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Released in 1967, Open marked a bold debut for Brian Auger & The Trinity, featuring the dynamic vocals of Julie Driscoll. Music and its makers were rapidly evolving in ‘67, the UK's Jazz and R&B scenes were being influenced by pop and psychedelia and socially, musicians of many styles found common ground in London’s clubs like The Cromwellian and The Scotch Of St James where the The Beatles, US legends Wilson Pickett and Jimi Hendrix mingled with the capitals jazzers and pop stars, often loudly jamming together in even louder 'Lord Byron' shirts. 'Open' fully embraced this spirit by fusing together those genres and attitudes of the era. From the outset Auger displays his jazz rooted approach on the A side with 'In and Out' and 'Isola Natale' (later covered by one of his American jazz heroes Richard ‘Groove’ Holmes). Both showcase the Trinity's musicianship and Brian's improvisational flair. Auger himself takes on vocal duties on the raucous ‘Black Cat’, a track that became a club hit. Open is marked by its eclecticism; 'Lament for Miss Baker' is a tender, piano ballad influenced by Duke Ellington, reflecting Auger’s jazz and classical influences whilst 'Goodbye Jungle Telegraph' is a wild and crazy percussive freak out. Brian displayed not only his virtuosity but also his surrealist sense of humour with bizarre sound effects, inspired by Spike Milligan's The Goons' radio show interspersed between the tracks.

Julie Driscoll’s arrival on the album’s B side brings a sharp shift in tone. Her smoky, emotive vocals inject a soulful depth, notably on covers of Otis Redding & Carla Thomas hit 'Tramp', Aretha's 'Save Me' and The Staples Singers ‘Why Am I Treated So Bad". With original numbers 'Break It Up' and 'A Kind Of Love In' we hear the Auger / Driscoll pop infused R&B at its very best, whilst the version of Donovan’s 'Season of the Witch' stretches out into a slow-burning epic. In 2025, Open is viewed as a cult classic and testament to a unique period when genre boundaries were fluid and artistic risk-taking was the norm. Brian Auger & The Trinity’s debut captures the adventurous energy of the late 1960s. 58 years later, its importance in the development of British jazz fusion and progressive bands that followed is undeniable, with The Charlatans Tim Burgess recently commenting on Auger's Instagram that The Trinity were a 'huge influence'.

London-based sonic champion Shy One releases her long-awaited second album Mali on Errol and Alex Rita"s Touching Bass. So-called after her given name, Mali is a confident, future-facing ode to Black British electronic music and diasporic lineage. Informed by the full spectrum of London sound that she was raised on - with a vital cast of Black British collaborators including George Riley, Steve Spacek, James Massiah and Private Joy.

From Rival Sons’ Grammy-nominated frontman Jay Buchanan comes Weapons of Beauty — a sweeping, cinematic solo debut written in the Mojave Desert and produced by Dave Cobb. Available on CD (Digipak + poster) and Black Vinyl (gold-foil gatefold). Weapons of Beauty — a revelation from one of this generation's most arresting voices.

Repress on black vinyl. Goldfoil embossed cover. Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound! This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

Repress on black vinyl. Goldfoil embossed cover. Alright! 2023, Black Rainbows are back with 12 fresh, brand new tunes! The new album sounds huge, with of a great deal of attention paid to the guitars in the recording, and it seems that the band has finally found the perfect balance and tone for their heavy super stoner sound! This album gives you not only incredible heavy rock-stoner gems, but also: one space acoustic song, one super psychedelic suite and one melodic trippy ballad that adds a perfect mixture of what is sure to be the best album released by the band so far! "Superskull" has been recorded by Fabio Sforza (the same producer of the last two recordings), in May 2022, and after much work and effort by the band in mixing and mastering, the album will see the light of day one year later. The incredible artwork has been delivered by the brazilian artist Pedro Correa.

