Buscar:black

Things become intangible. On his 3d album "Take Care Of Me", Murena Murena does an about-turn: his new songs are silhouette vehicles in the reverse of all traffic formulas that strive for speed and progress. You can also do it with your back on the floor, you can also go backwards! In Murena Murena's Augmented Reality Roll, language, rhythm and harmony always turn and expand in the opposite direction. The direction we / they came from. If the idea of a monoposto was to replace the front passenger with a rear-view mirror, and from then on to let the driver run the distance forwards and backwards in the driver's eye, then you can also carry out a U-turn while sitting on a chair with eyes painted on the lids. A mandrill will quickly become the Sphinx. And a hawk moth sees just as much as a fire bug. Dry sump lubrication in the box: camshafts driven by a spur gear cascade ensure additional turbulence of the helium mist in the crankcase through their rotary motion. Of course, that's hard to believe. Gone, the wet sump lubrication of ,Shame Over,! You, listener, now have to grab the ropes yourself and perform wave-like movements, pull the ropes and let them pop. If your eyes go black, you have both hands free again.

First-ever vinyl issue of this killer comp from 94 (Cherry Red)

Side A/B oxblood, Side C/D milky clear. Comes with 18x24 folded poster. Spanning 4 sides of vinyl you'll hear one of the finest deathrock/goth/new wave bands of all time with songs from EPs/12"s/demos from 1983-1985. It's a release not to miss.

Formed in Keighley, West Yorkshire, during the Post Punk of early 1980’s out of the band ‘The Elements”, took their name from the title of the song “Chant of the Ever Circling Skeletal Family” from the 1974 David Bowie album, Diamond Dogs.
Something unique was brewing up a dark and broody storm in West Yorkshire at the time with bands like The Sisters Of Mercy, The March Violets, Red Lorry Yellow Lorry, Southern Death Cult (later became The Cult) forming the basis of what became the soundtracks to the Goth Subculture.
Skeletal Family soon gained popularity in the UK Independent Charts and furiously gigged the length and breadth of the UK and Europe, recorded tracks for the John Peels Sessions, supported The Sisters of Mercy during their 1984 Black October tour, released 2 studio albums ‘Burning Oil’ (1984) and ‘Futile Combat’ (1985) of which saw the release of Skeletal Family’s most successful single ‘Promised Land’ on Red Rhino record label.
Anne-Marie left Skeletal Family in 1985 to form Ghost Dance with Gary Marx, former guitarist of The Sisters Of Mercy.

Though most debuts are the culmination of a lifetime of influences and experiences, few artists succeed in mapping their musical journey quite as vividly as Baba Ali has on Memory Device. Tracing his Nigerian heritage, an adolescence absorbing No Wave and the hip hop on NYC's Hot 97, time immersed in the techno scene in Berlin, and the experimental punk spirit of his current base in London, Memory Device is an enthralling introduction to a musician who resolutely defies pigeonholing.

Alton Ellis was one of the original great Ska and Rock Steady
Jamaican stars.
This Double LP was filmed and recorded live at The Jazz Caf , Camden Town,
London, 10th August 2008, joined by his son Chris it was to be Altons’s final
show.
Featuring many of his classic singles, including Dance Crasher, Willow Tree,
Ain’t That Loving You and many more.
Advertising in Riddim, Black Echoes and Record Collector Magazine

Interlacing black metal and high-energy rock n’ roll with gothic melodic and harmonic flourishes, Wolf Hex, the 3rd LP from Canada’s Wormwitch, is filled with monumental moments continuing the band’s upward trajectory in the global metal scene. "Shortly after 2019’s release of Heaven That Dwells Within, we went on an indefinite hiatus. Just before the beginning of the virus and the first quarantine, we made the decision to come back to Wormwitch with rejuvenated spirits and write a new record. The result is 10 songs that we recorded between 3 studios over the course of this past Autumn. The writing and recording process has been the smoothest, most natural, and most fulfilling we’ve experienced thus far and we’ve never been so confident in a record throughout its creation. As always, endless thanks to those who have been with us since the beginning as well as those who have discovered us through HTDW. Your individual support is absolutely noticed and appreciated. We think about you and remember your names." - WORMWITCH

Mondo is proud to continue its on-going celebration of the DC film universe, with an all-new limited edition pressing of one of the most iconic film soundtracks of all time: John Williams' legendary score for SUPERMAN: THE MOVIE.

The marketing for SUPERMAN: THE MOVIE cleverly described itself as a film that would make you "believe a man could fly," but no one involved in the film could be prepared for how that newfound belief would change the world forever. Now, nearly 43 years later, the superhero film industry shows no signs of slowing, but very few have achieved the visual and sonic miracle that the late Richard Donner and the inimitable John Williams were able to do with their epic origin story.

Featuring all new artwork by DKNG, Produced by, and featuring extensive liner notes by Michael Matessino, and pressed on 2x 180 gram black vinyl.

Mondo, in collaboration with Walt Disney Records, is proud to present Alan Silvestri’s soundtrack to the film WHO FRAMED ROGER RABBIT, available on vinyl for the first time in 30 years.

To this day WHO FRAMED ROGER RABBIT is still considered a landmark achievement in filmmaking, seamlessly combining 2D animation and live action, with a clever take on the interior lives of the world’s most beloved cartoon characters.

Following their previous successful collaboration with Robert Zemeckis on BACK TO THE FUTURE, Alan Silvestri’s score is one of his most ambitious. An inspired genre blend, bouncing from pot-boiling noir, to the madcap zaniness of a cartoon serial, to the songs and standards of the 1940's.

Featuring all new artwork by Stan & Vince and pressed on 180 Gram black vinyl

Birgit Minichmayr captures the imagination and holds centre-stage on
‘As An Unperfect Actor: Nine Sonnets by William Shakespeare’. This
won’t come as a surprise to people in the German-speaking world,
where the Austrian actor is well-known from countless appearances on
TV and a substantial filmography. Perhaps equally unsurprising is the
deep experience she can bring to Shakespeare: as an ensemble
member of the Burgtheater company in Vienna, she has repeatedly lived
out the searingly dramatic lives of the Bard’s characters, notably the
daemonic anger of Lady Macbeth, the sadness of Ophelia and even the
uncomfortable truths of the Fool in King Lear.
What might be more of a surprise, however, is the exhilarating musicality
she shows on this, her first complete album as a vocalist. One could
have predicted the crystal clarity, meaning and intent in her words - the
desolation in her voice in “the very birds are mute... the leaves look pale”
in Sonnet 97, for example. And yet there is more, much more, not least
Minichmayr’s uncannily instinct to find artful and felicitous ways to shape
musical phrases.
Composer/ pianist Bernd Lhotzky has provided a wonderful array of
musical contexts. As Minichmayr says: “He got so deep into the meaning
of each sonnet, his music made it different every time. And we talked a
lot about the colour, the meaning of each poem.” The opening track, ‘My
Mistress’ Eyes (Sonnet 130)’ is a masterfully deft piece of gender-fluid
irony. In the poem, a man is describing possibly the ugliest woman he
has ever seen - while also declaring that she is the one he loves.
Lhotzky gives us an acerbic version in that most male-led of dances, the
tango, complete with bandoneon, in which the words are sung by... a
woman. Minichmayr then gives a masterclass in how to end a song as
she hits, holds and nails the words “false compare” with triumphant
fearlessness.
Throughout the course of the album, we are magically transported to
new musical and emotional places. As Minichmayr says: “Through
singing, through just doing it, I was able to find deep love, or deep
sadness. I was really touched by it.”
One of the secrets to this album’s success is Lhotzky’s wish to find
melodies which have a certain ease and straightforwardness about
them. He says that he approaches all music - whether he is listening to it
or writing it - with one simple and direct question: “What story is this
telling me?” Lhotzky is known for his work in the field of early jazz, but
the range here is far broader, with allusions to such examples of fine
songwriting as Brassens, Robert Plant and James Taylor.
LP pressed on 140g black vinyl.

‘Kerber’, the new album from Yann Tiersen, is a
beautifully textured, highly immersive and
thoughtfully constructed piano-based album fused
with electronic music.
Piercing piano keys merge with swirling
soundscapes, as Tiersen explores the possibilities
of infinite smallness.
The album was created and recorded at The
Eskal, the studio he built on Ushant (the island
where he lives), and ‘Kerber’ is named after a
chapel in a small village on the island while each
track sonically maps the landscape that surrounds
Tiersen’s home.
An extensive European tour is scheduled for 2022.
CD in eco card pack with poster illustrated by Katy
Ann Gilmore.
Black vinyl LP includes digital download code.

Over the last 3 years, original 90’s D&B imprint Odysee has been steadily building its profile, both through its ‘Remix/Remaster’ series as well as a growing number of new releases. Label Partner Andy Odysee continues to develop his own unique sound with this third solo E.P. All three tracks work together as a triptych, whilst simultaneously maintaining their own unique identity.

Ruthless (In Purpose): Insidious (In Design) immediately establishes an ominous mood of brooding menace with its creeping bass stabs. As the drums enter, the track builds towards a drop of deep subs and driving breakbeat fury, punctuated by the ripped synth basses and curling drum edits that are fast becoming characteristic of Andy’s productions. There are subtle nods to the later Hokusai releases such as Sculptures Hide and even Black Domina; with eerie chiff-flute phrases, and those signature Mirage-style film-noire and dark avant-garde Jazz sounds nestling amongst the tapestry of beats and basslines.

As a contrast, Provocateur has a sweeter, almost sexier feel. A dreamy oscillating pad soon gives way to razor-sharp curling Jazz breaks and deep subs. The vocals border on the ‘saucy’ with their tantalising suggestions of ‘who thinks the technique is to make love to me’ and ‘the sexiest thing about me is my a**!’ There is a subtle darkness nonetheless to this track, with its plethora of dark film-noire samples. Although the framework of breaks & bass is strident enough for the dance floor, it is also the kind of track that is loaded with all those little production details that will reveal something fresh with each hearing.

The third track Status Anxiety is a frenetic, tense piece of music. Underpinned by a relentless bass synth stab that slips and slides throughout the track, the drum patterns are more elaborate, cutting between several different breaks, with abrupt stops to expose dark string sweeps, hammered Rhodes strikes and shimmering china cymbals. Again there is a subtle reference to the Hokusai releases, but with a fresh twist on that darker Jazz-infused style of Breakbeat D&B.

DJ Support
Source Direct, Law & Ben Repertoire, Mister Shifter, Basic Rhythm, Voodoo & Sensenet

Manchester UK's Space Afrika make music of what they term "overlapping moments" - oblique mosaics of dialogue, rhythm, texture, and shadow, half-heard through a bus window on a rainy night. Honest Labour, the group's first full-length since 2020's landmark hybtwibt? (have you been through what i've been through?) mixtape, expands the project's palette with classical strings, shimmering guitar, and visionary vocal cameos, leaning further into their enigmatic fusion of ambient unrest and cosmic downtempo. It's a sound both fogged and fragmented, at the axis of song craft and sound design, born from and for the yearning solitudes of life under lockdown. The album title is tiered, alluding to a legendary patriarch from co-founder Joshua Inyang's Nigerian family tree (who was lovingly called "Honest Labour" for his loyalty and resilience) as well as the nature of self-designated work, such as Space Afrika's music - a "labor of love" in its truest sense. With fellow co-founder Joshua Reid recently relocated to Berlin, the pair began sharing files last fall, piecing together poetic vignettes of looping haze and found sound, inspired by the notion of "records that leave an impression, and help the listener deal with their life." As the isolation of Covid compounded with the worsening winter, the songs skewed increasingly introspective and emotive, reflecting a mood of dissipating futures and the infinite nocturnal unknown. The artists cite two core motivations for Honest Labour: to transcend the sum of their influences, and "to show what we're capable of." Both ambitions are entirely realized. The collection's 19 tracks flow with a synergy and sophistication as rare as they are radical, untethered to the dusty dub-techno templates of Space Afrika's early years. These are interstitial anthems, expressionistic and open-ended, delirious but deliberate, attuned to the drift and dreamstate of the present moment: "Ultimately this is an homage to U.K. energy, and an album about love and loss."

