standard “Our Day Will Come” with the London based band, Native Soul. Sadly, Oliver passed away in November 2013.

Radio Slave's 'Venti' is released on Rekids on May 17th and is a twelve-track celebration of Matt Edward's most prominent alias' history. Starting life as a series of singles that began in 2023, 'Venti' sees Edwards explore lower tempos, House, Disco, and the Pop reinterpretations that birthed the moniker back in 2001.

From Venti’s opening track onwards, a glistening piece of piano-led house that's become an anthem at Sean Johnston and the late Andrew Weatherall's lauded ALFOS parties, it is clear that Edwards is keen to celebrate the past but through the lens of now. A Radio Slave favourite, 'Wait A Minute', is updated to include a powerful vocal from Nez. Kylie's 'Can't Get You Out of My Head' - a track that kicked Radio Slave into the modern dance music consciousness is reinvented as an Italo-inspired cover featuring Michael Love Michael delivering glorious vocals. 'Wild Life' and 'Wake Up', another two tracks that, as singles, dominated house and disco sets of the great and good in 2023, feel simultaneously fresh while paying homage to the origins of House - message-heavy vocals and all. A cover of Audion's 'Mouth to Mouth' and Edwards' tribute to Terry Hall, the Fun Boy Three reimagining 'The Lunatics' are keen displays of Radio Slave's knack for taking on beloved tracks and making them his own. The lasers-set-to-stun cut-and-paste nu-disco of Radio Slave’s 'Jaws' is a muscular and timely reminder that the punch of a track lies in its feel rather than tempo, while Edward's command of dub aesthetics and unmatched ability to stretch grooves into a tension-filled journey shines through on 'New Balance' and the epic closer, 'Thirty-Six'. Never one to entirely give into the throes of the 4:4, the cinematic electro of 'Stranger In The Night' and Balearic Cagedbaby collab 'Amnesia' round out 'Venti' as the whole Radio Slave experience - as intense as it is subtle.

One of the most prolific and critically lauded electronic music artists of the past two and half decades, Matt Edwards was born in Catford, London, in the early 1970s. When acid house hit the city, Edwards was deep in the scene, and he's remained there since. Residencies at the groundbreaking Ministry of Sound and an 'unofficial' residency that has seen him become one of Panorama Bar's most booked DJs during his 15-year stint living in Berlin have provided the grounding for an enviable tour diary that continues today.

His Rekids imprint, a label that has platformed some of dance music's biggest names, has been regarded as a high benchmark for two decades with Matt as sole A&R. Collaborations with legendary artists such as DJ Hell and Robert Hood, releases for Running Back, R&S, Innervisions, Figure and more, and a remixography that simply couldn't be repeated in modern music show just how important Radio Slave is.

Recorded at Abbey Road Studios with legendary songwriter and producer Nile Rodgers, alongside the band's original producer Ian Broudie. The multi-platinum selling band released three studio albums between 2004 and 2008, scoring 9 UK Top 40 singles including two Top 10s with ‘Why Won’t You Give Me Your Love?’ and the all- conquering ‘Valerie’, the latter a triple-platinum hit for Mark Ronson and Amy Winehouse. Today they return to share the fruits of their extended time away. The Big Decider comes into view as an album of stark significance to the band, completed by Dave McCabe (guitar, lead vocals), Abi Harding (saxophone, vocals) and Sean Payne (drums, vocals). Written against the backdrop of a decade and a half’s worth of lived experience, it is born under the weight of family tragedies, lives lost and created, reality checks, and home truths faced up to and stared down. Wrestled into shape under the kind of steam that only decades-long friendships - with all their messy fall-outs, make-ups, breakdowns and ultimately love - can muster, The Big Decider became the sound of water passing under the bridge, and love for music, love for each other, and love for creating together becoming the most important thing of all.

About 20 years ago, Carlos Giffoni quickly made a name for himself both as a noise guitarist and a laptop noisician upon arriving in New York (via Florida and Venezuela). His expertly curated annual No Fun Festival, as well as his No Fun label, further solidified him as a key figure in the international noise scene. The festival's success proved the formula for experimental and improvised music fests could work with the noise underground as well, but it also capitalized on the faster rate of connections being made between geographically disparate artists as a result of the (still relatively nascent) internet. Back then Carlos would play his laptop like a pinball machine, in contrast to the static stage presence of most laptop performers, and his solo music, like many others' at that time, expressed a less dark and dour vision of the implications of harsh noise. By the close of the 2000s, he had stopped doing the festival, switched gears musically to playing the lighter No Fun Acid sets, and moved to LA. Now he has re-emerged in a big way with Dream Walker, his first full-length since 2018's Vain (and only his second since 2010). Inspired by the masterful performances and diffusions he heard at the February 2023 GRM electronic music festival in Paris, particularly sets by old friends Lasse Marhaug, Jim O'Rourke, and Eiko Ishibashi, he began conceptualizing new music of his own in response, turning to synthesizers and other hardware to produce a work more firmly in the tradition of European electronic music than anything else he's done. Intended as a late night listen that evokes the edge of consciousness, with Carlos getting as close as possible to a trance state during the actual recording and mixing, each of the eleven tracks transition into one another rather than being standalone discrete pieces, forming two side-long suites that proceed like stages of a dream. Unabashedly tonal and repetitive, the glistening opener "Now Dream," the droning "Sleep Walker," and the closing triptych of "Lost in Descanso," "Sunrise," and "The Hidden Path" occupy a power electronics-ambient nexus that feels spiritually close to the Mego label. Elsewhere, "Ticking Clock" is reminiscent of Stereolab's non-easy listening vintage electronic side, while the two-part arpeggiated "Euphoria" recalls early Oneohtrix Point Never (which Carlos released on No Fun). The contrast between "One Breath"'s crackling opening and its remarkably fluid and soaring sustained synthesized chords is a distillation of the album's lingering tension between electronics' ability to project mechanical rupture as well as the organic and the infinite _or "walking between dreams," as Carlos himself puts it. Produced by Lasse Marhaug (who also mastered Carlos' first solo album, Welcome Home, back in 2005), released by Stephen O'Malley (who I remember DJing at the No Fun fest), with cover art and photos by personal friends, Carlos considers the album a family affair. But Dream Walker most of all heralds a maturation of the artist, and stands as a record that exists out of pure desire, rather than obligation or force of habit; a statement of reconnecting with music not by merely revisiting it, but by building on what's come before, both in his own work and in the music he loves. -Alan Licht, New York, December 2023

New album by Floridian death metal legends. Deicide is one of the 'big three" US Death metal bands, along with Cannibal Corpse and Morbid Angel

