Search:boo ya

Neue Ausgabe des Napoleon Dynamite-Soundtracks zum 20-jährigen Jubiläum. Inklusive neuer Vinylfarbe und Einleger.

'OK Crooner' the debut LP from French drummer and percussionist Vincent Taeger under his own name (after previous album under his alter ego Tiger Tigre) and his debut on vocals - mixes avant pop with jazz-fink and AOR.

Taeger, who has worked with Air, Damon Albarn, Justice, Lenny Kravitz, Skepta, Tony Allen, Oumou Sangare, Jeff Mills, Archie Shepp and Sampa the Great, during COVID started frantically listening to French vocalists such as Alain Souchon, Alain Chamfort, Richard Gotainer, and Christophe. Inspired by his elders, while not renouncing his attachment to the meticulous arrangements reminiscent of Alain Goraguer's soundtracks, he picked up a pen to jot down snippets of songs to accompany his increasingly sophisticated compositions. Coming from rap, he has a knack for punchlines. Throughout the album, he alternates between risque humour, Gaulish wit, and poetry.

While Vincent Taeger is the chief fireworks maker, playing most of the instruments, some of his longtime collaborators come to support him on a few tracks, forming the Jazz Kamasutra: Ludovic Bruni (bass), Sylvain Daniel (bass), Arnaud Roulin (piano, synth), Fred Soulard (synth), Maud Chabanis (vocals), Bettina Kee (vocals), Mathias Allamane (double bass), Emile Sornin (ondioline), and Remi Sciuto (saxophones). Vincent Taurelle, mixed the abum. Recently, he has worked on albums by Justice, Seun Kuti, Raphael, and Clara Luciani.

Ein weiterer außergewöhnlicher Release in der hochgelobten WaJazz-Reihe ist dem Leben und der Musik eines der berühmtesten japanischen Jazzmusiker der letzten 60+ Jahre gewidmet, dem legendären Saxophonisten Jiro Inagaki mit seiner Soul Media-Band und ihrer goldenen Ära 1968-1980. Diese ultimative Kollektion erscheint auf goldfarbigem 180g Doppelvinyl im Gatefold mit detaillierten Linernotes von Yusuke Ogawa (Universounds), Kommentaren von Jiro und exklusiven Fotos. 16 mal pures Gold aus Jazz, Jazz-Funk und Jazz-Rock, darunter eine unveröffentlichte Version des Tracks 'Express' – erstmals auf Vinyl!

Repress!

Compilation of 80s Turkish-Swiss band Café Türk, featuring selected works from their discography as well as previously unreleased recordings!

Café Türk's unrestrained sonic palette explores new wave, psych, disco and reggae with influences from Anatolia and Azerbaijan.2xLP includes a 4-page booklet with extensive liner notes and photos.

Café Türk are an inimitable Turkish-Swiss band formed in the 1980s, whose genre-bending sonic palette draws from Anatolia, the Caucasus and Western Europe. The group’s frantic trajectory connects Switzerland and the Turkish city of Kars with a background story as rich and unexpected as their sound. After three decades since they disbanded, Zel Zele Records have collaborated with Turkish crate-digger Grup Ses to give the music of Café Türk a new lease of life. This eponym compilation features original album tracks, singles and previously unreleased takes that trace the outline of the group’s history. From the rolling disco of the group’s debut recording “Haydi Yallah”; to the previously unreleased kosmiche of “Yıldızlar”, “Ali Baba From Istanbul”s Azeri grooves and German language vocals, to the psyched-out interpretation of Causaccian folk tune “Şamil”, Café Türk showcases the endless stream of ideas the band had during their time together between 1983 and 1989. Tracks come with an unrestrained spirit, weaving in the crackling energy of new wave, rock, disco and reggae with influences from Turkey and Azerbaijan.

This fascination in pulling different worlds together goes right back to the formative days of Metin Demiral, founder of Café Türk. Metin grew up in Kars, a provincial town in the Northeastern part of Turkey. Kars was once known for its multicultural communities; where you could hear locals speaking a range of languages, from Turkish to Azeri, Russian and Kurdish. In 1983 Café Türk won a contest set for Turkish groups based in Europe, organised by the label Türküola, home to Turkish stars like Cem Karaca, Selda Bağcan and Barış Manço. The resultant recording sessions gave birth to his new band and debut LP, Pizza Funghi. But Metin turned down Türküola’s offer to put the record out and instead self-pressed 1000 copies on his own Sound Concept label - driving as far as Berlin to sell them face-to-face to record shops. The record was picked up by a member of the German city of Nuremburg’s Cultural Department and soon Café Türk were invited to play for the local workers’ unions, many of whom represented immigrants from Turkey. These events only grew in popularity, the group ultimately spending five years touring similar shows in Europe, alongside more conventional tours and festivals. Metin had hoped to bring his new record to audiences in Turkey again, however, he found it impossible to get any of his songs played on state-sponsored radio, something he attributed to the infamously strict supervisory board of TRT, Turkey’s state-funded broadcaster. TRT tended to not accept songs that blended both western and traditional Turkish music in order to avoid “degenerating” Turkish folk music. Cafe Türk tried to fight this conservative mindset, but progressively resigned themselves to the political restrictions of the time

FIVE LIVE YARDBIRDS is the debut album by British blues-rock band The Yardbirds. It features ten American rhythm and blues songs reimagined in, what would become, The Yardbirds’ “rave-up” signature. The “rave-up” treatment was the art of stretching a song with instrumental interludes building to a climax and was pioneered by the band for their live shows.

The album was recorded at the Marque Club on Wardour Street, London in March 1964 and released in the UK in December that year. It was the inspiration of the bands manager Giorgio Gomelsky who wanted to capture and preserve their youthful energy and the electric atmosphere.

At the time of release, it was not well received critically and failed to chart. Subsequently it is acclaimed as the most important live album of the Sixties during the British rock boom. Aerosmith’s founding guitarist Joe Perry describes their version of Chuck Berry’s ‘Too Much Monkey Business’ as a blueprint for much of what Aerosmith tried to do.