JJ DOOM is the artist name for producer/vocalist Jneiro Jarel and British-born, mask-wearing maverick DOOM (AKA MF Doom).The nine track EP features tracks from the expanded Butter Edition of the duos debut album 'Key To The Kuffs' including DOOM collaborations with Clams Casino, BBNG, Del The Funky Homosapien, Beck, Thom Yorke & Johnny Greenwood. Originally released in 2014 as a limited edition picture disc, now available in 180g black vinyl.

"On paper, a full collaborative album from NYC's notorious rap villain DOOM and space age production from Jneiro Jarel can't fail. In practice it's even better. DOOM is in the form of his life here." Mojo
"No less quotable than he was in '99... heavy on the diabolical brainiac grifter guise that's fueled his post-KMD creativity for some 15 years, balancing knowledge and absurdity like a master." Pitchfork
"... it's poetry. The way he freeforms his verses and puts it all together, I don't think anyone else quite does it like that... GUV'NOR was my single of 2012. It's genius, that tune." Thom Yorke, Dazed

Necronautical have always been about exploring the darkness. Their very name means ‘To explore death’. It’s fitting, then, that on their fourth album, Slain In The Spirit, the Manchester band are pushing both their sound and their concept to the outer limits. Since forming in 2010, Necronautical’s name has become well respected among the British black metal underground. Across three albums –2014’s Black Sea Misanthropy, 2016’s The Endurance At Night and 2019’s Candlelight Records debut Apotheosis –their sound has become one rich in its skill with the dark side of metal. Ambitious and grandiose in its symphonic touches, this velvet glove hides beneath it an aggressive iron fist. On Slain In The Spirit, this is truer than ever. Everything has been taken to a degree beyond where the band have trodden previously, with the symphonic elements swirling even more dizzyingly above a metallic attack that hits with an almost machine-like ferocity. So much so that the band have transcended black metal altogether. Available on CD, trans amber 2 LP vinyl and trans amyethyst 2LP.

In James McMurtry’s new effort, ‘The Horses and
the Hounds’, the acclaimed songwriter backs
personal narratives with effortless elegance
(‘Canola Fields’) and endless energy (‘If It Don’t
Bleed’).
This first collection in seven years spotlights a
seasoned tunesmith in peak form as he turns
toward reflection (‘Vaquero’) and revelation (closer
‘Blackberry Winter’). Familiar foundations guide
the journey. “There’s a definite Los Angeles vibe to
this record,” McMurtry says. “The ghost of Warren
Zevon seems to be stomping around among the
guitar tracks. Don’t know how he got in there. He
never signed on for work for hire.”
‘The Horses and the Hounds’ is a reunion of sorts.
McMurtry recorded the new album with legendary
producer Ross Hogarth (Ozzy Osbourne, John
Fogerty, Van Halen, Keb’ Mo’) at Jackson
Browne’s Groovemaster’s in Santa Monica,
California. Hogarth recorded McMurtry’s first two
albums - ‘Too Long in the Wasteland’ and
‘Candyland’ - and later mixed McMurtry’s first selfproduced album, ‘Saint Mary of the Woods’.
Another veteran of those three releases, guitarist
David Grissom (Joe Ely, John Mellencamp, Dixie
Chicks), returns with some of his finest work.

Black vinyl repress

DE’WAYNE has one goal and that is simply to take
over the world.
Starting in Houston and moving to Los Angeles,
DE’WAYNE is an alternative artist who is just as
inspired by punk acts like The Stooges as he is
hip-hop artists like Andre 3000.
DE’WAYNE’s debut album, ‘STAINS’, covers
personal topics like sex, politics and his pride and
struggles growing up as a black man in the United
States.
Recently DE’WAYNE has received airplay on radio
stations such as Sirius XM Alt Nation, KROQ,
WRFF, WNYL and more, as well as being covered
by publications like MTV, Hot Topic, Alternative
Press and NME.
DE’WAYNE has also recently been featured on
singles by Waterparks, Anti-Flag, Point North,
Masego and more.
For fans of Waterparks, Yungblud, Grandson.
LP pressed on red vinyl.

The hit Netflix show ‘The Umbrella Academy’
returns along with another outstanding score from
Jeff Russo and Perrine Virgile.
Based on the comic book series by Gerrard Way of
My Chemical Romance.
Pressed on Black/White split coloured vinyl.

Maybe We Never Die, Anderson East's third release for Elektra/Low Country Sound takes the Alabama born, Nashville-based singer-songwriter’s seductively vintage voice in a decidedly fresh direction. The 12 tracks flow together with an overarching sense of ambience but maintain distinct musical boundaries. The energy toggles between a hunger for vulnerability in togetherness and a clinging to solitude as a romantic self-defense. There is consternation with the speed and volume at which the world operates and solace to be found in the simple act of getting up and going. And the beguiling title track, with its woozy strings swirling around East’s celestial falsetto as it curls towards the ceiling like smoke is, as they say, a whole mood; a sense of a single night’s dusk-to-sunrise contemplation. Collaborating once again with Dave Cobb along with longtime bandleader and now co-producer Philip Towns, East has found an enticing new avenue, one that maintains a connection to his past but keeps his eyes on the road ahead.

Maybe We Never Die is East's first new music since 2018's breakthrough album, Encore, which featured the Grammy-nominated #1 AAA radio single, "All On My Mind." Heralded by critics, The New York Times praised Encore as, “…an often lustrous revisiting of raucous Southern soul, rousingly delivered and pinpoint precise. He has a voice full of extremely careful scrape and crunch, but his howls never feel unhinged," while Rolling Stone declared, “On Encore, East’s influences meld seamlessly, stacking the album with Stax-worthy R&B grooves, gospel-blues ooohs and aaahs, surging keys and blasting brass.” Known for his magnetic live performances, East and his band have performed sold-out shows worldwide and have been featured on ABC's "Jimmy Kimmel Live!," CBS' "The Late Show with Stephen Colbert" and "CBS This Morning Saturday," NBC's "TODAY" and "Late Night with Seth Meyers," PBS' "Austin City Limits" and more.

One can’t overstate the size of the Fear Factory boot print on the neck of heavy metal. Unleashing influential albums with devastating anthems for over 30 years, Fear Factory is widely recognized as both crucial and innovative in extreme metal circles. Fear Factory manufactured, demanufactured, and remanufactured a sound that reverberates across several subgenres. They perfected an explosive blend of staccato paint-stripping riffs, industrial-tinged drums, electronic flourishes, and a scream/sing dichotomy, all of which became staples in heavy music, ever since the group first emerged in L.A.

Fear Factory headline major festivals; earned several awards from the international sales charts; toured with Black Sabbath, Slayer, Iron Maiden, and Metallica; and influenced generations of bands. But it’s the group’s commitment to unrelenting extremity and creative authenticity which ensured its place in heavy metal history, from the highly-revered Demanufacture to the similarly dominating Genexus. Songs like “Zero Signal,” “Shock,” and “Fear Campaign” are instantly recognizable anthems, as much a part of the musical DNA of modern metal subculture as the riffs and scream/sing style within them.

Fear Factory records are cinematic in scope; sonic landscapes, echoing the dystopian post-apocalyptic futures found in classic sci-fi literature and films, from Ray Bradbury to Blade Runner. Aggression Continuum, the tenth studio album, is the culmination of three decades of unforgettable songs, performances, and forward-thinking storytelling concepts, while simultaneously rebooting Fear Factory onto a brilliant and excitingly unpredictable new path. Like the liquid metal T-1000 in the Terminator franchise or the Academy-Award winning reboot of Mad Max, Aggression Continuum is a turning point where what “was” transforms into what will be. It’s Fear Factory’s own Fury Road.

Aggression Continuum boasts the definitive attack of songs like “Recode,” “Distruptor,” and “Purity.” The riffs, concepts, and passion remain strong, as Fear Factory celebrates its past, present, and future. Whatever may come, Fear Factory will be there, a soundtrack to humankind’s uncertain times ahead.

‘321?’ is the debut EP from MILYMA, released on foundation.fm’s freshly minted label foundation.fm Records.
MILYMA is the multi-instrumentalist and multi-linguistic musician, vocalist and producer with a bright year ahead of her.
Real name Milena Mayordomo, the rising star is based in the creative city of Basel in Switzerland and was born in Germany to Spanish parents. Her music explores the experimental fringes of pop that nods to hip-hop as well as classical, with her cascading arpeggios at the heart of her music making. Her world building capabilities with both music and visuals, place her amongst avant-pop creators like FKA Twigs and Smerz. Her intricate and intoxicating productions show us that MILYMA is already a master of her craft, bringing her thrilling EP ‘321?’ to the table, this Basel based artist is proving to be one of the most exciting acts to burst on the scene. After launching a new era for foundation.fm, both label and artist are sure to go from strength to strength.
This 4-track EP is printed on 140 gram 12” black vinyl, in 200gsm printed card sleeve.

Type O Negative is an American goth-metal band formed in Brooklyn in 1989 by Peter Steele (lead vocals, bass), Kenny Hickey (guitar, backing vocals), Josh Silver (keyboards, backing vocals), and Sal Abruscato (drums, percussions), who was later replaced by Johnny Kelly. Slow, Deep and Hard is their debut studio album, released in 1991 on Roadrunner Records. The album, originally titled None More Negative and released in 1990 under the group’s former name Repulsion, launched the band’s career. The album has a rawness that was prominent in Peter Steele’s previous band, Carnivore, but it incorporates elements that became standard for Type O Negative, merging styles including doom metal, gothic rock, new wave and industrial music.
Slow, Deep and Hard is a semi-autobiographical album with heavy amounts of black humour, based on a failed relationship in which the vocalist/bass guitarist Peter Steele was involved. In keeping with the band’s notable humour, the album’s cover artwork is a blurred image of sexual penetration. According to guitarist Kenny Hickey, Steele based a riff of “Gravitational Constant: G = 6.67 x 10 – 8 cm – 3 gm – 1 sec – 2” (later known as “Gravity”) from the theme song of the 1964 American sitcom The Munsters. For the 30th anniversary of Slow, Deep and Hard, Roadrunner Records in conjunction with Run Out Groove, is reissuing the debut on vinyl in all it’s remastered glory.

South London genre-blending story tellers Alabama 3 are set to further add to their rich musical heritage with a new single ‘Whacked’, available April 30th via Submarine Cat Records, with an album to follow later in August.

‘Whacked’ is the first taste of fresh Alabama 3 material since the tragic passing of their beloved and unconventional frontman and songwriter Jake Black, aka The Very Reverend D. Wayne Love, in May of 2019. Jake had Addison’s disease and passed away several days after falling ill during a show at the Highest Point Festival in Lancashire at only 59 years old.

