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BLACK/RED VINYL

A match made in heaven and hell, since forming in the cradle of Europe Athens, back in 2012, dark synth duo Selofan have paved their own perditious way, reinventing the modern Darkwave scene throughout the continent and worldwide with their prolific creativity and work ethic over the past decade. Through varied experimental synth-scapes conjured with keen ears for sound design, production, and theatrical aesthetics, Selofan rest not on the laurels of just creating highly danceable coldwave infused music, but with together with Joanna Pavlidou's haunting vocals, and Dimitris Pavlidis' throbbing bass guitar, and modular synth compositions, the pair conjure whole other worlds and narratives throughout each album and music video they create. Thus far the Selofan have released 5 studio albums, issued through their own legendary label they curate themselves: Fabrika Records. Through their Fabrika family, Selofan have championed such acts as Lebanon Hanover, and She Past Away, aiding these bands in becoming two of the most popular Darkwave acts worldwide. Drab Majesty even cameoed in a She Past Away video while being hosted by Selofan during one of the band's frequent stays in Athens, and Kaelan Mikla, a handpicked favorite of The Cure, were first championed by Selofan, through the release of the Icelandic Trio's self-titled debut in 2016. In the Spring of 2020, Selofan released the video for the hopelessly plaintive "There Must Be Somebody", the first single from their forthcoming sixth studio album Partners In Hell, the follow-up to 2018's widely popular Vitrioli LP. "There Must be Somebody" is a discordant composition, mimicking the startled song of birds after a disturbance in a wooded enclave on a mountainside, while a magick ritual unfolds. The album itself opens with "Grey Gardens", a menagerie of morose melodies setting a sombre tone for the rest of a bleak record whose sound design and dreamscapes evoke the best sounds of British and German post-punk of the 80s. "Almost Nothing" is a brooding bell-driven track with a dark and pirouetting melody that is the perfect soundtrack to a figurine twirling in a music box. The German language "Nichts" means No, and this song is both sinister and cinematic with sighing keys, shuddering drum machines, and German lyrics sung with sorrowful conviction. "Zusamen", is a word often asked if you are together, or separate, is a dark ballad whose shadowy keys weave a nightmarish delirium, evoking the soundscapes of a lullaby sung in a haunted dollhouse. "4am" is a restless rhythm, whose soft percussive melody tosses and turns alongside subtle bass and string accents overlaid with despondent vocals. "Happy Consumers" sounds like the swirling of a finger drawn upon the edge of crystalline glass, with vocals and drum machines coming emanating from an adjacent room with echoing acoustics, collectively evoking the sound like lingers when the somnambulist wakes from his dream. "Absolutely Absent" hums onward like a phantom train ride that is a one-way ticket to madness, and with the next track "Metalic Isolation" the locomotive beats gather more steam, propelled forward with anachronistic melody. The album closes with "Auf Dein Haut", which translates as on your skin, and the song is both tactile and tenebrous with sensuously dark synth textures amidst howling German vocals that take flight like witches during a sabbat. Partner's In Hell was mixed and produced by Serafim Tsotsonis, and mastered by Doruk Ozturkcan. Genre: Alternative / Post-Punk / Cold Wave

With Helldorado, the third installment of SPIRITWORLD’s death-western trifecta, chief hombre Stu Folsom and his rhinestone- encrusted, Stetson-wearin' wrecking crew take you deeper into a world where the hot desert sun beats down on a singular vision of the American West as a gateway to hell. “It’s a different album than the past two,” says Folsom of the thematic and sonic journey that began with the Las Vegas band’s 2020 Pagan Rhythms LP and continued with 2022’s Deathwestern. From the honky-tonk swing of opener "Abilene Grime" to the Slayer-worthy riffing of "No Vacancy in Heaven" and the unforgettable "Oblivion" (which features members of Black Braid and Rise Against), SPIRITWORLD's story rides on with this latest offering, blasting Mojave-born bloodlust and stomping tomahawk riffs while charging straight into a sonic vision of macabre Americana.

More a declaration of war than a collection of songs, Traitors burns w/ a desperate roar. Grinding metal powerhouse Misery Index has unleashed the soundtrack to a world gone mad and one of finest platters of extreme metal this year!