In 1962, Black Music was making its transition from R&B to soul and the Chicago music industry was exploding, producing thousands of records and dozens of new labels. The two biggest black labels Vee-Jay and Chess led in the creation of the distinctive, smooth, Chicago soul brand with names familiar and not so familiar: the former with Curtis Mayfield and Jerry Butler and the latter with Mitty Collier, Etta James and Billy Stewart. And yet it's the smaller labels that make up the bulk of the Chicago story: Hawk with Geraldine Taylor, Lu-Cee with Roberta, M-Pac with Dorothy Prince and it's here that we explore some of the finest sounds of the era in this collection. Extensive liner notes written by Robert Pruter, author of the acclaimed 'Chicago Soul'. Side One. 1. The Town I Live In - McKinley Mitchell 2. I'm The One Who Loves You - The Impressions 3. Shake A Tail Feather - The Five Du-Tones 4. Mama Didn't Lie - Jan Bradley 5. Make It Easy On Yourself - Jerry Butler 6. Seven Day Fool - Etta James 7. The Blues Don't Like Nobody - Tony Adams 8. I've Got To Get Away From It All - Mitty Collier 9. How Much Longer - Geraldine Taylor 10. I'm On The Prowl - Roberta. Side Two: 1. Fat Boy - Billy Stewart 2. Can't Take No More - Ted Taylor 3. I Don't Want To Suffer - Walter Jackson 4. Open Your Heart - Sugar Pie DeSanto 5. Shook Up Over You - Dee Clark 6. Something's Got A Hold On Me - Etta James 7. Why Not Tonight - Dorothy Prince 8. Delilah - Major Lance 9. Money In My Pocket - Moss Tolbert

TALKSHOW is Haexler's 3rd EP and clearly marks an evident deep dive into the environment of purist Powerviolence. While the Hardcore influences were overtly visible on their previous releases, Haexler now turn their heads towards fully submerging in a primitively harsh tone that flirts with lo-fi soundscapes and noisey elements. On TALKSHOW, Haexler return with their concise and accurate deconstruction of political frameworks, frontally addressing the scope of formations of the liberal democracy, following the foundation of Agnoli's classic "Die Transformation der Demokratie." The full set of disputes regarding the scheme that builds the foundation of liberal democracies from lobbyism all across the possible impact of the media (talkshows), rituals of parties, political pluralism to western values is ferociously dissected with cynical implementations of snippets off the TV series "Mad Men". TALKSHOW will only take a comparably short amount of time to fittingly blast your head off. Make sure to be prepared! Classic black one-sided 11-Track 12" w/ b-side etching and lyrics insert!

Kicked in the Teeth relies primarily on rip-roaring punk rock & roll guitar riffs and hardcore drum beats, the entire LP slashing by like a Japanese street bike on a rain-soaked highway -- blink your eye, and it's passed. Zeke does one thing, and that one thing they do very very well - incredibly fast, out of control punk rock & roll, executed with exceptional lead guitar work. There are, however, some slower-paced tunes on Kicked In the Teeth - after all, Zeke is not the typical snotty American punk or hardcore act -- and they are performed well. For example, the amped-up cover of Kiss' "Shout It Out Loud".

Kicked In The Teeth is available as a limited edition of 1000 individually numbered copies on red & black marble vinyl and includes an insert.

In 2023, Wood secretly worked with producer Kevin Antreassian on a new mix of his top-selling release "The Normal Album." Digging into the original 2019 recordings for more muscular takes, smoother edits, and a more nuanced and balanced mix, Antreassian and Wood created a version of the fan favorite that is one of the rare cases where a new mix is widely considered to improve on the original noticeably. "The Normal Album" is yet another turn in Wood's discography, sardonically playing with Americana and doo-wop sounds, strategically restrained but still highly emotive vocals, and lyrics densely packed with scientific and philosophical references. The dark mania of Wood's prior 2016 release, "SELF-iSH," continues on some tracks but is arranged with greater precision with a new band at his command. Like his 2015 debut "Everything is a Lot," the songs whiplash tonally but are brought together through intertwined themes and recurrent musical motifs and an undercurrent of simultaneous obtuseness and vulnerability. After the original mix of "The Normal Album" was released, a live version of the 4th track on the LP, "I/Me/Myself," had an unexpected viral moment, which brought attention to many other songs on the LP. Songs like "2econd 2ight 2eer" and "Laplace's Angel" continued to attract new fans with their dense wordplay and high-energy attitude, and the album became Wood's first major break into larger notoriety, proving that his sudden burst of popularity was not just a fleeting trend. After taking some time away from the public, Wood began to revisit the album with the intent of giving it the production that he had originally envisioned for it. Wood's top-selling album re-edited for a fuller sound and clearer instrumentation, bringing the album to a new level: new Modern Stereo Mix - 2023 Edit