Following the most prolific year of his production career, Adam Beyer starts 2024 right with another standout EP, Let’s Begin’, which takes influence from the ‘90s Drumcode sound with a modern touch. Looking backwards to go forwards, the three-track work kicks off with ‘Let’s Begin’ and sees Beyer lean on faster tempos and rugged rhythms to craft a high octane, atmosphere heavy cut that hits you right between the eyes. An absolutely cracking peak-time tune that highlighted recent gigs at Blitz Club in Munich and Amnesia in Milan. ‘Computerized’ is a masterclass in dancefloor mentalism, bringing forth shades of hardcore influenced vocals and menacing synth lines reminiscent of early 2000s Frankfurt. No surprise this brought maximum vibes at Beyer’s NYE gigs in the States at Teksupport and Insomniac’s Countdown NYE event. Fresh out of the studio, ‘Red Room’ is a dreamy belter that takes in subtle hints of classic four-to-the-floor grooves reminiscent of UK hard dance, before an industrial synth section ramps up the intensity. Exhilarating stuff. “This new three-tracker is on the rawer techno tip and is an ode to Drumcode’s earlier material. It’s a take on the ‘90s sound blended with new modern elements. For this release I wanted to take the Adam Beyer techno sound from that period and bring it up-to-date. It’s dirty with a new twist, direct and to the point. This project is not a statement, rather it’s a release that was inspired by the big techno shows

We are delighted to bring you the first in the Ivan The Tolerable Archive Reissue Series, Autodidact!

Originally released on a 10” lathe cut by Ack Ack Ack Records in February 2018, this has now been remastered and repackaged, and will now be available on ltd edition khaki vinyl, with only 250 copies pressed. Here’s a bit about the record in Oli Heffernan’s aka Ivan The Tolerable own words-

“I recorded the bulk of this record over a weekend in January 2018, in the midst of a very minor breakdown that was to last for pretty much the entire year. I was living in a big house all on my own, smoking too much and not really seeing any people. Happy days indeed.
It was tracked in the back room of 97 Hambledon Road, Middlesbrough using two questionable microphones, a broken HH 100 amp, my friends drums and a Tascam DP08 (that wasn’t to see the year out, RIP 2009-2018) When I was done, Robbie came round and recorded a ton of violin drones through my amp and i remember feeling like I’d gone into a trance a few times, then Ben recorded his parts at home and sent them over. Mixed and mastered the same night - I released it myself a month later as a lathe cut 10”and then promptly moved on. I listened to the album for the first time in years to write this sleeve note and I think it is possibly the closest I’ve ever got to capturing the sound I hear in my head - I love how grubby and cavernous it sounds, claustrophobic and swirling - the track Autodidact I have recorded 4 more times since this version and I’ve never got that sound back. I’II keep trying.’’
“Oli Heffernan, June 2023’’

To celebrate saxophonist/flutist Henry Threadgill’s career retrospective at the 2024 Big Ears Festival, Pi Recordings is proud to release both Volumes I & II of This Brings Us To together in a limited-edition double vinyl set. Featuring his long-running band, Zooid, the two volumes were originally released in 2009 and 2010 even though the music was all recorded at a single session. They were his first releases in eight years, longer than any hiatus in his career, a time that allowed for the gestation of what was to become Threadgill’s signature intervallic system of composition and group improvisation that ultimately won him a Pulitzer Prize for his work In for a Penny, In for a Pound. The original albums were voted the #2 and #5 best releases of the year by The Village Voice Jazz Critics’ Poll, about which NPR said “The jazz world is coming to realize that Threadgill is a true idiosyncratic great…. This Brings Us To staggers and lurches and creates dissonances, and it still brings the mad-scientist funk.”

This Brings Us To - Volumes I & II by Henry Threadgill & Zooid, released 19 April 2024.

This version of This Brings Us To - Volumes I & II comes as a 2xLP.

The vinyl is pressed as a opaque disc. Another vinyl is pressed as a opaque disc.

Repress!

Everyone's favourite virtual band with 2 more of their biggest tracks on very limited 7" vinyl.

"When I moved to Minnesota from Pittsburgh in 1994 all I brought with me was a big duffle bag and an acoustic guitar. I was 19. In that bag was a Radio Shack cassette recorder. I spent that time writing and filling up a tape with new songs. A few years later I earned enough money from my restaurant jobs to buy an old reel-to-reel 4-track recorder and some other instruments which allowed me to slightly expand my production ideas. More songs kept flowing and I made my self-titled album adding drums and bass. Over the next few years, as things grew, those sparse cassette songs fell on the back burner until 2002 when I decided to re-record a bunch of them at a higher quality. To keep with their original vision, I asked engineer Tom Garneau if he could record me playing them live in his living room. We left the production minimal and rough which I think serves these particular songs well. No overdubs. Just solo acoustic guitar and vocals. I called the album Simple Life. It was originally just a limited release. Until now. I hope you enjoy it."

The nineties are often described as a hedonistic decade, a party decade when all arrows pointed upwards. In music culture, first things that comes to mind is the peak of club music, big-mouthed and drunken British rock bands, extreme Black Metal, and the high-energy "Scandi-rock" - a scene that the Euroboys members themselves were part of, in bands like Gluecifer, Team Spirit, Fair Fuck and Turbonegro. "Soft Focus" broke out from the noise after the nineties, and started introducing new vibes in the rock genre. With inspiration from the music scene that grew out of Laurel Canyon and California in the early seventies, Euroboys came up with a rock album that was soft on the edges, warm sounding with bittersweet melodies. Today, names like Fleetwood Mac, Eagles and David Crosby are of course gods on the retro sky, but it wasn't like that in 2004. This first time on vinyl reissue of "Soft Focus" has been remastered from the original tapes, and also features two bonus tracks that resurfaced in the process, mixed and released for the first time.

Santana's seventh studio album Amigos remains one of the most important records in their discography. David Rubinson was hired as producer to create a tighter, more up-tempo, and vocally focused hit record. The jazz influences of ""Welcome"" and ""Borboletta"" were replaced by a new sound with a stronger R&B and funk feel with Mexican folk influences. The album became one of their biggest successes, reaching the Top 10 in many countries. The single ""Let It Shine"" put Santana back in the Top 10 of the Billboard Top 200 and ""Europa (Earth's Cry Heaven's Smile)"" became one of the most popular songs of the band's career. Amigos is available as a limited edition of 1500 individually numbered copies on purple coloured vinyl, housed in a gatefold sleeve and includes an insert.

"

Amigos by Santana, released 12 April 2024, includes the following tracks: "Let Me", "Tell Me Are You Tired", "Let It Shine" and more.

This version of Amigos comes as a 1xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) Insert(s).