After a 5 years break, there are finally all new songs from ECHO WEST. On their 9th album they present 10 analog Minimal Wave / Electro tracks (incl. one bonustrack) in the style of early minimal electro heroes. During the creation of these songs, analog equipment was used consciously, in order to do justice to the spirit and feeling of their EBM idols THE KLINIK, VOMITO NEGRO and especially DAF.

A homage to the revolutionary “analog 80s” and a departure or breakout after the long Corona-forced break and the endless weeks in isolation. 10 songs to dance to and enjoy a new freedom.

High Roller Records, reissue 2025, 180g black vinyl, ltd 250, 425gsm heavy cardboard cover, insert printed on uncoated paper

On his Discrepant debut Memotone aka Bristolian Will Yates collects some unreleased recordings under a most aptly titled name - »Pruning« - following a healthy stream of releases for such esteemed labels as Black Acre, The Trilogy Tapes or Soda Gong.

Considering the process of pruning as a practice of selective removal, the album takes its name at face value never falling into a mere collection of tossed off material or random B-side assemblage, making it a cohesive listen throughout its disparate timeframe and evasions.

A statement about Memotone's vision itself, »Pruning« veers closer to his Fourth World/ECM/Exotica meets Sci-fi transmutations in alignment with what would be expected from a Memotone release on Discrepant. »Moss Zone« briefly sets the tone with a warm but queasy synth bedsheet that flows into the »Weird Figures« cyber- jungle, all small twinkling percussions and rainforest pads slowly rising. 'Riders' brings the synth-flute to an early Warp meets John Hassell's »City: Works of Fiction« scenario that pops up again in more disrupted form on »Wisdom MOTHER«. »Not What I Thought's« skewed tropical guitar gets going on lo-fi percussion and dissonant synth chords while »Jim Starling and The Inverse Church« bring to mind »Autoditacker« era Mouse on Mars going jazz-fusion. Or what we should expect from their Smalltown Supersound stint. »Beach Scene« is exactly it, as the sun sets into »Come In Don't Mind the Ghost« summer night's stars with all the allure of Stereolab.

Alluring, that's exactly it. Do come in.

Orange/Black/Sunburst Vinyl "Choice Quality Stuff/Anytime," released in 1971, marked the third studio album by It's a Beautiful Day, a band celebrated for their eclectic blend of rock, jazz, folk, classical, and world-beat influences. Formed in 1967 in San Francisco during the height of the city's vibrant music scene, the band initially featured vocalist Pattie Santos, violinist David LaFlamme, and keyboardist Linda LaFlamme. Their distinct sound, highlighted by David's five-string violin, set them apart from their contemporaries, even though they never reached the same level of fame as Jefferson Airplane or Santana. By the time of this album, the band's lineup had shifted significantly. Founding members Mitchell Holman and Hal Wagenet had departed, replaced by bassist Tom Fowler (later known for his work with Frank Zappa) and guitarist Bill Gregory. The album, recorded amid these transitions, reflects both the band's creative maturity and their ability to evolve while staying true to their signature style. Tracks like "Creed of Love" and "Anytime" exemplify their musical diversity and lyrical depth. "Choice Quality Stuff/Anytime" was a continuation of the band's legacy, cementing their place as a unique voice in the late 60s and early 70s rock scene, even as their lineup and fortunes changed.

Repress as neon green vinyl!

Non Phixion drops a re-realse n of the group’s classic debut “The Future Is Now.” Available exclusively through Fat Beats. “Utilizing beats that would do Dr. Octagon-era Dan “The Automator” proud and rhyming schemes that bring to mind early Wu-Tang Clan or mid-’90s Gang Starr, Non Phixion exposes the sound of true underground hip-hop. This is music that reflects the sound and attitude of countless rappers selling their albums out of the back of their cars or in booths on the street, cutting together dirty and disjointed sounds with a confidence and quality that is unique to this particular genre. This would all be for nothing if it wasn’t for the excellent raps from Ill Bill, Goretex, and Sabac Red, a trio of rappers who have a Tribe Called Quest-like chemistry. Their clever lyrics, respectable skills, and rough voices make this an intense and dark landmark in alternative rap.”