Then, with the Covid-19 pandemic and lockdown upon the world, the band got creative and submerged themselves in their music, teaming up with producer Cam Blackwood (George Ezra, Jack Savoretti, Tom Walker, Frank Carter and the Rattlesnakes…) to focus

The album was written and recorded in Nashville with GRAMMY® Award winning Producer of the Year, Dan Auerbach, at his legendary Easy Eye Sound studio this past year, fronted by Shannon Shaw and Cody Blanchard on lead vocals. It is an endlessly vivacious, ebullient, and clever album from the kings and queen of the Bay Area garage punk scene. Fresh off of their supporting tours with the likes of The Black Keys and Greta Van Fleet, they returned to the studio with their unique vintage sound that incorporates wonderfully strange elements of doo-wop, classic R&B, garage psych and surf rock to produce this timeless gem from these perennial favorites. Includes a Limited Edition Midnight Wine Coloured LP version for High street and own website stores

For RE:WARM 006 we present a collection of music from one of San Francisco’s best kept secrets, Dr Robert Blackman. “The Unimaginable DreamWorks” is a collection of five tracks from three musical masterpieces he put out between 1983-1985 on his own ‘Riverwinds’ imprint. A practising chiropractor by day with his own holistic health centre in San Francisco, these songs became his love, passion and focus. Together with Michael Pluznick, a very accomplished percussionist they painstakingly put together an ensemble of musicians to bring the tracks to life. The melting pot for this body of work was Hyde Street Studios which still today is based in deepest San Francisco and has seen names such as Neil Young, Earth Wind & Fire and John Waters to name a few grace its studio space. Singers and musicians alike came together from all over the world to bring Robert’s vision to reality. This included an Australian didgeridoo player, an electric violin and piano player from Paraguay as well as singers and a choir from the surrounding local churches. Together through Dr Robert Blackman’s eyes they created a fabulous sound of twisted disco punk funk like no other that still sounds relevant today as it did back in the eighties. The energy and the stories are clear to hear throughout the five tracks which make up “The Unimaginable DreamWorks” of Dr. Robert Blackman 1983-1985. Artwork was key to the releases and the “Peace Is Alive” painting incorporated on the label of the release appeared in TIME magazine in 1984 when Dr Robert Blackman was treating combat vets, suffering from PTSD and this was the name of the job fair for veterans he set up. To promote the album at the time Dr Robert Blackman flew up over San Francisco in a single engine prop airplane loaded with 50,000 leaflets

’Angelo lost his shit over it. Aaliyah’s 3rd favourite track of all time is on it. David Bowie rocked up with it to a TV interview, declaring it “the most exciting sound of contemporary soul music”.

In 1996, Lewis Taylor released his self-titled masterpiece. A true modern classic, it’s an album that was years ahead of its time. Forget 25 years ago, it could easily have been made in 2021. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike. But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find. Lewis Taylor’s Lewis Taylor remains a holy relic for some and criminally unknown to most.

Lewis Taylor’s impeccable influences created a dazzling sonic palette: the LP as a whole suggests the visionary brilliance of Prince; the vocal stylings evoke the yearning power of Marvin Gaye; the effortless guitar playing shares the virtuosity of Jimi Hendrix; the haunting tones conjure Tricky; the innovative production and engineering invite comparisons to studio mavericks like Todd Rundgren and Brian Eno; the multi-layered, complex harmonies flash on Pet Sounds-era Brian Wilson; the dark, drama is reminiscent of both Scott Walker and Stevie Wonder; the complex arrangements create textures and moods with the feel of Shuggie Otis on Inspiration Information; the bold experimentation is akin to progressive artists like Faust and Tangerine Dream; the atmosphere is in conversation with Jeff Buckley’s Grace… and we could go on. That might all sound like marketing hyperbole, but not as far as Be With is concerned. It is a genuine wonder how an album this good could’ve passed so many people by.

But despite all the reference points, the similarities are really only skin-deep because the album sounds truly original. It occupies its own distinct, strange universe that feels dark and brooding one moment, bright and joyous the next. Ultimately, Taylor sounds like Taylor.

Although you wouldn’t know it from the credits, the album wasn’t the work of Lewis alone. Sabina Smyth gets an executive producer credit on the original sleeve, but in fact she worked with Lewis on the production and arrangements, did a lot of the backing vocals and she co-wrote Track, Song, Lucky and Damn with Lewis.

Lewis clarified all this in a Soul Jones interview with Dan Dodds in 2016. He explains how not giving Sabina the credit she was due at the time was an unfortunate consequence of where his head was at and he’s now trying to set the record straight.

Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra.

On the surface the album is gorgeously laidback, but beneath the lush, sometimes slick, production there’s a murkiness in the seriously gritty funk/hip-hop instrumentation. Lewis Taylor can be a claustrophobic listen. Even its one-word, often seemingly throw-away track titles add to the sense of unease. In its most positive moments, there’s still a sense that things aren’t quite right. The magic comes from this compelling tension.

The languid, strutting “Lucky” is a sensational opening statement. Sinuous electric guitar winds around the shaking percussion with a killer bass line rattling your bones, and Lewis’s voice is sublime. Its six-and-a-half unhurried minutes manage to distill the work of Marvin, Al Green and Bobby Womack because yes, it’s *that* good. Up next is the tough, dusty drum and jazzy, unsettling psych-guitar workout of “Bittersweet”. Aaliyah described it the “perfect song”, which says it all. By turns loping and soaring, tightly coiled and blasting free, 25 years on its discordant, swaggering majesty still sounds like future R&B.

The swinging, blue-eyed funk of “Whoever” oozes sophisticated sunshine soul for hazy days before “Track” sweeps in. The music tries to lift us up, beyond the reach of the vocals trying to drag us back down as Taylor sings “my mood is black as the darkest cloud”. The spare, dubby electro-soul of “Song” closes out the first half of the album with barely contained dread as it creeps towards the lush, synth-heavy coda.

The smouldering “Betterlove” eases us into the second half, coming on like a languorous response to the call of “Brown Sugar”, before sliding into the shuffling, softly-rocking “How”. Somehow the remarkable “Right” manages to both warm things up and smooth things out even more. Taut yet luxurious, it’s definitely not wrong.

“Damn” was to have been the album’s title track and you might also be able to hear its influence on D’Angelo’s Voodoo, maybe most obviously in the chaotic closing moments of “Untitled (How Does It Feel)”. Building to a screeching wall of noise that suddenly cuts dead, “Damn” sounds like the natural end to the album, with the celestial a cappella “Spirit” serving as a heavenly reprise.

When it came to the sleeve, art director Cally Callomon heard Taylor’s music as “sideways off-camera glances at a plethora of influences he had” and wanted to interpret that visually: “I went off into night-time London to see if I could find his song titles in off-beam low-fidelity photographs. I even found a shop called Lewis Taylor”. With a slide for each of the album’s ten tracks, nine of them are on the inner sleeve and the slide for “Damn” makes the front cover. It should’ve been the album’s title, but concerns over distribution in the US scuppered this.

One of UK soul’s most fascinating artists, Andrew Lewis Taylor is an enigmatic figure and a hugely under-appreciated talent. A prodigious multi-instrumentalist who got his start touring with heavy blues/psych outfit the Edgar Broughton Band, he released two albums of psychedelic-rock as Sheriff Jack before Island signed him on the strength of a demo alone. But Taylor was destined to be one of those artists unable (or unwilling) to be pigeonholed and despite the best efforts of Island’s publicity department the music never sold in the quantities it needed to or deserved to. Island eventually let him go in the early 2000s and in June 2006, Lewis Taylor retired from music.

Typical for the mid-90s, this CD-length album was squeezed onto a single LP for its original vinyl release. Simon Francis’s fresh vinyl mastering now spreads out the ten tracks over a double LP so nothing is compromised. And as usual, the records have been cut by Pete Norman and pressed at Record Industry. The original artwork has been restored at Be With HQ and subtly re-worked to work as a double.

This sprawling psychedelic soul opus really is a forgotten should-be-classic. We know that there are those of you who know, and as for the rest of you, we’re a bit jealous that you’re getting to hear Lewis Taylor for the first time.

Superb Tribe dancefloor offering 4 Tribe/Hardtek tunes, classic and well done.

bullet-proof packing with inner sleeves and 3mm black Spinned.

Multinational industrial black metal rising force Decoherence join Sentient Ruin again to bring you "System I", a 12" vinyl, digital and cassette tape full-length album/compilation of all the band's recent digital only singles and EPs, remastered to their final and ultimate form along with a glorious and previously unreleased cover rendition of Killing Joke's classic cut "The Wait". While these tracks were previously already digitally (self)released, don't be fooled or misled to think you're hearing any "b-sides" or otherwise "left over" material, rather, consider "System I" not only the righteous third official full-length album from the band, but also by far Decoherence's most visionary, cohesive, and imposing songs to date. Awe-inducing and ghastly in its enveloping immensity, the tracks on "System I" see the enigmatic multinational black metal band morph into their most defiant and commanding form yet, as they construct an impenetrable mechanized swarm of liquefying industrial hallucinations and swirling dissonance that eradicates the listener from their corporeal and terrestrial self to cast them at the edge of a light-devouring void. Stylistically "System I" sees Decoherence's sound still thrive and evolve within the familiar synthetic black metal deconstructionist framework of progenitors like Blut Aus Nord and Darkspace, but as the Killing Joke cover included unmistakably hints at, these tracks also reveal a marked shift for the band toward a more unintelligible, unpredictable, and ominous immateriality, as elements incorporated from post-punk and experimental industrial assume stronger delineations adding ulterior dimensions and identities to the band's already alien and otherworldly sound.

Released for the very first time in the format it was recorded for. The Holy grail of Bolan's unreleased soul recordings as producer for SISTER PAT HALL, includes completely unheard version of Do Your Thing taken from newly acquired original reels features completely reworked version of classic T. Rex Tracks 'Jitterbug Love', 'Get it On', 'Sunken Rags', and the never released in Marc's lifetime 'Sailors of the highway'. Besides some self-released gospel recordings, Pat Hall was a much sought after vocalist in the late 60's early 70's, having worked with Joe Cocker as one of the `Sanctified Sisters' along with Gloria Jones. In 1972 Pat (& Hloria) became backing singers on the u.s T.Rex concerts and in mid to late 1973 Marc Bolan decided he was going to produce an album by Pat, being well ahead of the then interest in black american soul by fellow pop stars David Bowie John Lennon and Elton John. The album was recorded but never released (on vinyl), until now! Pat Hall never released anything again, this album remains the sole released recordings of this extraordinary singer.

Reissue of Corinne Bailey Rae’s debut self-titled album originally released February 2006. Debuting at No.1 on the UK Albums Chart and Featuring four top 40 singles such as ‘Like A Star’, ‘Trouble Sleeping’ and ‘Put Your Records On’ which reached number 2, reissued for the first time since 2006 this release also features bonus track ‘Another Rainy Day’. The album was certified triple platinum by the British Phonographic Industry (BPI) and has sold over four million copies worldwide. “Put Your Records On” & “Like a Star” were both nominated for Grammy Awards in 2007/2008 for Record of the Year and Song of the Year. Pressed on 180g heavyweight vinyl, a D2C offering of a black and brick red vinyl is also available.

Black vinyl w/ standard sleeve. Juju is the brainchild of Sicilian multi-instrumentalist Gioele Valenti (Lay Llamas, Herself) and this Fuzz Club Session LP finds Valenti and band (Vincenzo Schillaci, Simone Sfameli) storming through four tracks at I Candelai in Palermo, Italy. The resulting session is released as a series of videos and pressed on vinyl. Due for release August 13th on London-based label Fuzz Club, the session comprises two tracks from their 2017 second album 'Our Mother Was A Plant' ('In A Ghetto' and 'And Play A Game') and two from 2019's 'Maps and Territory' LP ('Master and Servants' and 'Motherfucker Core'). Juju's worldly, genre-bending experimentalism fuses psychedelia, new wave and krautrock with touches of afrobeat, funk and zamrock and it's in a live setting, such as that captured here, where that captivating blending of sounds is at its most spellbinding and hypnotic. Juju's Fuzz Club Session (the latest in a series which has previously included the likes of A Place to Bury Strangers, Night Beats, Holy Wave, The Entrance Band and more) makes all too clear why the band have been praised as one that "resets the coordinates and makes the past seem startling new again" (The Quietus).