NOTURNALL. This is the name of this young group that, in less than 10 years on the road, is considered one of the biggest and most important bands in Brazilian Heavy Metal history. Starting in 2014, its brief, but intense history brings some legends of the so-called “Brazilian metal scene” that left their marks on worldwide renowned bands: Shaman, Angra and Project46. They also have in their line-up legendary North American guitarist Mike Orlando, who sold hundreds of thousands of album copies with ADRENALINE MOB and was listed a top 100 guitar player of all time and also a top 10 superstar of the year 2008 by Guitar Player Magazine.Iconic concerts, bold tours, thrilling music videos and guest appearances by Heavy Metal legends from all over the world, such as Michael Kiske (Helloween, Unisonic), Mike Portnoy, James Labrie (Dream Theater), Russell Allen (Symphony X, Adrenaline Mob), Michael Romeo (Symphony X), Edu Falaschi, among others, consolidate the band as a true jewel of Brazilian Heavy Metal. In 2022, after almost 2 years away from stage, Noturnall started the year with a nostalgic concert in SESC 24 de Maio, presenting classic songs. Noturnall released their fourth studio album, entitled Cosmic Redemption, showcasing the band’s best shape and also featuring as special guests: guitarist MARTY FRIEDMAN and bassist DAVID ELLEFSON (both former MEGADETH), founding SYMPHONY X guitarist, MICHAEL ROMEO, the internationally renowned prog metal drummer, MIKE PORTNOY (ex-DREAM THEATER, THE WINERY DOGS, SONS OF APOLLO), who previously toured with the band and appeared in the video for the single “SCREAM! FOR!! ME!!!”, and lastly Brazilian MPB legend, NE Brazilian MPB legend, NEY MATOGROSSO.

Cosmic Redemption by Noturnall, released 12 April 2024, includes the following tracks: "Shallow Grave", "Shadows (Walking Through) (Feat. Michael Romeo)", "Tempo Não Para (Feat. Matogrosso)" and more.

This version of Cosmic Redemption comes as a 1xLP.

The vinyl is pressed as a opaque disc.

Escape Music are pleased to announce the release date for long awaited Turkish Delight studio album titled “Volume 1" with 500 limited edition double Vinyl “Side A+B Snowy White colour and side C+D Skull Gold colour” all will be numbered 1-500! ‘Turkish Delights Volume One’ celebrates the absolute joy that Escape Music co-owner Khalil Turk has for the kind of music he loves so much and has spent the last thirty and then some years championing. Indeed, his enthusiasm for a new band or a new song today is no different from when I first met him in the mid ‘80’s. I lost count of the number of phone calls he made to me when I was working for ‘Kerrang!’ magazine, where he would excitedly tell me ‘Dave, you just have to listen to this! It’s brilliant! You’ll love it!’ before playing me something over the phone – new and often obscure - he had picked up on his international record buying trips. Nine and a half times out of ten he’d be right!! Khalil’s quality control has been such that the record label he co-founded with fellow melodic rock enthusiast Barrie Kirtley in 1995 remains reliably and solidly in place all these years later. Escape continues to deliver monthly doses of quality hard rock, melodic rock and AOR to a very devoted following. Khalil had first entered the music business in the early ‘90’s, effectively as a talent scout for the German owned Long Island label. However, after the company folded, Turk felt that, rather than look at opportunities with other labels, he had the enthusiasm and now had rather more knowledge of the inner workings of the music business to put something together himself alongside the equally enthusiastic and astute Kirtley. We’ve seen hundreds of solid album releases from a huge variety of acts (including AXE, Steve Walsh (Kansas), John Elefante (Kansas), Lonerider, Shadowman, Alliance, Pinnacle Point, Mass, Heartland, Grand Illusion, Overland, Last Autumn’s Dream, Punky Meadows, ColdSpell, Chris Ousey, Ozone and Touch, to name just a few) as well as reissues (from Aviator, Sugarcreek, Jon Butcher Axis, Franke And The Knockouts, FM, Tantrum and Surrender, Zon, Hanover Fist etc) ever since. So here we are, over twenty-five years since that first Escape Music album appeared hot off the presses (Heartland’s ‘III’ album in November 1995, if you’re asking) and this collection of songs, personally chosen by Khalil, reiterates that pure joy he still possesses for the music he is utterly immersed by. With material from the pens of Steve Overland (FM), Chris Ousey (Heartland), Steve Morris (Export/Ian Gillan/Heartland), Mick Devine (Seven), Steve Newman (Newman/Compass) and Tommy Denander (Radioactive) there’s also a list of musicians culled from Khalil’s contact book that, quite frankly, is VERY impressive. Just a few names appearing on ‘Turkish Delights’ to throw at you include Ronnie Platt (Kansas), Billy Greer (Streets/Kansas), Billy Sheehan (Talas/David Lee Roth/Mr Big), Gary Pihl (Sammy Hagar/Boston/Alliance), Gene Black (Device), Jeff Pilson (Dokken), Jeff Scott Soto, Chris Childs (Thunder), Mike Slamer (City Boy/ Streets/Seventh Keys/ Steelhouse Lane) Joel Hoekstra (Whitesnake/Joel Hoekstra’s 13), Mark Mangold (American Tears/Touch/ Drive, She Said), Mark Stanway (Magnum), Mat Sinner (Sinner), Marco Mendoza (Thin Lizzy/Whitesnake/Journey), Ricky Phillips (The Babys/Bad English/Styx), Robin Beck, Robin Mc Auley (Grand Prix/MSG), James Christian (House Of Lords) Steve Overland (FM), Jerome Mazza (Pinnacle Point/solo), Terry Brock (Strangeways) and Vince DiCola (‘Transformers’/Thread/Storming Heaven). This is a cast of thousands. Well, it at least appears that way! It’s a very interesting package and, as Khalil would surely say, you’ll love it! - Dave Reynolds / August 2022. Produced by Khalil Turk for Turkish Delight Productions / Mixed and Mastered by Stephen DeAcutis at Sound Spa Studio, New Jersey, USA / *Mixed by Andy Zukerman / *Mastered by Fredrik Folkare / **Mixed and Mastered by Brian J Anthony (Vinyl Only) - Artwork Design by Hugh Syme (Rush/Bad English/Elton John) - Turkish Delights: The Musicians are: Ronnie Platt: Lead vocals (Kansas) / Billy Greer: Lead vocals (Kansas/Seventh Keys/Streets) / Jeff Scott Soto: Lead and backing vocals (Talisman/Yngwie Malmsteen/Trans-Siberian Orchestra) / Robin McAuley: Lead and backing vocals (Michael Schenker Group/Grand Prix/solo artist) / Chris Ousey: Lead vocals and Backing vocals (Heartland/Ousey-Mann/Virginia Wolf/Ozone)/ Jerome Mazza: vocals (Pinnacle Point/Steve Walsh) / James Christian: Lead and backing vocals (House Of Lords)Terry Brock: Lead vocals (Strangeways/Kansas) / Lee Small: Lead and backing vocals (Phenomena/Lionheart/Shy) / Mick Devine: Lead and Backing vocals (Devine Intervention/7/solo artist) / Ronnie Romero: Lead and backing vocals (Rainbow/Michael Schenker Group) / Tony Harnell: Lead vocals and backing vocals (TNT/Westworld/Starbreaker/Morning Wood) / Steve Overland: Lead and backing vocals (Lonerider/FM/Shadowman/solo artist) / Robin Beck: Backing vocals (solo artist) / Matt Sinner: Bass (Primal Fear/Sinner) / Joel Hoekstra: Guitars (Whitesnake/Trans-Siberian Orchestra/13) / Mike Slamer: Guitars (City Boy/Streets/Seventh Key/Steelhouse Lane) / Jeff Pilson: Bass (Foreigner/Dokken) / Gary Pihl: Guitars (Sammy Hagar/Boston) / Steve Morris: Guitars and Keyboards (Heartland/Lonerider/Ian Gillan Band/Shadowman) / Gene Black: Lead Guitars (Tina Turner/Rod Stewart/Device) / Billy Sheehan: Bass (Mr Big/The Flood/Talas) / Tracy Ferrie: Bass (Stryper/Boston) / Ricky Phillips: Bass (Baby’s/Styx/Bad English) / Rocky Newton: Bass (Michael Schenker Group/Lionheart) / Josh Devine: Drums (One Direction/Levara/Devine Intervention) / Takeaki Itoh: Bass (Pinnacle Point) / Jim Kirkpatrick: Slide guitar (FM/The Flood/Bernie Marsden Band) / Chris Childs: Bass (Thunder/Lonerider) / Steve Mann: Keyboards (Michael Schenker Group/Lionheart/Ousey/Mann) / Vince DiCola: Keyboards (Rocky4/Staying Alive/Transformers/Storming Heaven/Thread) / Mark Mangold: Keyboards (Touch/American Tears/Drive She Said) / Alessandro Del Vecchio: Keyboards (Revolution Saints/Edge Of Forever/Hardline) / Stevie D: Lead guitar / Marco Mendoza: Bass (Whitesnake/Thin Lizzy/Journey) / Jimmy Nicholas: B3 (Faith Hill/Kenny Loggins/Van Zant/Jim Peterik/Juice Newton) / Tommy Denander: Guitars and keyboards (Radioactive/Steve Walsh/Robert Hart)) / Brain J Anthony: Bass (Steve Walsh/Lonerider/Robert Heart/Robbie LeBlanc) / Brian Tichy: Drums (Whitesnake/Dead Daisies/ Foreigner) / Mark Stanway: Keyboards (Magnum/Grand Slam) / Robin Beck: Backing vocals (solo artist) / Nikolo Kotzev: Lead guitars (Brazen Abbot/Robin Gibb) / Fredrik Folkare: Guitars (Unleashed/Heartwind) / Mikael Rosengren: Keyboards (Heartwind) / Steve Newman: Guitars/keys/backing vocals (Newman/Compass) / Eric Ragno: Keyboards (Baby’s/Joe LynnTurner) / Fredrik Bergh: Keyboards (Talk Of Town/BloodBound) - CD Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good. Vinyl Track listing: Intro; Live Again; Crazy Days; Bad Enough; Never Will Forget; Harder They Fall; Get Out Of Here; Believe; Hangman Blues; State Of Mind; Belly Of The Beast*; Holy Water; Sweet Serenity; Take It Away; Bad To Good; The Year 2000; Frozen Rose