Ltd Classic Black Vinyl with bonus 7inch, DL card. Monde UFO, LA-based duo of Ray Monde and Kris Chau, are a monochromatic sunset for the senses. A sonic journey through psychedelia, space rock and jazz. A cosmic space where Spacemen 3 meets Vanishing Twin, by way of Sun Ra. 7171 perfectly embodies the framework of lo and hi-fi sounds which have helped define the band. Included in this expanded package is Four Songs, Monde UFO's radical interpretation of Fugazi's music, housed for the first time on LTD 7" with new artwork. In a downtown Los Angeles warehouse, on 7th Street, Ray Monde began writing songs on an old Yamaha church organ for a project that eventually became Monde UFO. Utilizing the organ as a bass, alongside keyboards and a drum machine, he began making demos on a four-track cassette recorder. Heavily influenced by the musician Sandy Bull, sonically landing in a similar no-man's land of Worldly Jazz and Psych Folk. Monde experimented with the themes mostly of meditation and UFO lore. In time Ray moved in with the artist Kris Chau. With little crossover in musical tastes, they exclusively started listening to jazz, ambient and new age music in the house. Increased interest in sound baths and experimental music led to seeing music in a different light. Envisioning something that would sound like Don Cherry making a record with Yo La Tengo. '7171' is an amalgam of influences, interpretations and otherworldly sounds channeled through genre bending experimentation. This expanded edition of '7171' includes the sought after 'Four Songs' EP, a reimagining Fugazi's early classics, songs that take on a life of their own, lost amongst the haze and sugar sweet psych. Ray Monde explains, "Long Division was one of my favorite tracks off 'Steady Diet of Nothing' the first Fugazi record I ever owned; more than ever, it also feels truly poignant in the times we live in.Version 2 is our interpretation of Version from 'Red Medicine', my favorite Fugazi Record." "A slice of low-key bedroom pop-psychedelia in the vein of Syd Barrett." Aquarium Drunkard "Monde UFO wander through a humid mist of exotic samba shuffles, shamanic whispers, and reverberating laser beam synthesizers." New Commute

At the start of the 60s, a new wave of gospel-influenced jazz started to emerge, with hits such as Art Blakey & The Jazz Messengers' "Moanin'" and Cannonball Adderley's "Work Song" epitomizing this evolution in the genre. The terms "soul jazz" and "funky jazz" were coined as a way to describe this new sound that was making an impact in the US and also on the other sides of the Atlantic and Pacific oceans.

In 1964, Ray Charles made his first visit to Japan. Then, in 1968, Martha & The Vandellas and Stevie Wonder set foot in the country, followed by Sam & Dave in 1969, Ike & Tina Turner in 1970, and B.B. King in 1971. The TV show "Soul Train" also began airing in Japan in the early 1970s. A watershed moment happened in 1973 when Sammy Davis Jr. was cast in a TV commercial for Suntory whisky — and the influence of the US Black entertainment world had really landed, with soul, jazz, and funk artists becoming household names.

Nippon Columbia played a pivotal role during this turning point. The company had contracts with Buddah Records and Blue Thumb Records, releasing notable works by artists such as Gladys Knight & The Pips, Curtis Mayfield, The Crusaders, and The Pointer Sisters. At the same time, the label was also releasing several Japanese soul, jazz, and funk projects under the lead of music director Jiro Inagaki. Inagaki, a saxophonist who began his professional career in the early 1950s, honed his skills at U.S. military camps, where he shared his love of music with the Black servicemen. In the 1960s, he played with drummer Hideo Shiraki's band, which was widely considered to be Japan's representative group of the funky jazz movement. Later, Inagaki went on to pursue more cutting-edge sounds with his Soul Media project, including being a pioneering figure in the "jazz rock" genre. By working closely with Inagaki and his various musical projects, Nippon Columbia really placed the company at the center of an exciting and important period in Japanese music.