NOTON and The Vinyl Factory are pleased to announce the release of the new edition of Carsten Nicolai’s ∞ (Endless Loop Color Edition), under his alias Noto.

This new limited edition box set celebrates Carsten Nicolai’s beloved interactive installation, bausatz noto, currently featured at The Vinyl Factory: Reverb exhibition at 180 Studios.

The exhibition features an expanded version of Nicolai’s artwork bausatz noto (1998) – an interactive piece centered around four Technics SL-1210 turntables and a selection of colored vinyl records. Visitors are invited to select and play the records, each of which has been cut with 9 or 8 unique locked grooves on each side. As Nicolai explains, “the different colors indicate different sound material, from the very abstract to the graphic” that users can loop and layer to create infinite permutations and combinations.

Previously released as a sold-out signed edition with a hardback book, this 2024 box set edition brings the installation into your own space. Comprised of twelve 10” colored vinyl records, each featuring 18 or 16 unique locked grooves (9 or 8 per side), the concept remains the same: Nicolai provides the tools to build your own soundscapes.

The records are sleeved in twelve custom-made archive folders, housed in a handmade box with artwork. Limited to 1000 copies worldwide.

Lacquers created by Lupo / Calyx Mastering

Nach der Veröffentlichung von 'Mothership Connection' im Jahr 1975 wurde spekuliert, ob Parliament nochmal etwas ebenso Gutes liefern könnte. Kein Problem. Das bahnbrechende Album 'The Clones Of Dr Funkenstein' erschien 1976 und gehört zu den besten der P-Funk-Crew. Es erreichte in Amerika Goldstatus und # 20 in den Billboard-Album-Charts. Zu George Clintons cooler Crew gehörte u.a. Bootsy Collins (Bass). Die musikalischen Arrangements stammten von Keyboarder Bernie Worrell und dem ehemaligen James Brown-Bläser Fred Wesley. Zu den Studiobläsern gehörten die legendären Brecker Brothers.
Jeder Titel war ein Volltreffer, wobei 'Gamin' On Ya' und 'Children Of Production' vor musikalischer Elektrizität sprühten. 'Getten' To Know You' war sogar eine Art romantische Ballade. 'Everything Is On The One' war eine Zusammenfassung der aufgefrischten Groove-Philosophie von Parliament in einem einzigen Song. George Clinton spielte natürlich die Rolle des Dr. Funkenstein, der auf dem ikonischen Cover abgebildet ist. Natürlich auf Black Vinyl!

Jabu return with ‘A Soft and Gatherable Star’, an LP that sees the Bristol-based trio evolve from a uniquely spectral take on trip hop to proffer a singular vision between cloudy, downered dream-pop, off-kilter ambient, and the warm, low-end throb of sound system culture. This development is aligned with contemporaries like HTRK, Dean Blunt, Tarquin Manek, YL Hooi and Rat Heart Ensemble, whilst also harkening back to the likes of AR Kane (with whom they are set to play shows and release a collaborative single), the languorous drift of 'Victorialand' era Cocteau Twins or The Cure circa ‘Disintegration’. Comprising Jasmine Butt (vocals, guitar), Alex Rendall (vocals, keys) and Amos Childs (production, bass guitar), the trio’s method may have shifted but the feel remains consistent - slow, spatial, sensuous and gently melancholic. With a career arc unlike almost any other current guitar outfit, Jabu sit within a strong lineage of off-centre Bristolian music, and a very British strain of home-spun DIY bands. Self-recorded between Jas and Amos’ home in South Bristol and Amos’ mum’s house in rural North Somerset, the album came together via a process of trial and error - learning to play on borrowed instruments, using the equipment “wrong”, staying up late recording and slipping into strange, semi-conscious sleep deprived/inebriated headspaces. Having captured over 50 tracks, they honed in on those they liked most, shaping them further, whilst carving out space to allow input from people they love and admire - Daniela Dyson’s voice and Will Memotone's clarinet on ‘Ashes Over Shute Shelve’, Birthmark's synth on ‘Gently Fade’ and ‘Sea Mills’, Rakhi Singh (Manchester Collective) and Sebastian Gainsborough (Vessel)’s strings and arrangements on ‘All Night’, Josh Horsley’s cello on ‘If I Asked You, You'd Tell Me’, and Lorenzo Prati’s sax, again on ‘Sea Mills’. The album was mastered by Amir Shoat (HTRK, ML Buch, Dean Blunt, Carla Dal Forno). Influence-wise, the guitar-based material recalls the bands Amos listened to when younger, and Jas’ more folk-leaning inspirations. Deep-lying dub, hip hop and soul influences are also evident in both the way the LP was mixed, and the space ingrained in their subconscious. Tinged with melancholy, the songs cohere as a set of soliloquies and ruminations on love and tenderness. The album’s title comes from a poem by Amos’ late father which hangs on his wall and seeped into the record. ‘Ashes Over Shute Shelve’ is formed of lines from another poem of his. Recited by longtime collaborator Daniela Dyson and with Will Yates (Memotone) playing his mother’s clarinet, the track was imagined as a conversation between his parents. Geography and location also play a big part in the record, with several significant places name-checked in songs. Shute Shelve itself is a hill near Amos’ mum’s house, who explains “There’s a tree at the top with a 360° view of the Mendips, where my dad’s ashes were scattered. We used to go up there when we could first buy booze from the petrol station down the road, get drunk, light a fire, listen to music from my little battery powered CD player and sleep out without tents.” Titled after a Bristol suburb near where Amos’ grandparents lived and where Jas would spend time as a teenager, ‘Sea Mills’ references her being abandoned by friends on the Downs while high on mushrooms, stranded and missing the bus back. ‘Kosiše Flower’ references the city in Slovakia where Amos and Jas holidayed shortly after getting together and a flower he gave her, which she pressed in a book after an argument. ‘Oceanside Spider House’ is a location in Nintendo 64 game The Legend of Zelda: Majora’s Mask, where someone seeks shelter from the falling moon. Genre: Electronic / Ambient / Dream-pop