Anjunabeats is pleased to announce the self-titled debut album from JODA, aka Jono Grant and Darren Tate. JODA are a fresh musical pairing with shared DNA. Both together and apart, Jono Grant and Darren Tate have been there, done that and bought the vintage synth gear to celebrate.

Grant is one-third of Above & Beyond who, over the course of a two-decade career, have established themselves as one of the biggest electronic groups in the world. Eight studio albums (including one as vocal trance group OceanLab and two acoustic reworks), 17 compilation albums, a film score and nearing 100 singles speak to an output as varied as it is prodigious.

Their label Anjunabeats is home to a bustling community of artists with over twenty years of catalogue. As a classically trained musician, songwriter, producer and hitmaker, Tate is an OG Top of the Pops-botherer. In the early Noughties, at the outset of his career, he appeared on the show three times, once with Angelic, his collaboration with Judge Jules and the latter’s wife, performing classic trance banger It’s My Turn, then twice under the name Jurgen Vries.

The following years saw more musical adventures, more Top 40 UK hits (12 in total) and more pseudonyms, including the trance-facing DT8 Project. In 2003, the pair managed to sync their schedules to work on a couple of tracks, ‘Let The Light Shine In’ and ‘Nocturnal Creatures’. Clearly, there was chemistry here. But as the pair’s respective careers subsequently took them off round the world in opposite directions, reconnecting other than fleetingly was never easy. Then in 2019 Tate returned to his trance roots and signed to Anjunabeats for his DT8 Project releases.

Omit’s in/Sec is “new,” but not new. Recorded in 2013, the masters lost in the label’s murky somewheresville that always shows up when moving. For those who don’t know, Omit is an experimental electronics artist from New Zealand’s south island who, since 1990, has released thirty-some xerographed cassettes and CDrs in the Dead C orbit for those who do. It’s not enough to say that in/Sec is an ambient masterpiece bringing to mind a John Carpenter soundtrack performed by the Hub because listening to it engineers new species. The infectious and corrupting sounds synthesize new life forms in your brain's enzymes. If you specialize in a niche too much, you are prey to predators outside, but Omit never goes for low-hanging fruit and isn't simulating anything. I can vomit a better looking face than the ones on these little fuckers eating my brain right now. In this century that flatters itself to be of drinking age, it is a queer thing we haven’t come face to face with aliens. There is a time for everything and they're all intermixed. Besides the xenobiological effects, Omit constructs your sentiment through timbral concepts that repeat and shift with minimal reference to harmony, melody, key, or mode. Streams jump and skitter, knitting tightly high and low in a dense rattling driven to the long and most plaintive tones amongst the countless gizmos (that’s including you, but not “you”). This one is for big fans of Anode/Cathode, Ikue Mori, Papa Srapa, Fronte Violeta, and Insignia refrigerators.