In 1965, Nippon Columbia opened a recording studio in Tokyo's Akasaka neighborhood. Akasaka was also home to the first ever discotheque in Japan, the legendary MUGEN, which ran from 1968 to 1987 and where many acts performed, including Con Funk Shun, the Bar-Kays, Ike & Tina Turner, B.B. King, Sam & Dave, Three Degrees, and Edwin Starr, as well as many local Japanese singers and musicians. This melting pot of creativity in the area led to the recording of many singles and albums by Japanese artists that were infused with the sounds of soul and funk. Most of these recordings were not available outside of Japan and remain rare and unknown musical gems. The selection you are holding in your hands is an explosive collection of 10 essential tracks released by the legendary Nippon Columbia label between 1969 and 1977, capturing the raw, unapparelled energy that was flowing through the air of the Akasaka streets at this electrifying time. Enjoy!

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180GWALP07 - Manufactured and distributed by 180g.

Ajay Saggar is BHAJAN BHOY. "With BHAJAN BHOY, Saggar synthesizes all of the stylistic approaches he’s explored over the years, swirling them into an intoxicating musical blend, with an earthy spirituality. Even the project’s name reflects the dual aspects of Saggar’s upbringing coming together in harmony. In Hindi, a “bhajan” is a devotional song, sung in the mandir, or temple, while “bhoy” is a Scottish and Irish derivation for a young man. There’s a searching quality to Bhajan Bhoy, as if Saggar is still hunting for transcendence with each track, whether through an expansive drone, an orchestral facility on the piano, or an electronics-augmented raga that threatens to dip into noise” (Erick Bradshaw / writer and WFMU DJ). This album presents a rich and varied set of compositions that showcase Saggar’s skills as an incredibly talented and accomplished composer and musician. With each and every Bhajan Bhoy LP, you are are carried to a higher place. With ‘Bhoy On The Wire’, the 35 minutes laid out unfolds like a cosmic tapestry, an extraordinary exploration that shimmers and reverberates with newfound vibrancy. The songs were broadcast as part of a session on Steve Barker’s “On The Wire” radio show in April 2024. They were a gift to Steve and his team for 40 years of broadcasting. “On The Wire” is simply the greatest radio show in the world. As Ajay explains in his own words : “In September 1984, I started a degree course at the University of Lancaster. On a wet and soggy Sunday afternoon towards the end of September, I sat in my room staring out at the grey Lancashire landscape, and decided to alleviate the boredom by seeing if there was anything to listen to on the radio. Most of the stations I tuned into were as dull as the weather outside. However, as I neared the end of the FM dial (and was about to give up hope), I chanced upon a station where I was taken by the music being played. That show was “On The Wire”, introduced by Steve Barker. From there on in, every Sunday, between 2-5pm, I tuned into Radio Lancashire to listen. Steve’s shows had an incredible and wide reaching selection of music and genres, that thrilled your ears and left you wanting more. Tied to that, his deep knowledge of the material he played helped the listener dig into the sounds even more, and also left you in admiration of this trait. In 1985, I started putting on DIY shows in Lancaster (inviting the likes of Bog-Shed, bIG fLAME, The Membranes, The Wedding Present, etc etc) and Steve was kind enough to mention the shows on-air, which helped in getting people from different parts of the county to come to the shows. At the tail-end of 1985, he invited me to the studio to come and hang out. When in 1988, the group I was in, Dandelion Adventure, released our first (demo) cassette, it was Steve, who not only played tracks off it, but invited the group to the studio for an interview. Now if you’re a young band, that is a massive thrill! And in 1990, when Dandelion Adventure did a John Peel session, I actually used “On The Wire” jingles (that Steve had put on a cassette and given to me a few years before) on the track “All the World’s A Lounge”. Since then, the show has been a mainstay for me, and so many others around the world, to get turned onto incredible sounds from around the world. And over the course of 40 years, Steve has always supported my music. These six tracks are a 40th birthday gift to the “On The Wire” team (Steve, Michael “Fenny” Fenton (an absolutely critical part of the show), and Jim Ingham (engineer who keeps the technical side of things going)) for sharing so much amazing music, and making the world a better place. They were originally broadcast as an exclusive session in April 2024 on “On The Wire", and are here for your listening pleasure. Music like shower”. Artwork by Jake Blanchard