Limited Coke Bottle Green vinyl, 250 copies only for the UK. Any future pressing will be on black vinyl. Massage feature Alex Naidus from Pains At Being Pure At Heart. Recorded by Lewis Pesacov (Fool’s Gold, Foreign Born, Peel’d). Massage was supposed to be low-stakes, no big deal "anti-ambition," as Andrew Romano, guitarist and vocalist, put it. The L.A.based jangle-pop group's first album, 2018's Oh Boy, was a sweet and simple weekend warrior's affair, or more specifically, an every-other-Monday one, as the band members gathered to bash out songs that offered messy but heartfelt tribute to their chosen heroes: The Feelies, the Go-Betweens, Twerps, Flying Nun. For Romano, not taking things too seriously is a dead-serious affair: “Nothing kills the kind of music we want to make faster than the sense that a band is trying too hard,” he says. The kind of music Massage makes sunny, bittersweet, tender is less a proper genre than a minor zip code nested within guitar pop. Take a little "There She Goes" by the La's, some "If You Need Someone" by the Field Mice; the honey-drizzled guitars from The Cure's "Friday I'm In Love," a Jesus & Mary Chain backbeat, and you're almost all the way there. Indie pop, jangle pop, power pop whatever you call it, pushing too hard scares the spirit right out of this sweet, diffident music, and Massage have a touch so light the songs seem to form spontaneously, like wry smiles. Still, on their sophomore effort, Still Life, they manage to take a quantum leap forward in songwriting, production, and depth, all somehow without seeming to try. These 12 deft songs are full of late-summer sunlight and deep shadows, pained grins and shared jokes, shy declarations of love and quietly nursed heartbreak. Still Life resurrects a brief, romantic moment in the late-'80s, right after post-punk and immediately before alt-rock, when it seemed like any scrappy indie band might stumble across a hit. When Andrew Romano and Alex Naidus first met in 2007, Naidus had just joined a band with his friends Kip Berman and Peggy Wang that was about to stumble into many of them. When Naidus finally left Pains for L.A. in 2013, two hit albums and a few world tours later, he started playing with Romano to recapture the no-stakes, suburban-garage joy of making music for its own sake. It was "friendship incarnate," Naidus remembers. The other members came from within the friend circle Gabrielle Ferrer (keyboard/vocals) is Romano's sister-in-law, Michael Felix (drums) is one of Naidus’ best friends, and David Rager (bass) is a childhood friend of Felix’s. When Felix moved to Mexico City in early 2020, Naidus’ wife, Natalie de Almeida, stepped in. The result is the finest batch of songs they've ever produced. From Naidus' velvet-lined JAMC tribute "Half A Feeling" to Ferrer's Let It Be-era Replacements-tinged lament "The Double" to Romano's "In Gray & Blue," these are gold-standard indie-pop gems from emerging masters of the form. Still Life glows with the sincerity and unfakeable warmth of the era they so lovingly channel. Like the best Gin Blossoms chorus you still remember, the songs on Still Life stir big, pure emotions, but beneath them, uneasy truths about adulthood linger, just below the surface. Maybe the exact mix of ringing guitars and two-part harmonies can chase those feelings away, or redeem them, for at least a minute or three. Massage won't stop trying.

The Room will be Ricky Reed’s first artist album since becoming a house-hold-name producer, and launching his own label with Nice Life Recording Company. The project features Leon Bridges, Jim James of My Morning Jacket, Dirty Projectors, Terrace Martin, Duendita, Ayoni, Lido Pimienta, St. Panther & John-Robert and more. The Room is a title that came to him in the wake of the death of George Floyd and the galvanizing of the Black Lives Matter movement across America and the world. He wanted to create a communal place where it’s as necessary to cry as it is to rejuvenate; where it’s as vital to be angry as it is to find joy. The music is an invitation to share experiences, commiserate, rejuvenate, and offer hope. It is upbeat in places, meditative always, and has real soul to it. Ultimately, Reed feels fundamentally changed by quarantine, particularly with his process of creating. All the songs were written via text and voice memos. The Room feels like an offering to the world at a time when Reed was back in the process again. Back at a new start. “When this comes out, whether it is well or not, the only thing that matters is that I made it.”

English thrash metal outfit Xentrix is commonly referred to as one of the “big four” of English thrash metal, given their popularity in the underground metal scene of the 1980s to mid-1990s. The band released their second studio album For Whose Advantage? in 1990. It gave them even more interest than their debut, and it marked the first time the band got to shoot a music video – for the title track. It also gave Xentrix the opportunity to tour with Skyclad and play shows with world famous metal bands such as Slayer and Sepultura. And rightfully so, as this album belongs in any headbanger’s collection.

For Whose Advantage? is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl.

The Cold Stares will release their new album "Heavy Shoes" on August 13, 2021 via Mascot Records.
"Heavy Shoes" will be available on CD Digipack w/ 12 page booklet and 180 Grams Shiny Gold Vinyl w/ printed insert.
The great state of Kentucky is world renowned for many things. Bluegrass music? Of course. The smoothest, best-tasting Bourbon created by the hands of man? It doesn’t get any better. One thing that folks don’t always associate with Kentucky however is visceral, in-your-face rock and roll. The Cold Stares are determined to change that perception.
Chris Tapp and Brian Mullins have known one another for a long, long time. They grew up in Western Kentucky, just a stone’s throw from the border or Indiana, and attended different High School mere minutes down the road from one another. They originally started playing together in their early twenties before going their separate ways only to reunite in another outfit a decade down the line. “We were playing together in 2009 in another band that was doing really well,” Tapp said. “It didn’t work out, so we both kind of exited that band and contemplated retirement.” It didn’t take long before they were thankfully disabused of that notion.
That band is an intense amalgam of Led Zeppelin meets Free, Soundgarden meets Black Crowes; rock and roll wizardry where the riffs are hard, the vocals are searing, and the low end is capital “H,” heavy. Most of the album was recorded in a single day at Sam Phillips fabled recording studio in Memphis. “That’s our second record there, so there was a lot of familiarity going back in,” Mullins said. “The thing about that studio is that it’s old, and vibey. Sometimes you gotta bang on the gear a little bit to make it work. It’s kinda like the Millennium Falcon. It’s badass, but you just gotta get it running right.”

‘Heavy Shoes’ is Cold Stares’ best record yet, and they know it. It took a lot of blood, sweat, tears and doubt before Chris Tapp and Brian Mullins reached this moment, but it’s all the sweeter knowing they did it their way. “We’ve been through some tough times, and I’d say our band is a pretty good representation for blue collar people in general. People that work hard. We’re just a blue-collar American rock and roll band.”

BBE Music is thrilled to announce the release of Modern Love, a diverse compendium of specially commissioned cover versions of rarities and classics in tribute to David Bowie. Featuring an array of artists such as Jeff Parker, We Are KING, Meshell Ndegeocello, Helado Negro, Khruangbin, Matthew Tavares, Nia and more, Modern Love seeks to champion Bowie’s lesser-known connection to soul, R&B, jazz, funk, and gospel. The prominent jazz influences throughout Bowie’s final album, Blackstar, were a key inspiration for curating this collection of reimagined Bowie songs with these artists. The resulting album is an eclectic tribute featuring a group of artists who not only fit together creatively, but who, like Bowie, straddle different worlds musically, with soul and jazz at their core. Modern Love offers a fresh look at Bowie's trailblazing career, aiming to highlight the often overlooked relationship between his back catalogue and musical genres traditionally pioneered by artists of color. The project was curated by music executive and DJ Drew McFadden, alongside BBE Music founder Peter Adarkwah. "I felt that the connection between Bowie and R&B, jazz, funk, gospel and all things soulful, had never really been explored before — at least not so much in covers, which tend to lean more towards rock and pop,” says McFadden. “Certainly, there's been plenty of Bowie covers over the years, but none that have really tapped into what seems to have been a big part of his core musical style and direction

"On August 13th, the first-ever vinyl reissue of UK top 5 album 12 Memories from Travis continues the reissue streak from the Scottish rock band. Cut at London’s Metropolis Studios & features all original packaging replication including photography by Anton Corbijn. As well as the standard black vinyl, a limited white vinyl edition will be available exclusively at Travis’ official store & Independent record shops.
None other than Sir Elton John raved that 12 Memories would “take you on a real journey… like The Beatles’ Revolver”. And, just like The Beatles in 1966, Travis were at a critical juncture when it came to recording their fourth album & the follow up to the multi-Platinum international breakthrough The Invisible Band. 12 Memories is the third vinyl reissue from Travis so far in 2021, it follows 2007’s The Boy With No Name vinyl re-release May 28th & the first ever vinyl reissue for debut album, Good Feeling released April 2nd via Craft Recordings. "

The weird world of Wombo is a kaleidoscopic journey of sharp turns and
surprising visions, a melting pot of influences with a cheeky cheshire-cat
grin that coalesce into a trippy but infinite universe of the band’s own, and
a portal into their unique vantage point without limitation.
Already committed to living outside the traditionally-heralded country sound
of the music scene in their hometown of Louisville, Sydney Chadwick (vocals)
and Cameron Lowe (guitar) had previously played in punk pop band the Debauchees, and with the addition of Joel Taylor (drums) in 2016 they found a
winning combination of more straightforward indie rock combined with Chadwick’s pitched up, oscillating vocals and unpredictable shifts in melody that see
the band moving forward at an impressive pace.
Their 2020 Blossomslookdownuponus LP is a snapshot of Wombo’s wide-ranging aspirations that careen across avant pop, post punk and warbly indie interludes with a sky’s-the-limit approach to translating the mundanity of regular
life into their own high-frequency language. Lemon Yellow Vinyl w/printed inner sleeve.

Limited edition 180g audiophile pressing of this classic Peggy Lee LP.
Presented here is Peggy Lee’s original 1960 LP All Aglow Again! (Capitol Records T-1366), in its entirety. The album is a compilation of the singer’s greatest successes up to that date, including her glorious hit “Fever”.
A definitive collection with 8 bonus tracks.







[g] Black Coffee [Single Version]
[h] Sugar [from Pete Kelly’s Blues]










[s] La La Lu [from Lady And The Tramp]

New 2022 pressing on black vinyl with download code. Originally released on vinyl in 1981. Long lost live album (exept for RSD 2021) and simply breath taking live Ubu classic culled from 1981 recordings in Cleveland, London and Brussels featuring the band's original line up. An essential part of Pere Ubu's catalgue, for all fans of the the celebrated post-punk innovators.

There has always been a Reggae inuence in the music of El Michels Affair. From their cover of "Hung Up On My Baby" done in a Reggae style, to the general sound and approach that permeates Leon's production style. While recording Bailey's 2020 Ekundayo album, they did some straight forward reggae tunes inspired by different eras alongside some modern R&B tracks that would t more comfortably next to Frank Ocean than Jacob Miller. It is this same notion that old and new can live so comfortably together that birthed the idea of Ekundayo Inversions. Traditional dub came out of reggae in the late 60s and early 70s when pioneers like King Tubby and Lee Perry started taking the multi track recordings of songs and running them back through the board adding effects and additional instrumentation. These recordings are called "dubs" or "versions" and are typically instrumentals with ourishes of vocals from the original tracks. El Michels decided to use the blueprints left behind and make something using the inuences of today. He wound up straying so far from the traditional format that it didn't seem right to use the word `Dub', hence Ekundayo Inversions. All the songs are tied together by WhatsApp messages between Leon and Liam that perfectly narrate the story of this record and their working relationship. One of the highlights on Ekundayo Inversions is a guest appearance from the legendary Lee "Scratch" Perry on the "Ugly Truth" version. L$P switches between singing and talking, proclaiming his powers one minute and playing with the track's title the next. On "Awkward take. 2" Leon takes one of the most experimental songs from Ekundayo and actually straightens it out. A track that once seemed to be oating in space has now been anchored by the addition of drums and bass. "Faded", a version of "Paper Tiger", is given the full EMA treatment with the addition of emotive horns over an uncomfortably sparse rhythm track peppered with Liam's voice drenched in delay and echo. "Champions" features a verse from Black Thought of The Roots and halfway through, El Michels sends the rhythm section 50 years back. At the end of the day, Ekundayo Inversions is a testament to how strong the original songs are. Whether they're in a R&B style, reggae style, stripped down to their bare bones, or loaded with production, the songs will move you.