Diggin In The Crates (D.I.T.C.) was born out of a group of artists who began making noise in the late ‘80s and into the next decade and beyond—namely Lord Finesse, Diamond D, and Fat Joe. After well-received albums, an official, wider collective was founded that also included O.C., Big L, Buckwild, and producer-rapper combo, Show & A.G. (originally known as Showbiz & A.G.).


The crew proceeded to drop a run of sublime records, including Show & A.G.’s Soul Clap EP (1992), their full-length debut Runaway Slave (1992), followed by Goodfellas in 1995. Show & A.G.’s next project, Full Scale, arrived in 1998 and featured appearances from O.C., KRS-One, Big Pun, the Ghetto Dwellas and verses from members of D.I.T.C. including Diamond D, Big L and Lord Finesse.


In 2002 a CD version titled Full Scale LP (using the same artwork) was released with 10 additional tracks which had originally been released on various 12" singles and projects in the late 1990s. The project had never been released on vinyl in its entirety – until now.
Production on Full Scale was handled by Showbiz and A.G. except for "Time To Get This Money" which was produced by long-time collaborator Ahmed, and "Hold Mines" and "Hidden Crates" which were produced by DJ Greyboy.


The assortment of guest features doesn’t detract from A.G., a masterful emcee with a no-nonsense style that is simple but impactful. Full Scale follows the tried and true blueprint from Show & AG’s earlier classics cementing its place in hip hop history.

Standing in a Greyhound Bus station, wearing a Sylvester t-shirt and huge duct-tape-covered glasses, Baltimore ’s Dan Deacon doesn't invoke the image of a composer to the other bus riders. The two suitcases he loads under the bus, which accompany him from city to city, hold the sweat-and-grime-soaked electronics that he uses to craft his raging, maxed-out party music and light show. After 12 tours and 300+ shows in little over 2 years, the gear is beaten and battered, but the show and the energy it produces is anything but.

Dan Deacon has garnered a reputation in the underground as an intense performer and classic showman. The table top full of pedals, a sine wave generator, vocoder and casio blasting through the PA, joined by a makeshift light board with various bulbs and green skull strobe light, make his all out dance-til-you-drop performance a complete experience.

But it isn't all fancy feet and bouncy beats. Deacon is a classically trained composer with a Masters degree in electro-acoustic composition. He has released 7 albums from 2003 to 2006, but those self-produced recordings do not contain the vocal-based experimental pop that he has fine-tuned in live performance. His latest full length, Spiderman of the Rings is the first album bridging the gap between party performer and genuine composer. A mixture of his live show dance anthems, intricate instrumentals and humorous monologues, Spiderman of the Rings establishes Dan Deacon as a new type of entertainer in the contemporary underground.

96kHz - 48-bit HD Audio with digital booklet including original photography by Christopher Kayfield and liner notes by Shaun Brady.

Pianist Kevin Hays, bassist Ben Street, and drummer Billy Hart reunite for a second, scintillating trio date, BRIDGES, featuring original compositions by Hays and Hart with classics by Wayne Shorter, Bill Frisell, The Beatles, and Milton Nascimento.

Hays Street Hart, the trio of pianist Kevin Hays, bassist Ben Street, and legendary drummer Billy Hart, recorded their acclaimed 2021 debut, ALL THINGS ARE, under less than optimal conditions. The album began life as a performance in honor of Hart’s 80th birthday in December 2020, live-streamed from an empty Smoke Jazz Club in the final weeks of that grueling pandemic year. Despite those adversities, the music they created that night was spectacular enough to convince all involved that it should be released.

Two years later, the trio has reconvened, this time fully cognizant that they were going to record an album at Sear Sound Studios in NYC. The captivating BRIDGES brilliantly spotlights the unique chemistry and shared spirit of exploration that emerged fully formed on that initial impromptu session. The title succinctly hints at some of the reasons why Hays, Street and Hart work so well together: this is a trio that bridges generations, certainly, as well as a wealth of diverse experience and inspiration. But it also sums up a mutual desire to bring people together through music.

“In this world that seems to be crumbling beneath our feet,” Hays explains, “we sense the need to make allies where there might be adversaries. On the most intimate level, interpersonally and inter-psychically we set out to overcome any number of misunderstandings and adversarial situations.”

Not that there was any antagonism to overcome within the trio itself. More than anything, Hays Street Hart is a mutual admiration society of the highest order. The esteem in which the pianist and bassist hold Billy Hart likely goes without saying. The drummer was ordained in 2022 as an NEA Jazz Master, just one of the many honors he has chalked up over a breathtaking career. He began his career with an apprenticeship under the revered vocalist Shirley Horn and went on to make notable music with such luminaries as Miles Davis, McCoy Tyner, Herbie Hancock, Wes Montgomery, Jimmy Smith, Stan Getz, and as part of the quartet Quest featuring David Liebman and Richie Beirach.

But Hart is if anything, even more laudatory toward his younger bandmates. Street has been a member of the drummer’s stellar quartet for two decades, alongside pianist Ethan Iverson and saxophonist Mark Turner, a tenure that speaks for itself. As for Hays, Hart is quick to place the pianist in the exalted company of some of his iconic former collaborators.

“I’ve been lucky enough to have the chance to perform with Herbie Hancock and McCoy Tyner,” says Hart modestly. “Each generation presents their own equivalent, and Kevin is an example of the latest innovations. There was Herbie and McCoy, then it was Chick Corea and Keith Jarrett, and then you have what's coming next. I think Kevin is definitely part of that continuum.”

Though Hays sticks strictly to the piano on BRIDGES, he is also an accomplished singer whose vocal instincts fuel his inventive and lyrical melodicism. Street points to those facets as key to the connection between the pianist and Hart, who has enjoyed several meaningful collaborations with vocalists.

“It always seems to me that Kevin has the capacity to sing in his mind and then accompany himself on the piano,” Street describes. “That makes for such a nice connection with Billy, who has played with and learned from so many singers. I don't even feel like we're playing as a piano trio most of the time; it feels more like a quartet.”

Those qualities are especially clear on Hays’ “Butterfly,” which opens the album. Though it’s performed here as an instrumental, the pianist has composed lyrics for the piece, and its gorgeous, song-like quality shines through. Hays also contributed the breathtaking ballad “Song for Peace,” highlighted by Hart’s gentle, embracing brushwork and Street’s sturdy, stentorian tone. The pianist’s third original, “Row Row Row,” is constructed on a twelve-tone row, but as the playful title suggests, it has none of the more stringent qualities of the serialist composers.

Hart’s stunning “Irah,” originally recorded on his quartet’s self-titled 2006 debut, is dedicated to the composer’s mother and was recorded at Street’s suggestion. The bassist also brought guitarist Bill Frisell’s reflective “Throughout” to the date, imagining Frisell’s Americana influences would resonate with the similarly inclined Hays, who approaches the tune with a harp-like beauty. Hays’ love of pop and rock music is also reflected by the inclusion of The Beatles classic “With a Little Help from My Friends.”