A valentine for black hearts! An electric array of magic sounds! The shock return of a missing legend! The surprise formation of HOUSE Of ALL by five former members of The Fall was bound to provide some pleasant surprises, not the least of which being the creation of an identity distinct from that of any specific Fall line-up, and here the band offer an steep evolution of sound of their two previous albums . . . darker, more elliptic and can we say it? A more mystical sum of talents than most groups ever manage. They've kept their open door policy to former members of The Fall and expanded it. Phil Lewis, who's stepped in live for Pete Greenway, makes his studio debut, and the long-lost Karl Burns has emerged from his mystery lair to add a third set of drums to the line-up . . . besting The Glitter Band by 50%! How this will work live has yet to be determined, but the band has already scheduled dates in Spring, 2025. House Of All Souls is somewhat more psychedelic than its predecessors, and despite seven players, each with his own particular style, the songs and production are shockingly cohesive. From the breakneck pace of first tune, Tempest And Storm to the superb album closer, Born At Dawn And Dead At Sunset, there's quite a lot to unpack - it's an album-lover's album, each track magnificent in its own way and impossible for us to pick a fave from the lot of 'em. Plenty has been written about The Fall, whose 50th birthday is just a few years off, but rare is the group with an equally perverse and persuasive influence in that period. When HOUSE Of ALL debuted, Martin Bramah remarked on it being "part of the Fall family continuum" - a matter of actual fact, given the pedigree of its members. With this, HOUSE Of ALL's third full-length album, it's proven fact that the bright lights of those multiple talents behind the band have yet to dim.

London based flypaper, the project of singer-songwriter Rory Sear, is back with his first ever vinyl release. The big nada / another orbit 12" collects flypaper's first two EP:s as well as new single"coming back again" on 12" black vinyl limited to 500 copies via PNKSLM Recordings (7ebra, ShitKid,Chemtrails etc.) As flypaper, Sears retain the melodic sensibilities shown in his work as frontman and chief songwriter of Brighton indie combo Beachtape, coupling them with a gentler soundscape which showcases his rising stock as a songwriter while firmly establishing flypaper as one to watch with a debut album due out in 2025. RIYL: Hovvdy, Sun June, Elliott Smith, Sam Evian, No Windows

Black vinyl / 505mcn paper / 30 x 60 cm Insert with full interview to Khan Jamal II + extended liner notes printed on 300 gram Büttenpapierfabrik Gmund "No Color No Bleach" paper with exclusive pictures & much more!

Personnel:
Khan Jamal - Vibraphone, Marimba
Clint Jackson III - Trumpet
Hassan Rashid - Drums

Notes:
It's quite simple, if you have a good connection with music, to find things that should be reissued due to their exceptional quality, but, like a diviner, being able to unravel the problems related to the licensing of a record, well, that's much more difficult. Finding someone is Sherlock's job! After 4 years, Khan Jamal II (son of Khan Jamal) delighted us with a "Let's go my guy".
Khan Jamal doesn't need much introduction: Born Warren Robert Cheeseboro, he was a jazz vibraphone and marimba player from Philly. He founded the band Sounds of Liberation in 1970 with Byard Lancaster. In 1974, during one of his many trips to the old continent, he recorded this album in France at Jeff Gilson's Palm studio. It is a delicate game of lucid and intense contrasts between Christian Vander's drums provides a rock oriented touch, the marimba and the vibes with influences from the lands of the rising sun of Jamal and the composed trumpet of Clint Jackson III which anchor "Give the vibes Some" in a sort of Space Age Jazz era.
In the end, you know what? This album is a transcendent journey into yourself, like an intense session of meditation...even if "35.007 Feet Up" could easily be played by Jeff MiIls in his DJ Set!

"The Original Soundtrack Recording of “Hair” (1974), is the music score from the film adaptation of this famous Broadway musical from the late 60’s, originally written and later adapted for film, by Galt MacDermot. The soundtrack includes the #1 hits ""Aquarius/Let the Sunshine In,"" ""Good Morning Starshine"", and the title song ""Hair"". “Hair” (OST) is available as a limited edition of 1500 individually numbered copies on magenta coloured vinyl."