Calypso developed into its modern form in Trinidad around the turn of the twentieth century as a primarily English-language topical song associated with pre-Lenten Carnival. By the 1920s, Calypsonians, as the singers and composers were called, performed in “tents” (yards covered by a tarp, union halls, and such) for the people of Trinidad and for tourists. As early as the 1930s, the genre was gaining a following outside of its homeland ; for example the British writer Aldous Huxley visited a tent in 1933 and wrote with admiration about calypso singing : “ The Calypsonians of Trinidad live in another ‘Zeit’; so the ‘Geist’ they obey is not the same as ours. In that, it may be, they are fortunate.

red vinyl!

Having produced full albums for numerous buzzing names in the last couple of years, 38 Spesh has become recognized as one of the most prolific beatmakers in the new era of hardcore Hip-Hop. So, to mark this achievement, he has decided to start giving fans the instrumentals to their favorite songs with a new series titled Speshal Blends. The first volume of the series includes beats off of Che Noir's Thrill of the Hunt II, Flee Lord x 38 Spesh's Loyalty + Trust, 38 Spesh's 5 Shots EP, and more. The title of the series is a homage to MF DOOM’s classic instrumental collection, Special Blends. The album art also references DOOM’s series, but instead of playing on the Zig-Zag motif, the Speshal Blends covers riff off the logos of popular cigar brands most commonly used for blunts

Interdimensional Extinction - EP The debut studio EP from this twisted Colorado death metal legion. Mixed and mastered by Damian Herring (Subterranean Watchtower). Eighteen minutes of Sci-Fi death metal for fans of Timeghoul, Demilich and other oddities. Re-released via Century Media Records the EP will be available as Ltd. CD Digipak and 180-gram black LP & poster + etching on side B. Starspawn After releasing the Interdimensional Extinction EP, BLOOD INCANTATION returned with a 30-minute cerebral whirlwind of powerful atmospheric death metal. The intense and otherworldly technical/ambient/funeral death metal of Starspawn leaves the listener feeling transcendentally disembodied at the end of an unknown dimension. Produced entirely in analog, the energy and magnetism of live BLOOD INCANTATION is tangibly melting through the speakers, and the songwriting, production and performance constellations have all fully aligned. Re-released via Century Media Records the album will be available as Ltd. CD Digipak and Gatefold 180-gram black LP & poster.

Interdimensional Extinction - EP The debut studio EP from this twisted Colorado death metal legion. Mixed and mastered by Damian Herring (Subterranean Watchtower). Eighteen minutes of Sci-Fi death metal for fans of Timeghoul, Demilich and other oddities. Re-released via Century Media Records the EP will be available as Ltd. CD Digipak and 180-gram black LP & poster + etching on side B. Starspawn After releasing the Interdimensional Extinction EP, BLOOD INCANTATION returned with a 30-minute cerebral whirlwind of powerful atmospheric death metal. The intense and otherworldly technical/ambient/funeral death metal of Starspawn leaves the listener feeling transcendentally disembodied at the end of an unknown dimension. Produced entirely in analog, the energy and magnetism of live BLOOD INCANTATION is tangibly melting through the speakers, and the songwriting, production and performance constellations have all fully aligned. Re-released via Century Media Records the album will be available as Ltd. CD Digipak and Gatefold 180-gram black LP & poster.

"Liberator - Reissued on 180g black vinyl, this version of OMD’s 1993 top 20 album ‘Liberator’ has been remastered from its original ½” tapes at the infamous Abbey Road Studios. The album hasn’t been available on vinyl since release and features the singles ‘Stand Above Me’ and ‘Dream Of Me’.
Universal - Reissued on 180g black vinyl, this version of OMD’s 1996 album ‘Universal’ has been remastered at the infamous Abbey Road Studios. The album hasn’t been available on vinyl since release and features the top 20 single ‘Walking On The Milky Way’.

"Liberator - Reissued on 180g black vinyl, this version of OMD’s 1993 top 20 album ‘Liberator’ has been remastered from its original ½” tapes at the infamous Abbey Road Studios. The album hasn’t been available on vinyl since release and features the singles ‘Stand Above Me’ and ‘Dream Of Me’.
Universal - Reissued on 180g black vinyl, this version of OMD’s 1996 album ‘Universal’ has been remastered at the infamous Abbey Road Studios. The album hasn’t been available on vinyl since release and features the top 20 single ‘Walking On The Milky Way’."

Repressed and available again - black vinyl.

Epic tracks like D.O.A., Slumlord, Unknown and Smash The State lash out at the listener with incredible power and drive. This album influenced fans and musicians from around the world including: NOFX, Nirvana, Green Day, Jello Biafra, Henry Rollins, Red Hot Chilli Peppers and Rancid.

Since 2017 FSOL have released whats called Calendar albums, which are digitally delivered monthly tracks that form a twelve track album by the end of the year.

This release picks the best tracks from the last 4 years and brings them together in a seamlessly mixed fifty minute journey - eleven songs from FSOL, Humanoid and Synth-a



Engineered and mixed by Yage at FSOL's 9Lwest Studios.

160 gram black vinyl LP, with glossy color jacket, and 8 page full sized color booklet with lyrics, rare photos, and notes by Hamisi Delgado, Werner Graebner, and Salim Zahoro.

Formed in the mid-1950s, Kiko Kids Jazz created a stunningly unique sound amidst an explosion of Tanzanian guitar bands in the years leading up to the country’s independence. Defined by Salim Zahoro’s warm voice and the heavy tremolo of his electric mandolin, Kiko Kids Jazz incorporated their love of early acoustic Cuban Son, rhythms from their home town of Tabora, the exciting and competitive scene of acoustic/electric dance bands in Dar Es Salaam and Nairobi, the poetic strains of Taarab and Arabic music, and the tranquility of coastal Tanzania.

The results are both comforting and intriguing: expressive, strung out melodies on Salim’s mandolin and subtly com-plex percussion lock into deep grooves of thumping acoustic bass, jerky rhythm guitars, and Cuban-style trumpet breaks. The kind of sounds that can be approached from several rhythmic angles, until it all gels in the mind and soul.

Despite being one of the most beloved and innovative bands of their time, this is the first Kiko Kids Jazz LP ever re-leased, consisting of our favorite songs from 1962 and 1965, all beautifully remastered from original tapes and press-ings. We were fortunate to work with bandleader Salim Zahoro before his passing at age 85, shortly before the completion of this record.

Recommended for fans of Cuban Marimba Band, the Zanzibara and Ethiopiques series, Lipa Kodi Ya City Council, Original Music, etc.
Produced in collaboration with Salim Zahoro (1936-2021), Werner Graebner (Jahazi Media) and Hamisi Delgado. Licensed from Mzuri Records.

As part of the Queen 50 anniversary, Brian May’s 1992 debut album ‘Back to the Light’ has been remastered by Bob Ludwig for a suite of reissues, overseen by Queen designer Richard Gray. Released on a Limited Edition Collectors Box features a heavyweight colour vinyl LP, the remastered album on CD plus a bonus disc of alternate versions and B-sides chosen by Brian and his team, plus an exclusive enamel pin badge. ‘Back to the Light’ will also be available as 1CD Remaster, 1LP 180g Black vinyl and 2CD set with a bonus disc of alternate versions and B-sides.

As part of the Queen 50 anniversary, Brian May’s 1992 debut album ‘Back to the Light’ has been remastered by Bob Ludwig for a suite of reissues, overseen by Queen designer Richard Gray. Released on a Limited Edition Collectors Box features a heavyweight colour vinyl LP, the remastered album on CD plus a bonus disc of alternate versions and B-sides chosen by Brian and his team, plus an exclusive enamel pin badge. ‘Back to the Light’ will also be available as 1CD Remaster, 1LP 180g Black vinyl and 2CD set with a bonus disc of alternate versions and B-sides.

After the exploration of snowy mountains of Alpestres, released on Hands in the Dark in 2018, French composer Matthias Puech ventures into new territories, sketching a cartography of the invisible where the journey, in chiaroscuro, is announced as a rite of passage. A Geography of Absence, as introspective as unpredictable, immerses the listener into a unique sensory whirlwind where organic matter becomes almost palpable. A researcher in theoretical computer science and an engineer at GRM, Matthias Puech constructs a dialog between synthetic music and field recording, capturing sounds that surround him and creating his own sonic language with the help of synthesizers he designs and develops; notably the Oscillator Ensemble and the Tapographic Delay, made by the American company 4ms.

Composed during a moment marked by ordeal and mourning, A Geography of Absence retraces an inner journey where the physicality of sound leads the listener into an initiatory tunnel filled with apparitions, ghosts, visions. With sound oscillations as a navigational map, we progress, step by step, through the meanders of an unknown world, dazzled by the prospect of a new synthetic horizon, an electronic biotope teeming with life and incarnations. Playing with time, space and matter in an approach similar to that of musique concrète, Matthias Puech combines ambient and noise, floating sounds and electroacoustic experimentations, thus shaking up our listening perspective, which finds itself walking through a parallel universe, strata after strata, sequence after sequence.

The trip begins with “Hollow”, as if on board a night train travelling at full speed through ghost towns. Or is it a spaceship? Removed from their original habitat, sounds – picked up during walks or moduled by synths – are free to be interpreted differently by everyone, according to the memories that shape us. Granular and metallic, this first piece takes us to an elsewhere in orbit. "Work Song" is built around the pulsation of the void, of space, where strange creatures and liquid emanations abound. We become fetus, cocoon coiled in the placenta, heart beating to the rhythm of the gooey choreography of the human body. "Chrysalis" awakens the racket that lies dormant in us, when the skin changes, when the transition takes place. One seems to recognize certain sounds stemming from nature but they could also be mirages, imitating reality to render the barely perceptible engulfing. “Tunnel Vision” brings out a herd of haunted bells, slowly swelling in a pastoral maelstrom, ending in a deafening buzz. Further on, the chirping of an animatronic bird mixes with the hooting of an owl: "A Faint Beacon" invokes a nocturnal vigil that mixes the crackling of a fire and icy gusts of wind blowing everything away. Like an epic, sucking the listener into the breach of a black hole in the center of the Milky Way, it's up to "Homeostasis" to conclude in the high spheres and contemplative vapors, where the balance of dawn announces a rebirth.

A Geography of Absence is a meticulous and sensitive piece that constructs a delicate symphony of extremes, between introspection and desire for the unknown. Accompanied by the ink work of the artist Léa Neuville, whose folds of prints sketch this imaginary atlas, Matthias Puech becomes a narrator of mental adventures. And succeeds once again in transcending reality to dig a path to the unspeakable.