BRAND NEW VINYL PRESSING ON GREEN VINYL FOR FIRST TIME

Recorded in 1996, the second album from this NYC quartet featured a new line up & sound. Clean, warm, spacious guitars paired with repetitive, hypnotic songs showcased the band reaching a new peak. Beloved by those initiated, it continues to find new devotees.
RELATED TO: The Lapse, Native Nod, Blonde Redhead, Enon, Jets to Brazil, Vague Angels

90s NYC indie heroes The Van Pelt have had a lasting power far greater than so many of the other once bigger bands of that era have had. The sort of interest that has neither waxed nor waned over the decades since they disbanded, yet just mysteriously continues on despite their discography being out of print since the end of the last millennium. So what is it that sets them apart?
Too soft to have ran with the AmRep or Touch and Go crowds, not hip enough to have made sense on Matador or Merge, ernest yet not histrionic enough to make it onto the “best emo bands” lists, not weird enough to be on bills with Arto Lindsay and Thurston Moore, etc. In a sense, their outsider status comes not from the wings, but from the dead center eye of the storm. The 90s were happening all around them, they were witnesses thereof, yet they emerged transcendent of it all. You Follow? Maybe it’s worth having a listen to see what I mean.
Barcelona’s La Castanya records is treating us with the first ever rerelease of the two Van Pelt albums to mark the 20th anniversary of Sultans of Sentiment, their benchmark album. They teased us in 2014 that this might be on the docket with the release of Imaginary Third, a collection of singles and unreleased Van Pelt tracks which were originally intended to have been the components of their third album, including the alt-famous “Speeding Train”. Now we’ll finally have access to their entire discography. The first album, Stealing From Our Favorite Thieves is an explosion of anthems belted out as if the war was already lost yet they were hoisting that tattered banner anyhow until there wasn’t a shred to salvage. The momentum coming out of that album had every major label in the States salivating at the possibility of turning them into the next Nirvana. Instead, The Van Pelt followed it up by pulling the van into the garage, leaving the engine running, funneling the exhaust into their lungs, and blissfully deciding to bow out of the race with the epic Sultans of Sentiment. Of course as the story goes, their intended financial flop was the exact opus that jettisoned them into the history books. Buy both albums. You’ll need them both.

The Peace Chant compilation series is a Temple, a reliquary of sacred harmonious statements made by enlightened artists throughout time. With Tramp Records' latest offerings, "Peace Chant, Raw Deep and Spiritual Jazz volumes 5 & 6, deeper, darker, and even more remote chambers of this already exalted temple are brought to light. The team at Tramp, with their torch of love and with reverence for those builders who came before, have returned from their quest with musical treasures unfathomable. Indeed, some of these tracks sound as if they may have literally been plucked from the ancient hands of some towering golden idol. But this quest was no looting effort, no. The Gods, as well as the artists and their families were fairly compensated through Tramp Records' rigorous and historically conscious licensing efforts.

Some of the treasures herein include, from Volume 5, a German gospel/modal jazz hybrid replete with flutes and vibes (and even a surprise gospel choir) reminding us not to 'speak when we should be silent' called "Ich Rede Wenn Ich Schweigen Sollte"; Indian jazz/rock fusion outfit Jazz Yatra Sextette's literal peace chant, "Shanti" led by Louis Banks (real name Dambar Bahadur Budaprithi), who worked with Embryo and John Maclaughlin; and Ron Wilson Trio's walking meditation and study on the beauty and rhythm of "Zimbabwe" in 3/4.

Garrett T. Capps & NASA Country are dissolving the boundaries that keep some folks safe and complacent and angry and pointing their fingers at each other. Ya know, the standard divides: the underground vs. the overground, jeans vs. slacks, boots vs. birkenstocks, left vs. right, tacos vs. burritos. This vision is apparent on their new album titled Everyone is Everyone. It builds off the American roots and country traditions, while incorporating psychedelia, punk and even Krautrock.

This soundtrack LP features songs that were all included in the 1986
coming-of-age film "Stand By Me", which was directed by Rob
Reiner. The film is based on Stephen King's novella The Body, with
the title deriving from the song of the same name by Ben E. King.
The film is set in the fictional town of Castle Rock, Oregon, in 1959,
and stars Wil Wheaton, River Phoenix, Corey Feldman, and Jerry
O'Connell, as four boys who go on a hike to find the dead body of a
missing boy. The movie's success sparked a renewed interest in
Ben E. King's song "Stand by Me", with the song re-entering the US
Billboard Top 10 chart in 1986. The soundtrack is crammed with
great, early rock & roll hits. The movie may have been nostalgic, but
the music on this soundtrack still sounds alive, decades after it was
originally recorded.

The wait is over! Delgado, the ten-track collaboration album by Flee Lord & Roc Marciano is now available on vinyl with bonus tracks from the delxue digital version! Originally released in August of 2021, Delgado was produced entirely by Roc Marciano, with the veteran artist / producer providing a blend of versatile beats for the Lord Mobb General to spit his patented street raps over. With features from long time collaborators such as Conway the Machine, Ransom, Stove God Cooks and DJ Boogieman, Delgado received both commercial and critical acclaim and now this fan favorite is available on wax! HotNewHipHop had this to say about the album: “On this one, Flee is in absolute beast mode, bodying each instrumental that Marci serves up with fire and fury. At this point, it’s going to be hard to deny Flee a spot at the best current lyricist table, especially after he delivers inspired performances on ‘This What Ya Want?’ and the minimalist ‘First Kill’.”

*Includes download code

In the performance of this work, "Plan for Sleep" (1986), created simultaneously with “Every Dog Has His Day” (1985), Yamanaka took on the role of sound operation. The performance begins with a minimal piece where the tones of the electronic organ and striking phrases from the piano and saxophone race forward in syncopation. Following this, various sound fragments drift over a deafening industrial beat reminiscent of machine noises. There are also pieces that transform the typing sounds of a typewriter into rhythm, showcasing a range of experiments inspired by the then-novel sampling technology, beautifully intertwining with the physicality of the performance.