We are thrilled to announce the highly anticipated re-issue of Ash Ra Tempel's legendary 5th Studio Album "Starring Rosi" in our "50th Anniversary Edition". Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience.
The Album has been recorded by Manuel Göttsching in it´s entity, with additional help to come from Producer Dieter Diercks playing bass, percussion, Drummer Harald Grosskopf and of course Rosemarie "Rosi" Müller.
"Starring Rosi" is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Originally released in 1973, this album marked a significant departure for the band, featuring Rosi Müller, who added a lyrical and vocal dimension to the band's typically instrumental soundscapes & Manuel Göttsching background singing.
To many technically Ash Ra Tempel last, yet most accessible, release, although there was the soundtrack to Philippe Garrel´s movie "Le Berceau de Cristal" and there might be some further previously unreleased, music to come out later.

Album Background:
*Starring Rosi* stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics.
It marks an unique chapter in Ash Ra Tempel's discography, featuring the ethereal vocals of Rosi Müller alongside Manuel Göttsching's visionary guitar work. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music.
From the dreamy opening track "Laughter Loving" to the meditative "Day-Dream" and the atmospheric "Interplay of Forces," songs that illustrate the band's evolution from their earlier, more intense and improvisational albums, showcasing a more reflective and introspective side .
"The Fairy Dance" is delving into the mystical and meditative, transporting listeners to a dreamlike state.
While "Schizo" sounds like a continuation of the best moments of the previous Ash Ra Tempel records, is the last track "Bring Me Up" an Up-tempo Song that features Manuel as well on vocals.
"Starring Rosi" captivates with its blend of cosmic improvisation and melodic beauty.

Reissue Details:
This reissue of *Starring Rosi* has been introduced and overseen by Manuel Göttsching still, and finalised by his Family exactly to his standards, in which the meticulous approach to his work lives on.
An updated 2024 recut carefully commissioned by Schnittselle in Berlin (who also signs responsible for the previous ART Reissues, likewise, the 2016 E2 E4 Anniversary Edition ensure the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. The reissue is available on 180-gram Black vinyl and a Limited Edition in transparent Pearl Sunrise Vinyl.
Both vinyl editions comes with a replica of the original Vinyl Artwork including it´s original Backside.
The Limited Edition also includes a Poster of the alternate Backside, used later on the CD Editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased Original "The Fairy Dance" Music and "Schizo" Composition Sheets handwritten by Manuel

We are thrilled to announce the highly anticipated re-issue of Ash Ra Tempel's legendary 5th Studio Album "Starring Rosi" in our "50th Anniversary Edition". Originally released in 1973, this seminal work remains a cornerstone of the Krautrock and "Kosmische" movement, blending psychedelic rock, ambient soundscapes, and early electronics into a transcendent auditory experience.
The Album has been recorded by Manuel Göttsching in it´s entity, with additional help to come from Producer Dieter Diercks playing bass, percussion, Drummer Harald Grosskopf and of course Rosemarie "Rosi" Müller.
"Starring Rosi" is an essential piece of their continuation of blending cosmic psychedelia, ambient textures, and avant-garde electronic experimentation. Originally released in 1973, this album marked a significant departure for the band, featuring Rosi Müller, who added a lyrical and vocal dimension to the band's typically instrumental soundscapes & Manuel Göttsching background singing.
To many technically Ash Ra Tempel last, yet most accessible, release, although there was the soundtrack to Philippe Garrel´s movie "Le Berceau de Cristal" and there might be some further previously unreleased, music to come out later.

Album Background:
*Starring Rosi* stands out in Ash Ra Tempel's discography for its lighter, more accessible sound, balancing the band's signature cosmic explorations with melodic structures and poetic lyrics.
It marks an unique chapter in Ash Ra Tempel's discography, featuring the ethereal vocals of Rosi Müller alongside Manuel Göttsching's visionary guitar work. The album is a sonic journey that takes listeners through seven distinct tracks, each showcasing Manuel Göttschings pioneering approach to music.
From the dreamy opening track "Laughter Loving" to the meditative "Day-Dream" and the atmospheric "Interplay of Forces," songs that illustrate the band's evolution from their earlier, more intense and improvisational albums, showcasing a more reflective and introspective side .
"The Fairy Dance" is delving into the mystical and meditative, transporting listeners to a dreamlike state.
While "Schizo" sounds like a continuation of the best moments of the previous Ash Ra Tempel records, is the last track "Bring Me Up" an Up-tempo Song that features Manuel as well on vocals.
"Starring Rosi" captivates with its blend of cosmic improvisation and melodic beauty.