First ever vinyl reissue of rare private pressed Florida Funk/Soul from 1980. Featuring founding members of 'The Winstons' (the 'Amen Break', most sampled track in electronic/hip hop music). 180g Black Vinyl Edition limited to 500 copies, comes with obi strip and insert featuring unseen pics & liner notes. Streetlife was a short-lived soul-funk band from the Tampa Bay area and released just one album in 1980. The group was composed out of several dynamic musicians (ranging from street players to college professors) but at that time nobody knew (yet) that their Nite Songs LP would become such a much sought-after private pressed holy grail within the record collecting community! Streetlife was founded in 1979 by Sonny Pekerol and Phil Tolotta who were both members of the top-selling 1960s Washington DC Grammy Award-winning hit band 'The Winstons'. Their track Amen, Brother is the most widely sampled instrumental in the history of the electronic music & hip hop genres_it would become known as the Amen Break. When `The Wintstons' story came to an end, Sonny Pekerol (founding member and originally playing the bass - then successfully evolving into the manager and promoter) and pianist/vocalist extraordinaire Phil Tolotta would continue their musical friendship/collaboration under the name `Streetlife'. Their high-energy sound got the attention of local crowds in no time_so the decision to record and cut a vinyl album came as a natural thing. Nite Songs (produced by Sonny & Phil, who also wrote the bulk of the songs) saw the light in 1980 and quickly gained attention and airplay (receiving radio & television coverage nation-wide). Described as the hottest band from the state of Florida, `Streetlife' had the magnetism to captivate you, be it on concerts, nightclubs or on vinyl. Other members included: Octavia (responsible for the amazing lead & backing vocals on the album), Mark Halisky (on keyboards & the writer of two songs on Nite Songs), Ray Butler (on drums), Mike Milhoan (on trumpet), Bryan Mann (on the guitar) and Stephen Nathan (playing the trombone, flugelhorn & doing the arrangements). Charles Davis also played bass in the band for a while (he and bandmate-drummer Ray Butler were members of the `Washington Jamb Band' back in 1977). Mike Flore (Sax) and Ramon Lopez (from the well-known `Stan Kenton Orchestra') would also join them on the Nite Songs recordings. Collectively `Streetlife' had more than 75 years of experience_and these extraordinary talents (with almost as many varying backgrounds) are meticulously coming together on the album we are presenting you today. The entire album is filled with sexy (yet strong) unique vocals that make the listener experience a lot of emotions, aggressive `slap & thumb' bass lines & small yet groovy horn sections _one can clearly hear the influences of artists like Otis Redding, Curtis Mayfield, as well as several Motown, acts like Marvin Gaye softly slipping in. If you like your songs either slow, sexy and groovy or prefer them fast-paced and more experimental & cosmic_look no further, Nite Songs has it all. This is THE perfect combination of slick soul, blasting Hammond B-3 organ funk, smooth jazz and melancholic R&B piano works. This album just begs for a prominent space in record collections fans and crate diggers worldwide!

One happy thing to be grateful for during otherwise trying times is finally getting to hear and enjoy new work by a man whose music is familiar to millions even if his name is less so. Indeed, Gil Scott-Heron continues to cast such a wide shadow that even many of his biggest fans often seem to forget that there's another name next to his on the bulk of his albums, the name of a man teamed up with Gil as a teenager and proceeded to ride out the decade as his writing partner, keyboardist, arranger, and bandleader for their Midnight Band. That man's name is Brian Jackson. His considerable backlog of unheard material reveals a stillenergetic and still-vital icon of the music wing of the Black Liberation movement. Prepare to hear from a musician whose work has contributed to the enhancement of all our lives in some form or another with the latest installment of the Ali Shaheed Muhammad and Adrian Younge's Jazz Is Dead series.

One happy thing to be grateful for during otherwise trying times is finally getting to hear and enjoy new work by a man whose music is familiar to millions even if his name is less so. Indeed, Gil Scott-Heron continues to cast such a wide shadow that even many of his biggest fans often seem to forget that there's another name next to his on the bulk of his albums, the name of a man teamed up with Gil as a teenager and proceeded to ride out the decade as his writing partner, keyboardist, arranger, and bandleader for their Midnight Band. That man's name is Brian Jackson. His considerable backlog of unheard material reveals a stillenergetic and still-vital icon of the music wing of the Black Liberation movement. Prepare to hear from a musician whose work has contributed to the enhancement of all our lives in some form or another with the latest installment of the Ali Shaheed Muhammad and Adrian Younge's Jazz Is Dead series.

Unveiled Nuance is the newly founded imprint by Manchester’s Means&3rd, a platform solely for his own productions. The Eastern Bloc Records staff member inaugurates his debut vinyl release with 3
tracks covering a balance between hypnotic and driving techno, in keeping with his adopted style of recent years.

‘Thought contortion’ opens the EP with a thunderous low end, propulsive rhythms and immersive sweeps of sound design, teamed with modulated synth patterns that assist the unfolding of its persistent structure. ‘Fragility of perception’ follows with its elastic 3 step synth groove and reverb rich textures which provide the bed while the percussion provides an airy dynamic. ‘Aural Dissociative’ closes the EP with an all together headier affair, a dynamic drone providing the backdrop while flickers of rhythm supplement its evolution and heavily modulated lead lines take the focus.

Pressed on 140g Black Vinyl, reverse board full colour print sleeve with poly-lined inner sleeve

* Pressed on special RSD color wax.
* Includes bonus limited edition flexi of an ultra rare recording performed by Roky Erickson.
* Pressed at RTI.

Texan Roky Erickson was one of the true mind-blowing pioneers of psychedelic music. The original leader of the Austin-based 13th Floor Elevators formed in 1965, Erickson and band invented a brand new style or rock & roll, one that was slightly unhinged while it explored the consciousness-expanding influence of LSD on music. After three years, the group imploded with mental issues and legal challenges, ending with Erickson being incarcerated for several years in the Hospital for the Criminally Insane in Rusk, Texas. When he was released in the early '70s the musician continued on his own trail, recording songs that had come to him in his far-flung cerebral wanderings. Erickson, who passed away May 31, 2019, is now celebrated on this 12-track tribute to one of the most original rockers ever.

The participants range the whole world of modern music, and each chose one of Erickson's originals to stamp their own imprint on. They include Billy F Gibbons, Lucinda Williams, Mosshart Sexton (a/k/a Alison Mosshart & Charlie Sexton), Neko Case, Mark Lanegan & Lynn Castle, Jeff Tweedy, Margo Price, Gary Clark Jr & Eve Monsees, Ty Segal, Chelsea Wolfe, The Black Angels and Brogan Bentley. The album is co-produced for release by Bill Bentley, executive producer of the 1990 Roky Erickson tribute album Where The Pyramid Meets The Eye on Sire Records, and Matt Sullivan, co-founder/owner of Light in the Attic Records.

The songs range from Erickson's debut iconic original, "You're Gonna Miss Me," recorded when he was a member first in The Spades and then the 13th Floor Elevators during the early '60s in Austin, to some of Erickson's later songs, like "If You Have Ghosts," which heard him exploring some of the outer limits of the human psyche. Each new recording is a stunning modern take on the sound that Roky Erickson gave the world over a half-century of writing, recording and touring. No one has ever equaled those explorations.

This truly is the music of the spheres, as Erickson once sang about his sound, as seen through the eyes and ears of those who are united in their love and respect for a person who dedicated his life to rock & roll. Roky Erickson, through the trials and tribulations of a man both imbued with greatness and haunted by darkness, never quit in his quest to share with others what he heard and saw. As he sang on the 13th Floor Elevators last recording, "May the circle remain unbroken."

**LONG OVERDUE REPRESS - CLEAR VINYL 300 COPIES ONLY** “With Ela’s music I feel emotional, engaged… I can’t help but feel she’s always looking for a sense of belonging and it
seems to inform all the music that she makes. Glasgow must have more of that belonging feeling than most
cities because she’s spent the most time here, an exotic bird in a rainy city she maybe finds a lttle bit of comfort in. It’s
a pleasure to have her here, in this awful time to be living in Britain, her illuminations feel important and hopeful. A
stubborn light; someone making great timeless music out of the humdrum of the everyday.” - Stephen Pastel
Movies For Ears is a retrospective collection of works by Polish-born, Glasgow-based artist Ela Orleans which
navigates almost two decades of songwriting in the heart of the global pop underground. This remastered collection casts
an ear over what Orleans might call the ‘pop sensibility’ within her back catalogue. Released previously on a number of
small DIY labels, Orleans’ music coincided with the explosion of auto-didactic musicians finding their voice in the age of
the blogosphere, artists emboldened by the democratisation of music-making afforded by the internet. From the outset,
Orleans’ childhood studying formal music mixed with cut-up techniques, sampling, sound-art and experimentation to
create a distinctive signature cloaked in an innate melancholy and playfulness. Fully remastered by James Plotkin,
featuring extensive sleeve-notes and rare photos from Orleans’ archive, Movies For Ears presents an appraisal of the
musician’s work, painting a portrait of an artist with an uncanny ability to evoke emotions and ghosts of memories in the
listener.
Each song pulls sunshine from its surroundings, moments of pleasure plucked from eulogies. The Season employs a
hypnotic loop with Orleans’s prophetic voice heralding the season we’re doomed to repeat. In fact the singer is often cast
as the changing protagonist in her songs: on Walkingman, a hazy ballad heavy with ennui, the narrator is laden with the
world’s weight, forever pacing a groundhog day world blank, a pissed-off actor in a Kafka-esque melodrama. On Light At
Dawn we’re in a seedy kitsch bar-room go-go scene, a ghostly rock’roll romance with shimmering percussion, poledancing
in a Lynchian half-dream. Movies For Ears’ moods straddle memory and fantasy: scratchily invoking halfremembered
exotica, the flickering shadows of europhile cinemas screens, a delicately woven world anchored in Orleans
existential meditations on longing, intimacy, solitude and the search for love. These rich textures in every song don’t
overpower some crystalised moments of emotion however: on In Spring Orleans sings simply “I have been happy two
weeks together,” summarizing that feeling of elation when emerging from a depression, a long winter. It’s a moment that
perfectly illustrates the lightness of touch and clarity in the singer’s voice.
The power of the loop and Orleans’ weaving songwriting that breaks its spell is illustrated perfectly by I Know. Over an
aching chord progression, the vocal takes flight into bittersweet loneliness, Pachelbel’s Canon played at a wedding where
only one person shows up. The repeated refrain “I know, I know” ascends to the heavens as the chords descend to the
dumps and the listener is left in the middle, happy but not knowing why, maybe a little changed, two weeks together. On
Movies For Ears, Ela Orleans lets us into a secret: the rare moments of joy to be found in the joins of the loop, the spaces
between things, the spring after the winter are the moments that last after the day has faded.

Erased Tapes debut. Wait, what? How? Anyone who has seen
the trail blazing sonic pioneer live will know Nils likes to
deadpan a joke. Graz is in fact the first studio album he
recorded for the label back in 2009, that somehow remained a
secret… until now.

Nils Frahm has quietly changed the musical landscape,
reincarnating the centuries old figure of a pianist-composer for a
new generation of music fans. As Nils’ word-of-mouth popularity
grew and grew, so did the pop-culture profile of his instrument. He
founded Piano Day with a team of like-minded friends in 2015 to
help that process, some years releasing an album of piano
recordings to celebrate one of humankind’s greatest inventions.
Graz is one such record; an unheard snapshot of a young Nils
recorded at Mumuth, the University of Music and Performing Arts
Graz, in 2009 as part of the thesis Conversations for Piano and
Room produced by Thomas Geiger, which received an award in
the Classical Surround Recording category at the 127th AES
Convention in New York.
Whilst at the time it was decided to keep the grand piano
recordings from the Graz sessions locked away and instead focus
on his close mic’ed, dampened piano explorations which would
become his acclaimed studio album Felt in 2011, two of the pieces
— most notably Hammers — lived on as part of his live set, and
were expanded on and re-recorded as part of his breakthrough
2013 record Spaces (a collage of field recordings from concerts
which broke the Fourth Wall and included audience coughs). Over
his mercurial career, Nils has pushed and pulled at the boundaries
and parameters of his prolific work like that. He’s physically
changed his piano (the softened prepared strings of Felt) played
with a modified body (Screws recorded with 9 fingers and a broken
thumb) played with scale (Solo recorded on the 3.7 metre high
Klavins M370) and with the different layers of formats (last year’s
Tripping with Nils Frahm nested his studio setup inside a live
performance, concert film and live album). Now with Graz he has
found the final frontier for play: time itself and his own discography.
Graz is a moment of time at the very beginning of Nils’ quiet
revolution. The essential genius is already evident; the harmonic
language of classical, and the immediacy of jazz. Nils seems to
pull down each idea moment by moment, gently, to not scare away
the muse. He describes: “sometimes when you hear a piano, you
might think it’s a conversation between a woman and a man. At
the same time, it can hint at shapes of the universe and describe
how a black hole looks. You can make sounds that have no relation
to anything we can measure.”