Additionally, influenced significantly by film music, Yamanaka incorporates a rich tapestry of colors through melancholic melodies that evoke various scenes, from secular jazz to other influences. This work constructs a uniquely original and sophisticated worldview that stands out even when surveying the canon of avant-garde performance art from around the globe in the postmodern era.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

*Includes download code

The two works which comprise this retrospective release project - "Plan for Sleep” (1984) and "Every Dog Has His Day” (1985) - are collaborations between Yamanaka and Furuhashi which were foundational to the music development of Dumb Type's aural legacy and intermedia innovations at large. Their early stage music possessed a unique charm and innovation, serving as an essential element at the core of their art. Through this project, the legacy of these works is to be re-evaluated, and the essence of the music contributing to the evolution of Dumb Type's sound through this day will be introduced to a new generation.

DUMB TYPE is a multimedia performance art group based in Kyoto that was formed in 1984 and continues to be active at the forefront of the art scene. We are excited to announce the simultaneous release of two cassette book works produced by musician Toru Yamanaka and the late Teiji Furuhashi, a central figure of the group, for works from the early DUMB TYPE Theatre era: "Every Dog Has His Day (recorded in 1985)" and "Plan For Sleep (recorded in 1986)," now available for the first time on vinyl.

Since the founding of DUMB TYPE, Yamanaka has primarily been responsible for music production, while the late Furuhashi played a crucial role in translating Yamanaka’s compositions into stage direction. Their collaboration began with previous groups ORG and R-STILL, and was influenced by the NEW WAVE and progressive rock trends they were pursuing at the time, as well as by artists like Laurie Anderson, Meredith Monk, and Robert Wilson, who fused minimal music and avant-garde performance. Moreover, their bold incorporation of cutting-edge sampling and house music during that era laid the foundation for DUMB TYPE's sound, marking an important intersection in the history of minimalism, ambient music and performance art in Japan.

Repress! There are very few albums across any genre that stand the test of time better than 93 ‘Til Infinity, the classic debut record from the Hieroglyphics crew’s very own Souls of Mischief. In an era where Gangsta Rap and G-Funk dominated the West Coast Rap scene, Souls broke ground on a completely unique and thoroughly west coast sound. While the Dr. Dre’s and the Snoop Doggs were garnering much of the mainstream attention, Souls were quietly forging a charismatic, critically acclaimed, and cohesively shaped record that when categorized, sounded much closer to A Tribe Called Quest than N.W.A. The sound of their debut is characteristic of the distinct style explored by the collective, including a rhyme scheme based on internal rhyme and beats centered around a live bass and obscure jazz and funk samples.

93 ‘Til Infinity was propelled into success by its title track and lead single, which reached #32 on the Billboard Hot 100. It also featured singles “That’s When Ya Lost” and “Never No More” which also reached the Hot Rap Singles. In 1998, the album was selected as one of The Source’s 100 Best Rap Albums of All Time. Considered by many to be a text book “slept-on” classic Rap record, 93 ‘Til Infinity has only grown better with age. The album simply defines the Hiero golden age with a sound that would later be fine tuned with strong releases from MCs Del The Funkee Homosapien, Casual and Pep Love.

It takes some serious bravado to name your album 93 ‘Til Infinity, but certainly the goal of creating a Hip Hop “classic” must have been on the collective minds of group members A-Plus, Tajai, Opio, and Phesto when recording this landmark moment in Hip Hop history. It’s true, even seventeen years after the album’s initial release many people are still discovering it, and with this re-mastered reissue on double vinyl, fans all over the world will once again discover the brilliance that 93 ‘Til Infinity delivers and will continue to deliver beyond infinity.

Beeinflusst von DC-Punk und der Politik, die Dischord, TeenBeat und die Riot Grrrl-Revolution inspirierten, stürzten Tsunami aus Arlington, Virginia in die 90er Jahre mit Witz, Verzerrung und einem scharfzüngigen feministischen Geist. Diese Box mit fünf LPs enthält Songs von elf Singles, 4-Track-Demos, die Alben "Deep End" von 1993, "The Heart's Tremolo" von 1994 sowie die allererste Vinyl-Pressung des gefeierten "A Brilliant Mistake" von 1997. Aus dem Kofferarchiv ihres eigenen Labels Simple Machines Records schöpfend, sind Tsunamis Ambitionen - von Kellerkonzerten bis hin zur zweiten Bühne des Lollapalooza - in Essays, Fotos und Ephemera festgehalten, die diesen Teil der DIY-Geschichte der alternativen Musikrevolution belegen.

Beeinflusst von DC-Punk und der Politik, die Dischord, TeenBeat und die Riot Grrrl-Revolution inspirierten, stürzten Tsunami aus Arlington, Virginia in die 90er Jahre mit Witz, Verzerrung und einem scharfzüngigen feministischen Geist. Diese Box mit fünf LPs enthält Songs von elf Singles, 4-Track-Demos, die Alben "Deep End" von 1993, "The Heart's Tremolo" von 1994 sowie die allererste Vinyl-Pressung des gefeierten "A Brilliant Mistake" von 1997. Aus dem Kofferarchiv ihres eigenen Labels Simple Machines Records schöpfend, sind Tsunamis Ambitionen - von Kellerkonzerten bis hin zur zweiten Bühne des Lollapalooza - in Essays, Fotos und Ephemera festgehalten, die diesen Teil der DIY-Geschichte der alternativen Musikrevolution belegen.

"Anywayawanna – The Best Of is a compilation album by The Beat Masters, a British producer trio who enjoyed considerable success in the late 80's/early 90's. As well as producing Yazz' smash hit ""Stand Up For Your Love Rights"" in 1988, they also landed several Top 20 hits under the Beatmasters moniker with a series of guest vocalists: The Cookie Crew (""Rok Da House""), Betty Boo (""Hey DJ / I Can't Dance (To That Music You're Playing)""), Merlin MC (""Who's in the House"") and P.P. Arnold (""Burn It Up""). These hits are all featured on this compilation album ""Anywayawanna – The Best Of The Beatmasters"". The Beatmasters went on to write, produce and remix for many other artists including Marc Almond, Pet Shop Boys, Blur, Roachford, Betty Boo, Naomi Campbell, Moby, Aswad, Eternal, Tina Turner, David Bowie, Depeche Mode, The Shamen and Girls Aloud. Anywayawanna – The Best Of is available on vinyl for the first time as a limited edition of 750 copies on orange coloured vinyl. The package contains an insert with extensive liner notes."