In 2023, Wood secretly worked with producer Kevin Antreassian on a new mix of his top-selling release "The Normal Album." Digging into the original 2019 recordings for more muscular takes, smoother edits, and a more nuanced and balanced mix, Antreassian and Wood created a version of the fan favorite that is one of the rare cases where a new mix is widely considered to improve on the original noticeably. "The Normal Album" is yet another turn in Wood's discography, sardonically playing with Americana and doo-wop sounds, strategically restrained but still highly emotive vocals, and lyrics densely packed with scientific and philosophical references. The dark mania of Wood's prior 2016 release, "SELF-iSH," continues on some tracks but is arranged with greater precision with a new band at his command. Like his 2015 debut "Everything is a Lot," the songs whiplash tonally but are brought together through intertwined themes and recurrent musical motifs and an undercurrent of simultaneous obtuseness and vulnerability. After the original mix of "The Normal Album" was released, a live version of the 4th track on the LP, "I/Me/Myself," had an unexpected viral moment, which brought attention to many other songs on the LP. Songs like "2econd 2ight 2eer" and "Laplace's Angel" continued to attract new fans with their dense wordplay and high-energy attitude, and the album became Wood's first major break into larger notoriety, proving that his sudden burst of popularity was not just a fleeting trend. After taking some time away from the public, Wood began to revisit the album with the intent of giving it the production that he had originally envisioned for it. Wood's top-selling album re-edited for a fuller sound and clearer instrumentation, bringing the album to a new level: new Modern Stereo Mix - 2023 Edit

Reissue of the highly-regarded 2003 live album by Canadian technical death metal masters Cryptopsy. Capturing a crushing 2002 Montreal performance featuring their then-new vocalist Martin Lacroix and a career-spanning setlist including tracks from None So Vile, Blasphemy Made Flesh, and Whisper Supremacy, showcasing incredible energy, technicality, and a notable drum solo by Flo Mounier. It's considered by many fans to be a definitive live death metal album, representing their best material from previous albums in one powerful recording.

Johnny Cash (1932–2003) was a legendary singer-songwriter whose deep voice and storytelling made him one of the most influential figures in American music. Blending country, rock, folk, and gospel, he created timeless songs like “I Walk the Line,” “Ring of Fire,” “Folsom Prison Blues.”, “I Got Stripes,” and “Oh Lonesome Me.” Known as The Man in Black, Cash’s music spoke to themes of love, faith, and redemption, leaving an enduring mark on generations of artists.

Vortex 1 marks the next chapter in the DUB Recordings / Repetitive Rhythm Research series on Clone Records. Aleksi Perala dives deep into his unique sonic universe - unleashing a powerful collection of advanced rhythms. Precision-crafted patterns spiral into a mesmerizing vortex of sound, pulling you into new dimensions of rhythmic exploration. A signature experience from one of electronic musicâ??s most singular and prolific producers, known for the unique Colundi tuning system and a sound that has continually pushed musical boundaries since his early releases on Rephlex. Powerful tools for adventurous DJs and devoted braindancers alike. Clone Exclusive *Limited edition on Silver/Black and Gold/Black Marbled vinyl*

Clear w/ green marbled Vinyl To celebrate their seventh anniversary, Black Screen Records have repressed their first vinyl release in a very long time. The soundtrack to Oddworld: New 'n' Tasty is finally back in stock - this time on 180g clear w/ green marbled vinyl. Composed, mixed and mastered by Michael Bross, the soundtrack comes in a full-coloured gatefold sleeve with RuptureFarms artwork by Raymond Swanland. This repress does not include the poster and Steam Key. ABOUT THE GAME: It was a long way from Abe's debut in the 1997s Playstation One classic Oddworld: Abe's Oddysee to the beautiful ground-up remake Oddworld: New 'N' Tasty in 2014 but Abe is still looking great. Not only the graphics but also the complete video game soundtrack got an overall makeover - in 2015 Oddworld looks and sounds better than ever before.