The Forbidden Dance label is marking their first year of existence and with already top-notch names (Vick Lavender, Alton Miller, The Mechanical Man) with the first three releases, they are celebrating the one year mark with another global gem, disco and house finest - Ilija Rudman!
Where Wild Horses Go is conveying an unquestionable sense of 80's electro and synth boogie filled with smooth and heavily reverberated rhythmics drenched in strong snares. Aligned with catchy and spaced-out disco pads, the album is riddled with ever strong analogue elements processed in a light, quirky and summerish way but with enough groove in some tracks easily applicable on the dancefloors in the late hours.
Dead Horse Gang is a brainchild music band/brand by Ilija Rudman dedicated to cinematic dance concept laying on the Los Angeles funk attitude, Art Of Noise perception of sound and raw 12-bit grooves making a statement of mid 80's culture with surf vibe of California summer.
"Dead Horse Gang Music is more than music, it's a way of life, a way of thinking, a path to a maximum freedom of the one, who can accept it."
-Ilija Rudman

Ltd Black Vinyl Gatefold edition + 32 Page Booklet + Download Code

The LP contains original compositions by Ryuichi Sakamoto, Pascal Comelade, Laurie Spiegel, Lyra Pramuk, Chassol, Nicolas Godin and Pierre Rousseau, Pedro Vian and Pierre Bastien, Visible Cloaks, Kelman Duran, Raul Refree, Lucrecia Dalt, Lafawndah.

+ a booklet with writings by contemporary thinkers like Shumon Basar, François J. Bonnet, and pictures by, Araki, Juergen Teller, Elizaveta Porodina, Dani Pujalte, P Jack Davison, Zhong Lin, Alessandra Sanguinetti, Adrià Cañameras, Javier Tles among others. Lacquer cut by Josh Bonati & Mastered by Rashad Becker

'PRSNT' is a unique global artistic project combining the input of artists across the worlds of music, video and written word which acts as a statement on how we, as consumers, engage with music in the 21st century. Vital electronic musicians including Ryuichi Sakamoto, Lafawndah, Lyra Pramuk, Lucrecia Dalt and Visible Cloaks have each contributed tracks, which are approximately 32 seconds long.

The concept was devised by Created By Us and the Barcelona-based label Modern Obscure Music. They read a study which identified that the overwhelming volume of instantly accessible information online is shortening attention spans and altering how audiences engage with music digitally. Their curiosity about the state of online consumption developed further on discovering that around a third of all listeners using digital platforms skip to the next track, within the first 30 seconds of playing.

Each musician was given a fascinating challenge to create engaging compositions with real artistic merit, inside the confines of this shortened span. Akin to Brian Eno's famous Windows 95 start-up music, the time constraints are crucial, and the compositions are deceptively complex and more substantial than expectations of their nano nature would suggest.

'PRSNT' acts as a critique of flighty feed culture, but is simultaneously constructive, providing something which is either proposed solution, or "if you can't beat 'em join 'em" resignation. Every artist has interpreted the brief differently, resulting in an intriguing blueprint for the potential future of digital music. Could abbreviated micro compositions satisfy, inspire and nourish like their longer counterparts? They certainly take up much less of listeners' busy lives, which are often spent tackling ever-increasing workloads.

Repress !

Where We're Calling From
The Liminal Zone: Reflections on Duval Timothy’s Sen Am
Lamin Fofana

Sen Am is an enduring and tender album, rich and beguiling and generous in a quiet way. Over the last few years, I find myself returning to it, listening and absorbing, reflecting on the voices and working through the multiple layers of feelings and themes it announces with confidence and equanimity. Notions of care and contradiction, expressions of joy and desire and the underlying feeling of unease and turmoil; there is an urgent appeal to the listener for generosity, to strengthen our capacity to hear multiple voices simultaneously, to exist in multiple places at once.

Duval Timothy’s music was dropped into our world from another realm sometime in the spring of 2017. We received the call and we answered it. The rhythm and spirit was transmitted via London’s NTS Radio on the Do!! You!!! Breakfast Show with Charlie Bones and a short while later we were listening to the first vinyl edition of Sen Am in our living room in Berlin. The record got a lot of plays (at home and at some shows, before and after performances). It was like sunlight filtering through a cracked window and remaining there for a moment, dancing. Blue music emanating from a liminal zone, an in-between space, somewhere on the outskirts of Freetown, or rural Sierra Leone, or the outer edges of South London, or Bath, UK, or some undisclosed orbit, unfixed location. The music is soaked in diasporic experiences. It refuses to settle but still invites us to enter and stay awhile in that zone, where multiple forms exist (all) together with jazz, hip-hop, various strands of expressive electronics and experimental music all breathing together and moving around. It is a portal to a place of possibilities, a space for building and repairing possible and lost connections. But life in that liminal zone is precarious; it is life under duress; under pressure – not merely the pressure to produce a presentable, categorizable, and salable body of work, but the pressure that compels us to experiment and create new concepts and things that will help us imagine a different existence, a way out of the turbulence.

Freetown is a marvellous and sometimes sad place. It is one of those unmistakable locations inscribed diasporic memory; a place that touches you, a place that holds you and demands you bear witness: witness to pain, poverty, joy and desire. You remember the voices and the eyes of people even in momentary encounters. In Sen Am, you hear not only Duval’s recollections and sounds of Freetown, you hear family and friendship, people coming together and forming bonds, creating surrogate families. Forging community wherever you go is a practice, and community is at the core of this music. It’s in all the voices, from Emmerson and 6pac to Aminata and Aruna. It opens up a space for Black voices, for Sierra Leonean voices, and those voices extend through the succeeding projects, the 2 Sim EP and the album Help, and all that radiates from Duval’s Carrying Colour imprint.

Thank you for the invitation to write about the album Sen Am, on the occasion of its re-release which also coincides with the release of the exquisite double 7” Smɔl Smɔl with cktrl — a wonderful piece which calls on the listener to play both records at the same time to hear the music or play them separately and hear different versions. Duval is strengthening us, encouraging us to feel comfortable with discomfort, with incompleteness, with the hard-to-understand. This is a beautiful thing.

black vinyl repress

"A shield against death,
Blood, fire and power.
The purity of feelings,
For an eternal youth."

After more than 5 years in the techno scene as an organizer, label, and agency, RAW is launching their first vinyl compilation including 16 original tracks from a well-curated list of top producers. The release features several early label contributors as I Hate Models, Under Black Helmet or Hadone with respected and inspirational artists as Perc, Somniac One, Thomas P. Heckmann, or Clouds to name a few.

Entitled Gemstones, this V/A is divided into 4 colored vinyls representing precious stones, promoting a hard and harsh sound from industrial to emotional techno stompers.

Black vinyl repress

"A shield against death,
Blood, fire and power.
The purity of feelings,
For an eternal youth."

After more than 5 years in the techno scene as an organizer, label, and agency, RAW is launching their first vinyl compilation including 16 original tracks from a well-curated list of top producers. The release features several early label contributors as I Hate Models, Under Black Helmet or Hadone with respected and inspirational artists as Perc, Somniac One, Thomas P. Heckmann, or Clouds to name a few.

Entitled Gemstones, this V/A is divided into 4 colored vinyls representing precious stones, promoting a hard and harsh sound from industrial to emotional techno stompers.

This fan-favourite soundtrack is stuffed with all manner of experimental electronic music by a sizeable composition team comprising Namco (now) veterans (collective credits include Katamari Damacy, Ridge Racer, Ace Combat, SoulCalibur and many more.)
This triple LP set features brand new vinyl sleeve artwork by illustrator Samuel Donato aka DXSinfinite. Tracklists have been curated by four-time Guinness World Record-holder, multi-game world champion and all-round fighting game community legend Ryan Hart.
As with other titles in our series of releases, TEKKEN TAG TOURNAMENT has been specially remastered by Joe Caithness and will be pressed onto 180g heavyweight black vinyl LPs housed in a deluxe gatefold sleeve.

Music has always played an important role in TV shows. It can create a vibe, tension, a romantic atmosphere or a certain setting in time. With the wide range of shows currently being offered by the growing number of streaming services, their audiences are discovering bands and artists, old and new, more than ever before.

Song Education brings together some of the pivotal songs from these series, with background info on each of these artists for educational purposes. But mostly, for you to enjoy these often re-discovered songs in the most romantic way to experience music: on a beautiful vinyl record.

Song Education is a new compilation that serves to familiarise youth and young adults with popular music from the 60’s through the 90’s. Some of the artists included on this record are Roxy Music, Duran Duran, The Cutting Crew, Elton John, Salt-N-Pepa and Frankie Goes to Hollywood. The album is available on solid red coloured vinyl. The package contains an insert with more information about the featured artists.

This album is released through Vinyl Base, a brand new sublabel by Music On Vinyl that is specifically targeted at youth and young adults.

Lunar Tredd – Fimber Bravo’s first album on Moshi Moshi since the much acclaimed Con-Fusion – tells the tale. The highlife fusion of You Can’t Control Me resonates in the wake of the global Black Lives Matters protests. There is fire in these impactful clarion calls to resist oppression, recognise strength in resilience and fight against the corruption of power.

Bravo’s been a constant collaborative force - as his time as leader of 20th Century Steel Band, as musical director of Steel ‘n’ Skin, and appearances with everyone from Sun Ra Arkestra to Hot Chip, shows. Lunar Tredd reflects the influence of the music handed down to him by “ancestors” . Helped by an enviable cast of friends and collaborators, Fimber has shifted those touchstones to create something that sounds resolutely like the here and now.

Those friends that appear on Lunar Tredd, include Alexis Taylor of Hot Chip and The Horrors’ Tom Furse; The Invisible drummer Leo Taylor and Senegalese percussionist, Mamadou Sarr dropping in on rhythm duties, while there are also appearances from Susumu Mukai aka Zongamin, the brilliant Kora player Kadialy Kouyate, vocalist Cottie Williams, Vanishing Twin’s Catherine Lucas, and production from Lapo Frost and Ghostpoet producer Shuta Shinoda. Some, like Zongamin and Williams go way back with Fimber, other connections are newer, but all have quickly become part of the London-based musician’s musical family.

Indeed, Fimber never loses sight of where he’s come from on LUNAR TREDD - even as he looks to where he might go next. As a musician, he’s still finding new creative peaks nearly 50 years after he began.

Natalie Chami and Whitney Johnson perform as a duo under the
name Damiana.
Both artists have built their own catalogs as multi-instrumentalist improvisers
and composers in the Chicago experimental scene, exploring the intersections
between ambient, electro-acoustic improv, and more legible songcraft based
around their voices and their work with synths and electronics -- all filtered
through their backgrounds in classical performance and education.
Chami’s solo recordings under the TALsounds moniker have appeared on labels
such as NNA Tapes, and Ba Da Bing!, and her collaborative projects include
the trio Good Willsmith. Johnson has released a series of solo LPs as Matchess
on the label Trouble in Mind, and has contributed to recordings and live performances by Ryley Walker, Circuit Des Yeux, and Tortoise’s 20th anniversary
performances of TNT, among other artists.
After meeting in the early 2010s, Chami and Johnson embarked on multiple US
tours together, and their informal duo collaborations naturally crystallized over
time into the Damiana project The duo’s debut album Vines presents their first
recordings after years of live sets and home recording sessions.
The album strikes a balance between the realms of deliberate compositional
sculpting and free-form improvisation, as Damiana’s evolving sessions of looping synth phrases and harmonized vocal lines emphasize austere beauty and
meditation as much as spectral disorientation and instrumental complexity.
While the tracks on Vines create the illusion at any given moment of a standing
cloud, often colored by Johnson’s lush viola and Chami’s effect-manipulated
electronics, a zoomed out perspective of each session reveals an undulating
story arc with contrasting emotional resonances and constantly shifting timbral
focus.
Treading the line between transportive stasis and upward motion, the duo has
honed their sense of when to push forward with a new texture or melodic
flourish without disrupting the atmospheres that they meticulously build together. Packaging: LP Black vinyl. Artwork by Heather Gabel (from the band
HIDE). Manufactured at 8Merch in Poland.