Bob Balch here. This second SLOWER record "Rage And Ruin" consists of Amy Tung-Barrysmith (Year Of The Cobra) on vocals and bass, Esben Willems (Monolord) on drums and myself Bob Balch (Fu Manchu, Big Scenic Nowhere/Yawning Balch) on guitar. When we started this album the original intention was to cover SLAYER's EP "Haunting The Chapel" in its entirety. We started with "Chemical Warfare" then went on to "Haunting The Chapel" but once we got to "Captor Of Sin" we realized that tune didn't want to be slowed down at all. So we started writing our own songs and I'm glad we did. The result is "Rage And Ruin." Two sides with Slayer songs in the middle bookended by SLOWER originals. We are super proud of this record and can't wait for you to hear it!! Mixed and Mastered by the very talented Esben Willems. Recorded at our individual studios.

Neon orange vinyl, limited to 300 copies. Bob Balch here. This second SLOWER record "Rage And Ruin" consists of Amy Tung-Barrysmith (Year Of The Cobra) on vocals and bass, Esben Willems (Monolord) on drums and myself Bob Balch (Fu Manchu, Big Scenic Nowhere/Yawning Balch) on guitar. When we started this album the original intention was to cover SLAYER's EP "Haunting The Chapel" in its entirety. We started with "Chemical Warfare" then went on to "Haunting The Chapel" but once we got to "Captor Of Sin" we realized that tune didn't want to be slowed down at all. So we started writing our own songs and I'm glad we did. The result is "Rage And Ruin." Two sides with Slayer songs in the middle bookended by SLOWER originals. We are super proud of this record and can't wait for you to hear it!! Mixed and Mastered by the very talented Esben Willems. Recorded at our individual studios.

Bonus 7”
A. Rincón de Luna (2.55)*
B. Voices (2.34)*

Singer/Songwriter Juliet Lawson’s album, ‘Boo’, was released on the Sovereign label in the UK in 1972. The album was the confident debut of a young British artist and featured twelve of Lawson’s own compositions.

In the same wave of early 1970s English singer-songwriters such as Nick Drake, Vashti Bunyan, Christine McVie and despite being described at the time as ‘Britain’s answer to Joni Mitchell’ ‘Boo’ was to prove her only major label release with limited commercial success.
Over the next 50 years the album’s reputation has slowly grown and is today an expensive and collectible item. ‘Boo’ is presented here in its entirety.

The first pressing of the vinyl edition of the album also come with a bonus 7-inch single featuring two early demo tracks produced by ex-Yardbirds founder Paul Samwell-Smith, who also produced Carly Simon and Cat Stevens. Special Limited-Edition Album with bonus 7” Single + Download Code.

Includes interview with Juliet Lawson and exclusive photography.

2024 Reissue

Touching Bass continue to prise open a distinct, exciting lane for themselves as a label home for forward-thinking, soulful music with the incredible debut project from London's Demae (aka Bubblerap and ? of Hawk House) entitled "Life Works Out...Usually" - "Life Works Out...Usually" is a soothing antidote to these turbulent times; a soulful coming-of-age story celebrating black joy, self-empowerment and life learnings centred around an integral two year period of growth and featuring appearances from Fatima (Eglo Records), Joe Armon-Jones, Ego Ella May and Nala Sinephro - all part of our close-knit, London-based musical community. Sonically, it draws a unique line between the grit of inner-city London soul, interstellar Flying Lotus electronic rushes and new-age Dilla-isms mixed with flecks of London's exciting jazz-influenced sounds. Production comes from rising producers like Eun (Ego Ella May, Denzel Himself), Jake Milliner (Slum Village, Yazmin Lacey, Lord Apex), 104.ROG (Liv.e, THEESatisfaction) and Wu-Lu (Ego Ella May). For those not yet accustomed, Demae's work stretches beyond her solo project. She has been a fundamental part of Fatima's touring band as a backing vocalist since the release of her much loved second album And Yet It's All Love. Prior to that, she was one-third of hip-hop adventurists, Hawk House, whose introspective, eclectic style was reshuffling the rule book for UK-based rap, quickly making them one of the UK's most exciting emerging sounds and earning fans from Mac Miller and Ghostpoet to Wretch 32 and Jill Scott.

Green Day’s seventh studio album American Idiot was released in September 2004 and has since sold over 23 million copies worldwide. The album is a punk rock opera masterpiece that won the Best Rock Album at the 2005 Grammy Awards©. Five hit singles were released from the album: “Boulevard of Broken Dreams”, “Holiday”, “Wake Me Up When September Ends”, “Jesus of Suburbia”, and the title track, “American Idiot”.

Limited Edition Super Deluxe Box Sets (vinyl and CD) will be released on October 25th, 2024, to celebrate the 20th Anniversary of this legendary album.

The CD Super Deluxe contains 4 CDs which feature the original album and also includes 15 unreleased demos, a 15-song 2004 concert from Irving Plaza, NYC (9 songs previously unreleased), and 14 tracks that were released as B-Sides and bonus tracks. The box set is completed with two Blu-rays that feature the film “Heart Like A Hand Grenade”, 35 minutes of Green Day live at the BBC, and a new, unreleased documentary: “20 Years of American Idiot” plus a 48-page book, an enamel pin set, sticker sheet, and cloth patch.

Queen’s self-titled debut album will be remixed and released this October. This is the first time that a Queen album has been remixed. Retitled Queen I for this release, the front cover’s Queen logo, originally designed by Freddie Mercury, will be updated with the addition of the Roman numeral “I”. The original album was recorded in 1972 and was released in July 1973 on EMI Records in the UK and Elektra in the USA.

Featuring the singles “Keep Yourself Alive” and “Liar”, the album achieved Gold sales in the UK and USA, and has been a fan favourite ever since.