The trio pays tribute to the late, great Wayne Shorter with “Capricorn,” originally released on the composer’s 1969 Blue Note album SUPER NOVA and later included on the Miles Davis Quintet set WATER BABIES. Hart called Shorter one of a kind. I think of the many times I heard him excel – with the Maynard Ferguson Big Band, with Art Blakey's Jazz Messengers, with Weather Report. And in each case, he was innovative.”

BRIDGES closes with the title track, a dazzling piece by the great Brazilian singer and songwriter Milton Nascimento, which Hays calls “one of my favorite compositions ever, by anybody.”

BRIDGES was recorded under ideal studio conditions by a now-established trio with a weeks-long European tour under their belts. Perhaps what’s most remarkable about the album is not that Hays, Street, and Hart play so masterfully together – with three artists of their caliber, who could expect any less? – but that this second outing maintains the bold spirit of inquisitiveness and spontaneity that its predecessor naturally possessed. Credit that to a trio perpetually determined to discover new bridges worth building.

Big Crown Records is proud to present the debut full length offering from Les Imprimés, Rêverie. The stirring and ethereal sounds of Les Imprimés have been making fans of anyone who hears them since their first 7" single hit the speakers. Morten Martens is the man behind the band. Born, raised, and working in Kristiansand, Norway, he keeps a low prole while making his heart felt, highly infectious, and unique music. This album is a long time coming for Martens and it is sure to make him a name to be reckoned with. The first thing you notice listening to Les Imprimés is the high level of musician-ship. Martens plays nearly every instrument on the recordings and handles the production and arranging. He has been making records for decades, winning a Spellemann Award (aka, the Norwegian Grammy) in 2006 for producing a HipHop album as well as getting nominations across three other genres. While awards and accolades speak to the level of his talent, this new album really shows who he is an artist on his own terms. Moving away from being a hired gun on the touring scene naturally led him to start doing more studio work. Slowly collecting gear and getting more experi-ence behind the boards he built his own studio on the island of Odderoya and was making a living playing with and recording other people's music. As the story goes, after those sessions would end he would work on his own project into the wee hours of the night. From these late night sessions, Les Imprimés was born and Rêverie began to take shape. However, "it wasn't until COVID, when things locked down, that I was really able to nd the time to focus on Les Imprimés" Morten says about creating and leading his own solo project. "It was a scary time. But I knew I had to do something with it." He took the sum of his inuences, combined them with his own vibe and got busy writing the music, playing the instruments, and singing the songs. "It's soul music, but I don't exactly have the soul voice," Morten explains humbly. "But I do it my own way, in a way that's mine. "It is his sound, his fingerprint, his sensibility, that makes his music hard to put in a box. The album showcases both Martens' range and his ability to make a cohesive album. The lead single "Falling Away" starts with a raw drum break and turns into a lushly arranged tune that paints the picture of love when it slips away. On "Still Here" he professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Songs like "You" and "Our Love" mix tones from 60s and 70s Soul with arrangement nods to Doo Wop records while Martens' lyrics and delivery leave you singing the melodies long after they finish. "Love & Flowers" finds Martens in a moment of clarity with a song that ts the niche sub genre of happy break up tunes, the four on the floor track will move the dancefloor or while the message will resonate with anyone who put too much effort into the wrong situation in their lives. However, it is songs like "Muse" and "Chess" that really encapsulate the uniqueness of Les Imprimés as they push the boundaries of genre, one a profession of love for music and the other a cover of an electronic record respectively. Martens' lyrics, emotion, and delivery truly make the whole thing come together and stand out from any of his peers. There's an infectiousness and a pop sensibility in the writing that is done with the utmost class and taste giving Les Imprimés the rare quality of immediate attraction that only deepens the more you listen.

12 tracks originally released on the indie dance label GOMMA RECORDS between 2001 and 2010. (Gomma was the label Toy Tonics did before starting Toy Tonics.)

Along with DFA and Output records Gomma released a wild mix of electronic dance music, indie rock, undergound disco, post punk and new wave funk that was big in the 2000s. The Y2K sound!

Gomma released music by artists like Peaches, Whomadewho, The Rammellzee, James Murphy, LCD soundsystem and artists like Nick McCarthy of Franz Ferdinand.

Now it’s 2023 and its feels fresh to put a spotlight on some of these tracks again.

And so here comes a 2nd compilation part of Gomma tracks:
Nancy Whang the singer of LCD Soundsystem, WhoMadeWho (the band started their career on Gomma), Italian disco producer Bottin, UK Indie Disco hero The Deadstock 33s aka Justin Robertson, NY Disco hipsters In Flagranti, German producers Munk and many more on this compilation.

Gomma not only was a record label, but was also a home for cutting edge design, wild T-shirt styles, underground exhibitions with new artists from the Berlin scene and crazy poster and fanzine design.
Many graphic design trends of the last years were preceded by what the artists on Gomma were doing. And many record and street wear labels of today look a bit like Gomma was looking before ... copying the images that Gomma preceeded: ironic cartoons, trash aesthetics, greek symbols, ugly design ideas and lot of ironic things.
The Gomma visuals world was exposed in a couple of exhibitions around the world and at a big exhibition at #hausderkunst München before the label was closed in 2015. (when Toy Tonics took off...)

* 180 gramaudiophile vinyl

In 1967 Four Young Musicians From Nottinghamshire, England Formed Ten Years After. Alvin Lee, Chick Churchill, Ric Lee & Leo Lyons Became One Of The Most Explosive Quartets On The World Stage And Cemented Themselves As One Of The Biggest Bands In Rock N Roll History.

The Band Scored Eight Top 40 Albums On The Uk Albums Chart And Twelve Multimillion Selling Albums On The Us Billboard 200 Between 1967 And 1974.

In 2014 Founder Members Ric Lee And Chick Churchill Put Ten Years After Back Together With A New Lineup. This New And Exciting Lineup Features British Bass Icon Colin Hodgkinson (backdoor, Peter Green, Alexis Corner, Spencer Davis, Chris Rea, John Lord) And Multi British Blues Award Winning Guitarist And Singer Marcus Bonfanti (van Morrison, Ginger Baker, Ronnie Wood).

This New Lineup Has Been Touring Extensively Since 2013 With Over 150 Shows Under Their Belt And Has Received Rave Reviews From All Corners Of The World As They Continue To Produce The High Energy Of A Vintage Ten Years After Show 50 Years Down The Line.

To Tie In With The Bands 50th Anniversary In 2017, Ten Years After Have Recorded A New Studio Album,a Sting In The Taleand Are Touring Throughout The Year To Promote This New Release And To Celebrate Their Anniversary.