- North American version on CLEAR vinyl (2XLP) - Limited DOUBLE 180g Vinyl Edition (500 copies) with obi strip - Rare Dutch studio recordings, one of Art's last sessions before he passed away - Comes with insert/liner notes // Art Blakey (1919-1990) actually needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk's first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Impulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane_.and countless others.Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. His signature polyrhythmic style was amazing, exuding power and originality, creating a dark cymbal sound punctuated by frequent loud snare and bass drum accents in triplets or cross-rhythms. A loud and domineering drummer_but Blakey also listened and responded to the others in the band. He was an original, an important drummer you'd hear_and would recognize immediately.Art Blakey was inducted into the Downbeat Jazz Hall of Fame (1981), the Modern Drummer Hall of Fame (1991), the Grammy Hall of Fame (1998 and 2001) and was awarded the Grammy Lifetime Achievement Award posthumously in 2005. He was sampled and remixed by renowned acts such as Raekwon, Black Eyed Peas, A Tribe Called Quest, Digable Planets, Buscemi, KRS-One and Madlib.In the mid-1950s he and Horace Silver formed `The Jazz Messengers': a group that Blakey would perform and record with for the next 35 years. Originally formed as a collective of contemporaries_but over the years the band became known as an incubator for young talent that included artists such as Freddie Hubbard, Wayne Shorter, Cedar Walton, Chuck Mangione, John Hicks_and MANY others. Art Blakey went on to record dozens of albums with a constantly changing group of Jazz Messengers. Blakey's final performances were in July 1990. He died on October 16 of lung cancer. The legacy of Art Blakey and his band is not only the music they produced, but also the opportunities they provided for several generations of jazz musicians.Released on the legendary Dutch jazz label Timeless Records and one of his final recordings_on the album we are presenting you today (Chippin' In) you'll find ten sublime tracks recorded at Rudy van Gelder's Recording Studio in February 1990. Art Blakey passed away just 8 months after these tracks were cut and you can't hear any signs of him slowing down at all. For these specific recordings, The Jazz Messengers were expanded from its usual quintet or sextet into a septet and they showcase their energetic signature sound with remarkable style, musical knowledge, a dash of good humor and camaraderie you'd expect from a world class band who have entertained, thrilled and amazed for almost five decades. The line-up on these fantastic sessions includes non-other than Essiet Okon, Geoff Keezer, Dale Barlow, Javon Jackson, Frank Lacy, Steve Davis and Brian Lynch_impressive to say the least!Chippin' In sounds as successful, young and vibrant as ever! Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This electrifying set of tracks contains both originals and several eclectic versions of standards_making this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

From the slums of Recife in Brazil’s North-East to international jazz icon, Amaro Freitas has worked tirelessly to become the artist he is today. His new album Sankofa - a spiritual quest into the forgotten stories, ancient philosophies and inspirational figures of Black Brazil - is his most stunning and sincere work to date.

• King Tubby was the legendary producer and engineer who pioneered remixing and developed dub as an art form in the late 1960s and early 1970s. Today, he is considered to be one of the most important figures in Jamaican music and his influence can be heard in hip-hop, jungle, garage and dubstep.
• ‘Majestic Dub’ was first released in 1983 on the British reggae label Star. Recorded at King Tubby’s famous Kingston studio, it features performances by legendary reggae session musicians including Sly & Robbie, Noel “Skully” Simms, Uziah “Sticky” Thompson, Jackie Mittoo, Winston Wright, Earl "Chinna" Smith and Willie Lindo
• Demon Records is proud to present the first vinyl reissue of ‘Majestic Dub’, pressed on 140g black vinyl.

WOLF JAW were born in the depths of the Black Country, UK. Home to greats such as Black Sabbath, Judas Priest and half of Led Zeppelin to name a few. These bands are heavy influences that have sparked The raging fuzz fueled, groove fired, Riff machine WOLF JAW Having toured with bands such as Crobot, Scorpion child, Jared James Nichols, Tyler Bryant and the Shakedown, Stone Broken among others, as well as festivals such as Download, Amplified, Steelhouse and Stone Free under their belt its given Wolf Jaw time to truly master their own unique twist on the power trio formula. 2019 brought a new album entitled 'The Heart won't listen' that is full of muscular riffs mixed with soulful vocals and pounding rhythm. Initially released in 2018, WOLF JAW are re-issuing their debut album ’Starting Gun’ with bonus tracks : "We're super excited to be re-releasing our debut album, 'Starting Gun' via Listenable records. This album was an amazing starting point for us and we still love playing these songs live. In fact we've added 2 live tracks to this version of the album, both were recorded at a live streamed show we did in the first UK lockdown of 2020. We have also recorded a cover of Judas Priests 'You've Got Another Thing Coming' which will be on the CD and available digitally. We're glad this record has got a new home and can't wait to get out there and play these songs live again! » Coming from the same area that gave birth to Black Sabbath, Judas Priest, Led Zeppelin, WOLF JAW display the similar class of a future great in English Metal/ heavy rock !. WOLF JAW were born in the depths of the Black Country, UK. Home to greats such as Black Sabbath, Judas Priest and half of Led Zeppelin to name a few. These bands are heavy influences that have sparked The raging fuzz fueled, groove fired, Riff machine WOLF JAW Having toured with bands such as Crobot, Scorpion child, Jared James Nichols, Tyler Bryant and the Shakedown, Stone Broken among others, as well as festivals such as Download, Amplified, Steelhouse and Stone Free under their belt its given Wolf Jaw time to truly master their own unique twist on the power trio formula. Kerrang! Magazine stated Wolf Jaw housed “riffs dirtier than a bucket of double-fried chicken !! ” .

CRESCENT was formed in 1998 by Ismaeel Attallah and Amr Mokhtar in Cairo, Egypt. It started as a Black Metal band influenced by the Swedish Black Metal scene. In 2014, the band released their full-length debut ‘Pyramid Slaves’, focusing on Ancient Egyptian history/mythology, which marked the band’s complete transformation towards Black/Death Metal infused with Egyptian elements. In the following years, CRESCENT was booked to major Metal festivals such as Wacken Open Air, Inferno Metal Festival, Fall of Summer festival among others . 2017 CRESCENT ’s much anticipated second full-length ‘The Order of Amenti’,a tribute to the Ancient Egyptian gods, showed more emphasis on the blackened death Metal epic soundscapes and thematic atmospheres while maintaining its primordial Egyptian Death Metal essence. CRESCENT’s new album 'Carving the Fires of Akhet' was mixed/mastered by Victor ‘Santura’ Bullok (Triptykon, Dark Fortress) at Woodshed studio. The artwork was done by Khaos Diktator (Thron) , which is a Baroque-style recreation of one of the most influential and ancient Egyptian relics. The album title acts as the thread that holds all tracks together. The Fires of Akhet represents the great divine will that was carved into humanity's history and future. A value that brought nations to their apex and brought others to their knees, and the cycle goes on. Lyrically, the album touches upon a primeval epic story that is full of struggle and blood. It also reflects drunkenness with divine power, and pure evil in its religious and historic form (and beyond). Finally, the album lays a dark path of philosophical and material decay. The themes will not only be represented by the sound, but also by artworks that relays the sub-themes. It manifests CRESCENT's growing identity and beyond any of its previous works, starting a new era for the band.

Forged in the cavernous labs of Indianapolis, the XK3 EP by producer D.Strange, dives into the metallic underworld of alienated shadows to create brutal, icy electro. The submerged acid-tinged opener, "Sonic Recoil" ascends with a snarling pathos of trap hats that pierce through the looming fog of the club. "Negative Center" haunts in cunning dexterity and grooves with a jacking pace of brooding momentum. Somewhere in the maze of resonance droplets, cascading hats, and the ominous synth pads, the track "A Black Liquid Filled My Lungs" hypnotizes in its atmospheric acid electro hybrid. Right out of the gate, the self-titled track "XK3" punishes with off-beat synth shards and glitchy, mechanical snares that snap in anthemic propulsion. While "Ghost of Kashif" weaves itself in esoteric, yet evocative, soundscapes with an absolutely grooving, club menacing fashion. Rounding out the release, fellow Indianapolis producer Noncompliant contributes a cruel electro sub-heating take of "XK3" to help warm the boreal landscapes of the EP.

Reissue on vinyl of the second collaboration album between PJ Harvey and John Parish – A Woman A Man Walked By.

Produced by Parish and Harvey, and originally released in March 2009, A Woman A Man Walked By features the single ‘Black Hearted Love’. Reissue is faithful to the original recording with vinyl cutting by Jason Mitchell at Loud Mastering, overseen by John Parish.

The seminal debut album from US Blackened Metal stars WORM SHEPHERD - with additional song 'Chasm Dweller'. One of the most seminal young talents on the emerging extreme metal scene, vocalist Devin Duarte and his band WORM SHEPHERD are re-writing the book on Blackened Death Metal.

The seminal debut album from US Blackened Metal stars WORM SHEPHERD - with additional song 'Chasm Dweller'. One of the most seminal young talents on the emerging extreme metal scene, vocalist Devin Duarte and his band WORM SHEPHERD are re-writing the book on Blackened Death Metal.

"Since its beginnings in Jamaica in 1959, the story of the pioneering Island Records label has been inextricably linked to the story of its founder, Chris Blackwell. Now, Blackwell has curated a series of compilation LPs featuring his hand-picked tracks that correspond with his and Island’s legendary history.
On July 23, Island Records / UMC will release Volume Two of The Vinyl Series, a nine-track album covering the years 1969 to 1973. Volume One, which included pivotal songs from 1962 to 1969, will also be available, and Volume Three will follow later this year. Taken together, the set explores the wide-ranging highlights from Island’s remarkable and extensive catalog. "

Repress on black vinyl, comes in Flatlfife label sleeve.

The 4th acid compilation is definitely a collectible! With an explicit track from Eat Static which is produced back in the 90s and has that oldschool goa touch and rave breakbeats - we love it!!! 303 Airline has his tribute on Flatlife with an excellent pounding acid techno banger which can be played loud in clubs. Together on the A-side with DJ Wank; a great acid techno producer from Sweden; pounding driving acid techno. Then last but not least; label owners Jack Wax (Flatlife Records) & Sam C. (Dosis Decibel / Cat in the Bag) team up; with this excellent dark acidcore track "Missing" - which is the 1st track they ever created together!! 4 styles of acid again on 1 vinyl! Enjoy this one!!!

Housed in a label sleeve and comes on solid blue and yellow mixed vinyl.

New wave dancefloor instrumentalists Snazzback release stunning secondalbum on new label from Bristol's cultural instigators, Worm Disco Club. Bristolseven-piece Snazzback bring the sound of reopened dancefloors, of communalrelease, and of the joyful sound of dancing outside in the sunshine to live music.Their second album 'In The Place' overflows with deep grooves and loose,lolloping rhythms that tease and play, sometimes languid and carefree, othertimes energy spiralling upwards - and taking the listener with them, each andevery time. Their music is soaked in great black american dancefloor music,whether that's the sound we call 'jazz' or hip hop. They also bring other flavours- interlocking Afro-Latin rhythms, electronica and hypnotic rock, all marinated inBristol's long musical histories.

• Warlock is a super rare funk/rock release on the Holland Dozier Holland’s label Music Merchant
• Influenced by Funkadelic and MC5
• This is the first time ever this album has been reissued on vinyl since it’s release in 1972
• Pressed on 140g black vinyl with original artwork and printed inner sleeve

• The Total Eclipse are a New York funk and soul eight piece originally from Jamaica
• 1976 album was released on the obscure Brunswick label BRC subsidiary
• This is the first time ‘A Great Combination’ has ever been reissued
• Pressed on 140g black vinyl with original artwork and printed inner sleeve