This Collector’s Edition sees the album presented in a whole new light, having been newly mixed from the original multi-track masters, and with the song “Mad The Swine” now reinstated into the album running order in its originally intended place.

The bonus discs that complete the 6CD+1LP set include: De Lane Lea Demos (also newly mixed from the original multi-track masters for the very first time); a CD comprised entirely of previously unreleased Queen I session out-take music and dialogue; a CD of instrumental and backing track versions of the album; a live CD featuring some of the best and most interesting live performances of songs from this album (some of which are previously unreleased); and finally, a disc comprised of Queen I tracks that were recorded for BBC Radio One (including DJ announcements).

Queen I – including “Mad The Swine” – is also presented on 180g black vinyl.

The Collector’s Edition is complemented by the addition of a 108-page 12” hardback book, which features a treasure trove of rare and previously unseen photography, hand-written lyrics, Freddie Mercury’s sketches, and more.

Presented in a rigid two-piece box with fold-out poster and four photo prints

Een Leven Lang Youp by Youp Van 't Hek, released 25 October 2024, includes the following tracks: "Burgerlijk gedrag", "Niet helemaal goed", "Staartje & Baardje", "Buurt Is Tegen" and more.

This version of Een Leven Lang Youp comes as a 2xLP in a(n) Gatefold Sleeve packaging. This release comes with (a) LP-Booklet.

Die erste umfassende Compilation ihrer Art, "Even the Forest Hums: Ukrainian Sonic Archives 1971-1996" erforscht die blühende ukrainische Musikszene des späten 20. Jahrhunderts. Von subtil vom politischen Kurs abweichenden Singles aus der Sowjet-Ära bis hin zu DIY-Aufnahmen aus der pulsierenden Kiewer Underground-Szene zeichnet die Zusammenstellung die Entwicklung der reichen ukrainischen Musiklandschaft anhand seltener Folk-, Rock-, Jazz- und Elektronikaufnahmen nach. Sorgfältig kuratiert in Zusammenarbeit mit dem ukrainischen Label Shukai Records und mit voller Unterstützung der einzelnen Künstler. Vitalii "Bard" Bardetskyi, ein in Kiew lebender Filmemacher, DJ und Autor, führt die Hörer durch die physischen Ausgaben des Albums mit aufschlussreichen Linernotes und Track-by-Track-Details. Die 2xLP ist in einer wunderschönen Klappverpackung untergebracht, die die geliebten und ikonischen Folk-Gemälde der ukrainischen Künstlerin Maria Prymachenko präsentiert. Die Vinylausgabe enthält ein 20-seitiges Booklet mit Künstlerfotos und Linernotes in Englisch und Ukrainisch, gepresst auf Clear Blue Sky & Sunflower Yellow Wachs; die CD-Ausgabe enthält Bonusmaterial in einem 64-seitigen, gebundenen Deluxe-Buch. Ein Teil des Erlöses wird an Livyj Bereh gespendet, eine in Kiew ansässige Freiwilligengruppe, die sich für den Wiederaufbau in den vom anhaltenden Krieg in der Ukraine betroffenen Regionen einsetzt.

DJ Support from: Dave Lee, Purple Disco Machine, Michael Gray, Birdee, Dr Packer, John Morales, David Harness, Lenny Fontana

Sean’s debut album, ‘Down To The Disco’, comes as a 2 part vinyl series is a tight blend of soulful, disco, '80s boogie, and house music, featuring collaborations with artists such as Brian Lucas, Alexis Victoria Hall, Toni Sea, Nell Shakespeare, Elysha West, Octavia Lambertis, and Pav plus extensive production duties from Midnight Riot’s Yam Who? & Jaegerossa.

Sean Scanlan’s A highly respected UK DJ (Hed Kandi, Fierce Angel, Discopolis, Hat Club, and Ministry of Sound), As a producer his releases have made a significant impact on Traxsource, earning DJ support from industry legends like Joey Negro, DJ Meme, John Morales, Michael Gray, Dr. Packer, and Purple Disco Machine, among others. Inspired by labels such as Salsoul & Z Records, Sean is known for his dedication to producing authentic, high-quality Disco and House music, with a passion for creating vibrant sounds through real musicians, live strings, brass, bass, and percussion, ‘Down To The Disco’ is a must-listen for fans of classic disco house music.

Reissue on Limited "Deer Glisten" Blue Vinyl in Gatefold-Cover | Obi-Strip | 24x36 Insert incl. Download-Card!

Toe is composed of Kashikura Takashi on drums, Yamane Satoshi on bass, and Mino Takaaki and Yamazaki Hirokazu on guitar. Formed in 2000, they've spent the past decade building a huge online fan base around the world based on their mostly instrumental music, with the swift and acute drumming of Takashi and their melodic, clean guitar settings at the core. Toe is renowned back home in Japan for creating a thrilling, beautiful live sound incorporating acoustic guitars, Rhodes piano and vibraphones.

Hailing from the Democratic Republic of the Congo, Afropop, funk, rock and jazz outfit Jupiter & Okwess returns with the explosive ' Na Kozonga' album, a blast of energy that bewitches the body and feeds the spirit . Their latest invites guests from around the world

From the samba of carioca Rogê to the rap of Brasilian pioneer Marcelo D2 , via the horns of New Orleans' Preservation Hall Jazz Band or the voice of the militant Chilean singer Ana Tijoux , the guitar riffs of French guitarist Yarol Poupaud or soulful voice of American vocalist Maiya Sykes , Jupiter & Okwess have no fear of strange encounters, nor the craziest journeys.

Produced in Los Angeles at the studios of Mario Caldato Jr (Beastie Boys, Seu Jorge, Beck, Bjork, Blur, John Lee Hooker, Manu Chao).

They have toured the US including Central Park Stage, NewOrleans Jazz & Heritage Festival and Outside Lands. They performed on NPR's Tiny Desk and they were booked on Bonarroo 2020 before its cancellation.