Stix Records, a sub-label of Favorite Recordings, presents the 3rd release from its new Mellow Reggae Series project. Following two stunning covers of Bobby Caldwell and Player alongside label mates Ethel Lindsey, Mato is now taking over the famous hit by Sylvia Striplin, this time inviting his longtime friend and singing partner, Lady Gatica.

Produced by Roy Ayers in the early 80s , “You Can’t Turn Me Away” belong to this kind of title recognized by everyone, while Sylvia Striplin remains a name known by just a few. Like always, Mato production skills perfectly fits with the original and his Reggae rendition sounds like coming out straight from Kingston.

While with her long experience singing Soul, Funk and Disco, Lady Gatica is also a perfect match for the vocals. Starting his reggae production career in 2006, Thomas Blanchot (aka Mato) has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime, he developed a real trademark: taking over classic French, Hip-Hop, OST, Classical or Pop songs, into roots reggae-dub new versions. His 15 years collaboration with Stix Records and label honcho Pascal Rioux gave life to many masterpieces and the story seems far from the end…

First Word Records is proud to bring you 'The Essance' - the classic debut album by Essa (formerly known as Yungun), originally released in 2004, now released on vinyl & digital for the first time, 20 years on!

A lyricist, lawyer and a Londoner, legendary MC Essa has earned praise over the years from artists such as Nas and Mark Ronson, as well as performing and recording with legends like De La Soul, Wu-Tang Clan, Guru, Slum Village and Pharoahe Monch.

This 15-track album is considered one of the greats to emerge during UK Hip Hop's "golden era"; a vibrant time for the genre when artists such as Ty, Jehst, Roots Manuva, Klashnekoff, Skinnyman, Task Force, Doc Brown and Foreign Beggars were garnering huge fanbases, and an eco-system of shops like Deal Real, club nights like Kung Fu, labels like Lowlife, and stations like Itch FM were prevalent, while BBC 1Xtra was a mere infant.

'The Essance' includes production and features from luminaries such as Harry Love, Mr Thing, Lewis Parker, Kyza, Devise & Ben Grymm, to name a few.

Esteemed author Musa Okwonga says on the reissue liner notes "the most startling thing about 'The Essance' was its range. Yungun (Essa) was one of the few MCs who could perfectly walk the paths of hope and melancholy with equal ease, whose artist name belied the wisdom of his lyrics. Beyond that, his delivery was supremely self-assured, filled with a swagger he could always justify.

Yungun's gifts also extended to the stage, where he was one of the best young actors that many of his contemporaries had seen, and to languages, which saw him writing and rhyming in Spanish with a notable flourish. He was also someone who constantly walked between two worlds, excelling in one of the country's most competitive academic environments during the day and then delivering a soaring radio set by night. Raised in a vibrant vein of North London, endlessly curious about the world around him, Yungun's fine ear for music and passion for the variety of life made him someone who could reach all audiences.

'The Essance' is a beautifully-woven meditation on the human condition, one which takes you from the dancefloor to the summer afternoon barbecue to the bathroom mirror; yet it is also the opening statement of a unique career."

In the words of Essa himself "my key goal for this album was to span so many moods and styles that I couldn't be categorised, leaving me free to then go in whatever direction I chose. I was almost too successful with this – I would later struggle to pin down my own identity, both on and off the mic, as a rapper slash lawyer, of mixed-heritage, blessed to be able to enter many circles but feeling truly at home in none. As I write this, twenty years (plus a marriage and several children) on, I finally feel more at peace with being undefinable, and am getting better at bringing my full, authentic self into as many aspects of life as I can. I am grateful to be able to look both back and forward, with equal passion."

'The Essance' was followed with a collaborative album with DJ Mr Thing ('Grown Man Business'), then some years later on First Word with 'The Misadventures of a Middle Man' in 2014. There's also a forthcoming project in the works, due for release Summer 2024 with all-new material produced by Pitch 92. Both these releases also coincide with the 20th anniversary of the First Word label (named "label of the year" at the 2019 Worldwide Awards).

A timeless piece of work, 'The Essance' is true-skool boom bap through and through that stands up two full decades later, from the ethereal anthem 'Liquid Love', to the uptempo bounce of 'Dancing Shoes', to the grit of 'The Big Idea', to the thought provoking 'What Eye See Pt.2', to bangers like 'Push' or 'Spit Fire', this is an essential addition to the collection of any discerning hip hop head.

'The Essance' is due to be released on vinyl & digital worldwide on February 23rd 2024.

Navy blue vinyl. For fans of Triumph, Rik Emmett, and Classic Rock! Rik Emmett is best known as the guitarist/vocalist for the legendary Canadian hard rock band Triumph. Between its 16 albums and DVDs, they have received 18 gold and nine platinum awards in Canada and the United States. They were nominated for multiple Juno Awards, including the 'Group of the Year Award' in 1979, 1985, 1986, and 1987. It was inducted into the Canadian Music Industry Hall of Fame in 2007, into the Canadian Music Hall of Fame in 2008, and into Canada's Walk of Fame in 2019. Their classic Allied Forces sold over a million copies in the US, while attaining the highest chart positions any Triumph album would attain: No. 23 in the US and No. 13 in Canada. It included the songs "Fight the Good Fight" and "Magic Power". "Magic Power" reached #8 on the Billboard Mainstream Top Rock Tracks chart and #51 on the Hot 100, while "Fight the Good Fight" went to #18 on the Top Rock Tracks chart. "Diamonds" is a brand-new compilation featuring Rik's favorite rock tracks from his Duke Street years. Newly remastered in 2023 at Iguana Studios in Toronto ON with the most up-to-date technology, every track brims with a new crisp presence. Tracks from Absolutely, Ipso Facto and The Spiral Notebook never sounded so good!

Reissued on vinyl for the first time since its original release in 2005

Fresh off of his breakthrough success producing for underground acts like Little Brother as well as mainstream leaders like Jay-Z and Destiny's Child, North Carolina's hottest producer 9th Wonder cemented his name as a force in hip hop in 2005 with this collaborative LP with Buckshot of Black Moon.