Celebrating the first year of ‘NOW That’s What I Call Music’ – 1983. ‘Now Yearbook’ presents a stellar selection of 1983’s biggest and best hits… 80 huge chart hits from the year, alongside enduring and well-loved classics on 4 CDs. 1983 saw British artists achieving unprecedented success across the world with ‘Every Breath You Take’ from The Police being the year’s biggest seller in the U.S., and ‘Karma Chameleon’ from Culture Club being the top seller in the U.K. Breakthrough acts, achieving their first big hits – all here – include a staggering line-up of future superstars: U2, Eurythmics, Wham!, Paul Young, The Style Council, Marillion and Thompson Twins, to name a few..' Released on a LTD 4CD SET: This will be a limited run of 5000 4CD units housed in ‘hard-back book’ packaging and featuring a 28-page booklet that includes an overview of the chart music of 1983, a track by track guide including chart stats and fun facts, a selection of original picture sleeves and a quiz. 2CD Standard set and also a limited edition of 3000 units, pressed on 3LP translucent red vinyl...

In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

Blood continues to flow. The third statement of Qwälen. Rottenness of our human reality, the abolition of our kings and gods, the normatively sinister path of brotherly violence. For Qwälen all of them mean nothing and yet all are everything. With the very idea of black metal in its core, the band continues breaking free from the narrow-minded boundaries of the genre. Glorify no one but thyself. Raise no one on a pedestal but thyself and borders can only be drawn by the ones within. Gods are only alive if we let them. Death is the final insult. The final middle finger when all is reduced to rocks and bones. The black serpent from within. The black flame of rebellion. Hail Satan. Blood continues to flow.

Ltd. green vinyl. Blood continues to flow. The third statement of Qwälen. Rottenness of our human reality, the abolition of our kings and gods, the normatively sinister path of brotherly violence. For Qwälen all of them mean nothing and yet all are everything. With the very idea of black metal in its core, the band continues breaking free from the narrow-minded boundaries of the genre. Glorify no one but thyself. Raise no one on a pedestal but thyself and borders can only be drawn by the ones within. Gods are only alive if we let them. Death is the final insult. The final middle finger when all is reduced to rocks and bones. The black serpent from within. The black flame of rebellion. Hail Satan. Blood continues to flow.

Ltd. marbled vinyl. Blood continues to flow. The third statement of Qwälen. Rottenness of our human reality, the abolition of our kings and gods, the normatively sinister path of brotherly violence. For Qwälen all of them mean nothing and yet all are everything. With the very idea of black metal in its core, the band continues breaking free from the narrow-minded boundaries of the genre. Glorify no one but thyself. Raise no one on a pedestal but thyself and borders can only be drawn by the ones within. Gods are only alive if we let them. Death is the final insult. The final middle finger when all is reduced to rocks and bones. The black serpent from within. The black flame of rebellion. Hail Satan. Blood continues to flow.

Tulipa Ruiz is a Latin Grammy Award-winning singer, songwriter, and illustrator from Sao Paulo. Born in a family of musicians (her father, Luiz Chagas, played with Itamar Assumpçao, and her brother, Gustavo Ruiz, is her longtime producer), she followsthe footsteps of the Vanguarda Paulista and offersa bold, genre-bending sound. Fusing MPB, soul, pop, and rock, her music is joyful, rich, and one of a kind. Since her debut album, Efêmera (2010), Tulipa has become one of Brazil"s most distinctive voices, with five critically acclaimed albums, collaborations with Elza Soares and Milton Nascimento, and performances at international festivalssuch as the Montreux Jazz Festival and Lollapalooza. From the hypnotic "Samaúma" to the infectious "Estardalhaço," Habilidades Extraordinarias seamlessly blends improvisation and groove. The duet "Disco Voador" with Joao Donato, one of her last recordings, bridges generations, combining bossa-jazz swing and the warmth of Donato"s Fender Rhodes with Tulipa"s luminous vocals. "Pluma Black" (feat. Negro Leo) explores pre-jazz abstraction, while "Novelos" and the album"s title track evoke the soul-jazz of the Hermeto Pascoal and Stevie Wonder era. Acclaimed throughout Brazil, Habilidades Extraordinarias established Tulipa Ruiz as a leading figure in modern MPB, combining melodic sophistication, humour, and emotional depth. Ten years after her spectacular climb to success and her Latin Grammy Award victory, she continues to enrich the Brazilian pop and jazz scene.