Jupiter & Okwess previous album is also available on CD/LP. 'Kin Sonic" was voted Best Album by the NY Times in 2018 and a pick on Obama's playlist that year.












l 12: Bolingo (Ça Va Saravá) feat. Rogê

Contexture is another classic example of a true friends & family gathering. The Nijmegen based imprint, running for over 12 years was born out of a tight group of friends with the same passion. 12 years later, their strongest releases are still based on this exact same principle, collect and release music from the inner circle. Julien Fuentes, Dorcas label head, starts things easy with his Klaridub ambient mix. It's quickly followed by familiar ESHU faces Jocelyn and Yasin Engwer, classic dub techno beats from the ESHU vaults. There's also room for new faces, the recently launched collaborative project between Vand and Shoal as Voal dropping their 'Eight Ball' as their ESHU label debut. Flawless minimalistic grooves that make a perfect fit for their long awaited contribution. Label head Ivano Tetelepta teams up with Pirat Records own Christine Benz. After sharing the DJ booth together multiple times they also joined forces in the studio recently and crafted this squeeky techno drifter. There's also an additional 10", exclusive to the ESHU Bandcamp, includes two beats from Klaridub, bringing some excellent smoke ready, head steady dub-techno cuts.

Features Unreleased Studio Sessions, Alternate Versions, Live Recordings, Rarities, And 36-Page Book With New Photos & An Extensive Conversation Between Joni & Cameron Crowe

Sourced From Original Stereo Reels, Nagra Film Recordings, Multi-track Tapes, Radio Airchecks & Cassette Tapes

Throughout the latter half of the seventies, Joni continued to creatively break ground with her fearless and fluid exploration of jazz. Rather than tread the same path, she challenged and reinvented her style with a folk fusion like no other. Ascending to an unrivaled sonic peak, this innovative sound took shape across the gold-certified HEJIRA 1976, the gold-certified double-LP DON JUAN’S RECKLESS DAUGHTER [1977], her collaboration with Charles Mingus entitled MINGUS [1979], and live album SHADOWS AND LIGHT [1980]. Channeling the thrill and excitement of these records, she delves even further into this season on JONI MITCHELL ARCHIVES, VOL. 4: THE ASYLUM YEARS (1976-1980), due October 4th.

Available as a 6CD, 4LP (featuring Joni's personal favorites from the 6CD set), and digitally, this comprehensive and essential set spans one of the most prolific periods of her storied career. It boasts powerful live tracks from her time in Bob Dylan’s Rolling Thunder Revue during 1975 and 1976 Tour of the United States. It pulls back the curtain on the music by showcasing early recordings and alternate takes from the respective sessions for HEJIRA, DON JUAN’S RECKLESS DAUGHTER, and MINGUS. It covers the Bread & Roses Festival as well as the Anti-Nuclear Rally. Finally, VOL. 4 chronicles her 1979 tour, even showcasing two tracks from that year’s Tour Rehearsals. Not to mention, it showcases her versatility and adaptability, housing collaborations with everyone from Herbie Hancock and Jaco Pastorious to Wayne Shorter and Pat Metheny.

Vol. 4 culls the previously-unissued material from original stereo reels, cassette tapes, CD-Rs, and even a radio broadcast. Newly mixed tracks came from multi-track tapes, while a handful of hi-res digital tracks have been sourced from the Bob Dylan Archives.

Each version includes a book with never-before-seen photos and liner notes comprising a deep dive discussion between Mitchell and longtime friend Cameron Crowe. As part of their candid conversation, she shares intimate anecdotes, memories, and stories from that five-year creative run.

Soul Jazz Records" new Miami Sound 2 is a superlative collection of 70s soul, funk, disco and boogie featuring tracks from legendary artists such as Betty Wright, Timmy Thomas, Gwen McRae, Milton Wright, T-Connection and many more, all released on the mighty TK Records musical empire based in Miami, Florida.

Oxblood & Gold Vinyl. Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet. Eine spezielle farbige Vinyl-Edition wird auf "Oxblood"-Wachs (A/B-Seite) und "Gold"-Wachs (C/D-Seite) gepresst.

Light In The Attic präsentiert in Zusammenarbeit mit Laurie Anderson und dem Lou Reed Archive die erste offizielle Anthologie von Lou Reeds Arbeiten für Pickwick Records 1964-1965. "Why Don't You Smile Now: Lou Reed At Pickwick Records 1964-65"enthält Raritäten, Kultklassiker (The Primitives' "The Ostrich") und bisher unveröffentlichtes Material (The Beachnuts' "Sad, Lonely Orphan Boy") und ist eine Zusammenstellung von Popsongs aus Reeds Feder, die er Mitte der 60er Jahre als angestellter Songwriter für das längst untergegangene Label Pickwick Records schrieb. Die Zusammenstellung ist der neueste Teil der Lou Reed Archive Serie und folgt auf Lou Reeds "Words & Music, May 1965" (2022) und die Wiederveröffentlichung von "Hudson River Wind Meditations" (2023). Als eine der originellsten und innovativsten Persönlichkeiten der Musikgeschichte erlangte Reed (1942-2013) zunächst als Mitbegründer und Frontmann der einflussreichen Band Velvet Underground Anerkennung. Im Laufe seiner fünf Jahrzehnte währenden Karriere brachte der zweifache Rock & Roll Hall of Famer seine einzigartige Vision in eine eklektische Bandbreite musikalischer Unternehmungen ein, darunter epochale Alben wie "Transformer" (1972) und wild experimentelle Werke wie der avantgardistische Noise-Klassiker "Metal Machine Music" (1975). Doch bevor er sich als Sänger, Songschreiber, Musiker und Dichter etablierte, begann Reed als interner Songschreiber (und gelegentlicher Session-Gitarrist/Sänger) bei Pickwick Records, einem Label, das sich auf Sound-ähnliche Aufnahmen spezialisierte, die die großen Pop-Hits der damaligen Zeit nachahmten. Von Garage-Rock und Girl-Group-Pop bis hin zu Blue-Eyed-Soul und Teenie-Idol-Balladen bietet Reeds Schaffen für Pickwick einen faszinierenden frühen Einblick in sein sich ständig weiterentwickelndes und wahrhaft grenzenloses künstlerisches Schaffen, das vom GRAMMYr-nominierten Mastering-Ingenieur John Baldwin restauriert und remastered wurde. Sowohl die 2xLP- als auch die CD-Editionen enthalten ausführliche Booklets mit ungesehenen Fotos, Linernotes von Richie Unterberger (renommierter Musikjournalist und Autor von "White Light/White Heat: The Velvet Underground day-by-day") und ein Essay von Lenny Kaye (dem legendären Gitarristen, Mitbegründer der Patti Smith Group, Autor, Produzent und Kurator der bahnbrechenden Garage-Rock-Anthologie "Nuggets"). Die Doppel-LP-Verpackung wurde von dem mehrfach mit dem GRAMMYr ausgezeichneten Künstler Masaki Koike gestaltet.