Reissue Details:
This reissue of *Starring Rosi* has been introduced and overseen by Manuel Göttsching still, and finalised by his Family exactly to his standards, in which the meticulous approach to his work lives on.
An updated 2024 recut carefully commissioned by Schnittselle in Berlin (who also signs responsible for the previous ART Reissues, likewise, the 2016 E2 E4 Anniversary Edition ensure the warm depth sound while bringing out the rich textures and nuances, all of the original recordings. The reissue is available on 180-gram Black vinyl and a Limited Edition in transparent Pearl Sunrise Vinyl.
Both vinyl editions comes with a replica of the original Vinyl Artwork including it´s original Backside.
The Limited Edition also includes a Poster of the alternate Backside, used later on the CD Editions showing Rosi and Manuel improvising during studio sessions. Also included are prints of previously unreleased Original "The Fairy Dance" Music and "Schizo" Composition Sheets handwritten by Manuel

When Creed Taylor was setting up his CTI label one of his proposed signings was Billy Vera. This led to a deal for Vera’s younger sister Kathy McCord. In fact, McCord was the first artist signed and recorded by CTI. Her debut, “Kathy McCord” was released in 1970.

Although the label would go on to establish a fine reputation in jazz, “Kathy McCord” was a folk rock album. A gifted young poet the 17-year old McCord wrote many of the tracks on the album which were then interpreted in the studio by a crack team of jazz musicians that included Harvey Brooks (bass), Hubert Laws (flute), John Hall (guitar) and Wells Kelly and Ed Shaugnessy (drums). Musically and lyrically both the musicians and McCord stretched out on tracks like ‘Rainbow Ride’, ‘Jennipher’, ‘Candle Waxing’ and ‘Take Away This Pain’ to conjure up an amazing fusion of folk and jazz. The only cover on show was a version of Lennon and McCartney’s ‘She’s Leaving Home’ which McCord repurposed as ‘I’m Leaving Home’.

Upon release the album sold poorly. Creed’s expertise and contacts were in the jazz field and he had no idea how to market an album of folk jazz songs sung with fragile beauty by a good looking girl still in her late teenage years. Also, when Billy Vera did not sign to CTI McCord was dropped.

Over time “Kathy McCord” attracted a dedicated following amongst folk-rock collectors in America and the UK. In many respects it was an echo of something like Deena Webster’s 1968 folk rock LP, “Tuesday’s Child” that also came, went and is now sought after.

Ace are delighted to give the world the first vinyl reissue of “Kathy McCord” since 1970. Pressed on black 180gm vinyl it also includes liner notes from Billy Vera - who has this to say about his late beloved sister: “My sister had the goods. She could sing, she could write and she looked great. Like so many other talented people, she just failed to get lucky. Listen and enjoy her. I love her stuff”. You will too...

LIMITED TO 500 HAND-NUMBERED COPIES!

After a prolific 2024 Benny The Butcher isn’t slowing down in 2025 and kicks off the new year with the release of Summertime Butch on vinyl. Originally released through Benny’s Black Soprano Family imprint in August 2024, the 10-track album features BSF artists ElCamino, Rick Hyde and Fuego Base plus Ed Lover.

Listen to all the pearls of Electronic Music withe the releases dedicated to House, Techno & Drum"n"Bass, sélected by the REXCLUB in a doble vinyl collection ! DISCOVER THE NEW VOLUME OF THE REX CLUB COLLECTION : THE DOUBLE VINYL DRUM"N"BASS With : Roni Size * DJ Gilb"r * Phume * Goldie * Tek 9 * Special Request * Rockwall * Aquarian * LU2K * ...