Big Crown Records is proud to present Zero Grace, Liam Bailey's sophomore album on the label. Following the success of 2020's Ekundayo album, the tried and true chemistry of Bailey and producer Leon Michels (El Michels Affair) is on full display again as they take the sound they established and push it further. On Zero Grace they lean more into the bleeding heart singer-songwriter side of Liam. The result, much like Bailey himself, is impulsively honest without reserve. Born and raised in Nottingham, England, the son of an English mother and 2nd generation Jamaican English father, Liam will admit his early childhood was fairly chaotic and filled with "all the cliche racism that happens when people started mixing up in the '80s in England." Liam got his early influences from his mom's record collection. Bob Marley and Dillinger, Stevie Wonder and The Supremes, The Beatles and Jimi Hendrix would eventually shape the singer/songwriter we know today. Fast-forward to 2005, Liam is in London performing at every open mic and acoustic night he could, hustling with hopes of landing a record deal. It was through this time that Liam first teamed up with Michels, musician/producer luminary, and the co-founder of Brooklyn's own Big Crown Records. Liam flew out to New York and those first sessions together produced the now classic tunes "When Will They Learn" and "I'm Gonna Miss You" which still gets spins at Reggae spots around the globe and were co-signed by heavy hitters like David Rodigan & Don Letts. That first trip to NYC brought a lot of industry attention to Liam, including being noticed by a just-famous Amy Winehouse who heard one of Liam's apartment-made, lo- recordings, and liked what she heard. Regardless of the audio quality, Liam's particular sound shone through - all guitar, warm-rough and genuine soul. Eventually Liam signed to Polydor and wound up bumping against the typical major label industry obstacles. They already had an idea of the Liam they wanted to make, promote, and push With the typical large advance enticement, Liam did his best to trust that path. "Maybe I can make it work,' that's what you're thinking," Liam remembers, "but, you quickly find out that you can't." Zero Grace is full of freedom and love, in fact, working with Leon Michels and Big Crown Records has encouraged Liam to be himself. On album opener "Holding On '' Bailey speaks to his observations & fears when looking out at the world in front of him and also to the dedication it has taken to get on the other side of his personal trials & tribulations. "Dance With Me" is an instantly infectious two-stepper that nods to those incredible soul records that were coming out of Jamaica during the early Reggae days. Bailey steps into the dance with hopes of finding a new love and pulls us all out on the dance oor with him. "Disorder Starts At Home" is another close to the chest tune that addresses the difficulties he struggles with from his early chaotic childhood and his progress in getting past them. "Mercy Tree" is a powerhouse of Reggae Rebel Music. Bailey addresses the racial tensions that plague humanity and encourages everyone to step up and do their part to help foster equality. What starts out as a declaration of injustice turns into a call for action and an inspiration for hope.

2024 Repress

Get Up! Time to release this beast on 7".

Breakwater’s earth-shattering “Release The Beast” is unquestionably the standout song from their 1980 funk masterpiece LP Splashdown. It also came out as a now-hen’s-teeth-rare 7" in the same year and when it came to putting it out as a 7" again we just had to do it in a miniature version of the Splashdown sleeve. It’s one of the best album cover shoots of all time.

For the b-side, we’ve backed Breakwater’s biggest track with Be With’s favourite: the quietly majestic gem “Let Love In”, another winner from the same LP.

Possessing a sound and a feel that was lightyears ahead of its time, “Release The Beast” is a showcase for Breakwater’s phenomenal power-funk capabilities. The energy is astounding. It rips out of the grooves on a deep funk tip, with speaker-smashing, room-shaking drums competing with distorted funk-rock guitar, bumping bass and space-age synths. But it’s not without its compellingly haunting elements too. What else can we say? It’s a genius piece of music.

And, yes, of course this is the tune Daft Punk sampled for their 2005 track “Robot Rock”. Let’s be blunt, they lifted the Philly act’s funk-rock vamping pretty much wholesale. But to be fair to them we wouldn’t have messed with the perfection of the original either and those Parisians shone a much-needed spotlight on an innovative band from the halcyon period of post-disco funk.

On the flip, “Let Love In” is a smooth, easy glide that demonstrates Breakwater’s superb, sophisticated musicianship. The tight horn section and irresistible bass make for an undeniable groove. However, it also reveals a depth to their lyricism that’s often overlooked. In these dark days, the sentiment of the opening lines is truly one to we should all take to heart:

“It feels good to be friends with everyone, Walk around and the feeling’s in the air, No more hate can’t you see, This is really for me.”

A feel good hit for the summer if ever there was one.

Remastered for this vinyl reissue, we’re delighted to present this modern soul double-sider. Essential in every way.

Best remembered for his partnership with the rapper Will Smith in the duo DJ Jazzy Jeff & the Fresh Prince, the duo won the first rap Grammy as well as scoring some big pop hits back in the day, including their 1987 smash, "A Touch Of Jazz," which famously sampled Bob James' classic track "Westchester Lady."

In a full circle moment, James and Jeff have joined forces on the tune "That Bop," a thumping dance track overlain with elegant piano hooks. "It was fun to work with him so many years after he had sampled me in the past," says James, who reveals they collaborated by sharing music files across the internet during the pandemic.

"We also did a couple of other tunes that may see the light of day soon," discloses James, who is keen to work with the hip- hop legend again. "I hope the next time we'll actually be in the studio at the same time so that we can interact," he says. The B-side features Bob James' original jazz-funk classic and DJ favorite, "Shamboozie", available for the first time on 7" vinyl.

Released by evosound on a 7" Vinyl Single on the 6th of October, 2023. Limited Edition of 1,200 copies worldwide.

Opaque white vinyl in printed innersleeve, includes Bonus 7". A Welsh rock trio with a predilection for delivering stadium-sized riffs with shoegazey vistas and dreamy post-punk riffage, The Joy Formidable return with their new album 'Into The Blue', to be released August 20th 2021. Taking a cue from bands like Yeah Yeah Yeahs, My Bloody Valentine, and Arcade Fire, the trio have continued to push their expansive sound on previous studio albums, from the breakthrough debut 'The Big Roar' (2011), through to the last studio album 'AAARTH' (2018), whilst always maintaining the hook-driven indie rock foundation laid down on their debut EP 'A Balloon Called Moaning' (2009). Currently the band split their time between their native Wales and the closest thing they could find in the U.S, "In the middle of nowhere" Utah, where they recorded the new album 'Into The Blue', which is being released worldwide this summer. March 26 brings us the first single in the campaign, title track 'Into The Blue'; we invite you to hear a band that reflected on where they've been, and where they needed to go for their next chapter. "Into the Blue is about opening your eyes to beauty & love again. Making it to the other side. Whilst not conceived as a metaphor for the times we all live in now, it certainly turned out that way" - Ritzy, Rhydian & Matt - The Joy Formidable

Remastered and repressed most wanted Dave LXR tunes !
Includung his very first one ^^
Deb-I-Love from Demontage Special 01 (2012)
Protestujem! from Protest 01 in 2005 !
DMT Transfer from Demontage 02 (2006)
Bubaci from Demontage 03 (2007)

Visual by EXP EXP & Vstee FDB

Cut at The Exchange

BIG EP !!!