Picture a time when you could have a good time all the time. It was an era when fast cars rolled under neon lights, yachts were a sensible housing decision and fighting for your right to party was a full time occupation. This mythical age had an equally flamboyant soundtrack to match, and it blared from boomboxes and dashboards in every time zone. It was the 1980s, and bands like Van Halen, Toto and Def Leppard personified a summertime sound built on big beats, bigger melodies and choruses so epic that singing along was the law, and places like Vegas, Hollywood, and Miami Beach became hedonistic epicenters of a global, sonic heatwave.

It is with great pleasure that we announce Mitchum Yacoub's debut album Living High in the Brass Empire_ a showcase in unique stylings of tropical funk, afrobeat, cumbia, and soul; a musical patchwork threaded by a heavy, hypnotic rhythm section and powerfully vibrant horn lines. What sounds like a 12-piece ensemble was actually mostly recorded and performed by Yacoub at his home in San Diego, featuring a few close friends from local groups Sure Fire Soul Ensemble and Boostive. The horn section is comprised of Travis Klein, Bradley Nash, and Wesley Etienne (featuring Todd Simon on "Los Muñequitos"), each with distinguished performances that send the music to higher heights. Nuanced vocalist Divina Jasso lends humanity and introspection throughout the head-nodding soul sounds of "Never Knew", latin dance anthem "Cumbia Divina", and the syncopated funk of "Empire". You'll hear rhythms from Colombia, folkloric percussion of Cuba, interlocking grooves à la Fela Kuti, 70's r&b influence, and something in between it all. Drawing many inspirations into a refreshing and unified record, we think you'll enjoy Living High in the Brass Empire.

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn't until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she'd heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa's entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

Aboriginal Australian blues, country, and gospel by the great Kankawa Nagarra, Queen of the Bandaral Ngadu Delta. These intimate recordings introduce the world outside Australia to Kankawa Nagarra, a beloved Walmatjarri Elder, teacher, human rights advocate, and environmental activist. Born in the traditional lands of the Gooniyandi and Walmatjarri peoples of North Western Australia, Kankawa grew up with the tribal songs at cultural ceremonies. When she was taken from her family to the mission, she was taught hymns and Gospel songs with the choir. On the pastoral lease where she was sent to work, Country music was everywhere. She first heard rock and roll on the station gramophone. But it wasn't until many years later her musical journey truly began, when she stopped to listen to a busker outside a shop in Derby, Western Australia. It was the first time she'd heard the blues, and it awakened something in her. Through it, she found a medium to express all her thoughts and feelings, and it inspired her to turn these into songs. The empathy of her message extends from those she sees struggling around her to the entire planet being ravaged for profit. These twelve tracks, recorded live near her home of Wangkatjungka, WA, offer a cross-section of Kankawa's entire musical experience - shifting gracefully between musical styles, languages, and moods, backed by the buzz of night bugs and call of daytime birds. In turns humorous, warm, and real about the hardships of life and the pillage of the land she holds dear, the record is the closest thing you can get to spending time with the great Kankawa herself. We are extremely grateful to release this record alongside Flippin Yeah Records and in collaboration with Kankawa Nagarra. High-quality vinyl comes with a four-page booklet featuring translations, stories, and track notes by the artist.

Île Flottante is Mr. Beatnick´s 5th album, following 2023’s Joy In Variation (including the notorious cover of Love on a Real Train) and his well-received off-beat collaboration with London-based avant-garde agitator Richard Greenan – Coasty – this is his first contribution to the International Feel trademark. Probably best known for some big deep house revivalist tunes circa 2013 on the now dormant Don’t Be Afraid record label, Beatnick now converts that aural quality and dimensionality into the Balearic system.
Île Flottante takes its name from the tastiest French pudding of Mr. Beatnick’s childhood holidays. The name, also a jeux de mots - floating island - hinting at the album’s inspirations and sense of identity, as a danceable soundtrack to a fictional island. Explored with high intensity and over a yearlong process, the sounds of the well-worn, but never failing Balearic universes were a mind expanding influence. Think of genre staples like Software, Manuel Goettsching, Mark Barrott, Len Leise, Don Carlos, Gaussian Curve, Joan Bibiloni or Yasuaki Shimuzu.
„I spent a year listening to a lot of synthesized island music, and marveling at the many twinkling wonders of the Balearic musical universe. Struck by a sense of belonging that had often eluded me on my musical journey thus far, as the weirdo at the back of the club who had orbited many scenes for 20 years, but never felt like I fitted in, I found music that made me feel like I had come home. The songs that came out of this process are presented in the order that they were written - an open book of ocean hymns, honest and spoken from the heart.“
Île Flottante tries its very hardest to avoid being any one thing in particular. At one point, it is a gentle beach walk accompanied by polyrhythmic drum plod and flourishes of Guzheng. At another, the infamous James Yancey septuplet swing is repurposed against a marimba melody that wouldn’t be out of place in one of Link’s forest adventures.
Elsewhere, there are the bellows of distant whales, touches of Italian dream house and a splash of vintage madchester, all working to create a space that feels both familiar and loaded with well worn tropes, but with its own quirky sense of personality, facets which are often attributed to Mr. Beatnick’s holistic b-boy approach. This is his understanding of a Balearic (b-boy) stance. Just with a float instead of a freeze.