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It's been a little over ten years since Hailu Mergia reemerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival. Finally, we have a recorded document of the keyboard player's powerful DC-based trio _ which practices each weekend in his basement _ featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA's expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities. Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like "Tizita" or "Anchihoye Lene") upside down and inside out until they emerge as molten new works, often spontaneously. Mergia's original compositions (like "Yegle Nesh") shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments _ often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age. "Pioneer Works Swing (Live)" brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents. Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he's been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

Mit "Februar" und "Hurensöhne" liegen zwei weitere Albumklassiker der Erfolgsband aufwendig überarbeitet vor. Wie auch bereits mit den drei Erstlingswerken "Tanzt keiner Boogie", "Bataillon D'Amour" und "Mont Klamott" sind hier die Original Masterbänder komplett neu digitalisiert und nach heutigem Stand der Studiotechnik neu gemastert worden. Zusätzlich enthalten beide Alben auch diesmal wieder attraktive Bonustitel und werden limitiert in einem wertigem Digipack angeboten das zudem noch ein neues, erweitertes Booklet enthält.
Die Fans der Band, die grad beim Bundesvision Songcontest den zweiten Platz abräumte und sich deutlich vor anderen Spitzenkünstlern der Republik durchsetzen konnte, werden ihrer Sammlung zwei weitere Highlights hinzufügen können.

All the great Reggae Classics by the Reggae Masters in a nice 3LP vinylbox With Bob Marley, Yellowman, Max Romeo, Greogry Isaacs, Horace AndyâÇÝ

It’s been a little over ten years since Hailu Mergia re- emerged on the international music scene. Following the first in a series of his classic recordings reissued in collaboration with Awesome Tapes From Africa, Mergia assembled a band and began performing live again after many years driving a cab in Washington, DC. His first show back appeared on the front page of the

New York Times along with a stellar review and he took off from there performing his flavor of Ethiopian jazz all over the world in the years since, including Radio City Music Hall and Montreal Jazz Festival.

Finally, we have a recorded document of the keyboard player’s powerful DC-based trio—which practices each weekend in his basement—featuring Kenneth Joseph on drums and Alemseged Kebede on bass. Beautifully captured at one of their fiery live shows at the venerable Brooklyn non-profit cultural center Pioneer Works on July 1, 2016, the concert was recorded by PW staff and mixed by Ted Young with mastering by ATFA’s expert audio extraction collaborator Jessica Thompson. The performance clarifies what many people across the globe already know: in his fifth decade of music-making Hailu Mergia continues to push the boundaries of his remarkable abilities.

Mergia and his veteran band energetically and playfully unpeel layer after layer of harmonic and rhythmic interest out of a spectrum of Ethiopian repertoire. Modern jazz demands constant reinvention and improvisation, night after night creating new works out of known modes and classic standards. This band is unstoppable when it comes to turning age-old melodies (like “Tizita” or “Anchihoye Lene”) upside down and inside out until they emerge as molten new works, often spontaneously. Mergia’s original compositions (like “Yegle Nesh”) shine brighter than ever here as well. Moving from keyboard to organ to accordion to melodica, he deftly switches instruments—often during the same song. Mergia at 77 years old seems to be working harder than musicians half his age.

Pioneer Works Swing (Live) brings into focus the kind of onstage group improvisation and deadly solo passages that reach for places Mergia and the band have never gone, on festival and club stages across four continents.

Now that Mergia has released two new recordings along with four classic reissues, he is eager to let everyone hear what he’s been doing on the road since he re-took the global stage for his victory laps. So much more than an old act from yesteryear, Mergia balances his legendary Ethiopian recordings with good old fashioned sweat-soaked live concert triumphs such as the one we have here.

Sigrid Horn, Ina Regen, Ernst Molden, Anna Mabo, Yasmo, Mwita Mataro, Julia Lacherstorfer, SarahBernhardt - sie sind vertreten in diesem gemeinsamen Werk, produziert von Felipe Scolfaro Crema und Sigrid Horn. "Paradies" ist ein Konzeptalbum mit ungewöhnlichem Thema: Eine polarisierende Volksabstimmung in 70ern bewirkte, dass es bis heute kein einziges Kernkraftwerk in Österreich gibt. Das Ergebnis ging sehr knapp aus und so wurden keine Atome gespalten, dafür aber Familien und Freundschaften.

NORTHSIDE RECORDS join forces once again with MANDARIN DREAMS to present the debut of a new soulful star in the local night sky.
Introducing “Lord Knows,” a vibrant 7-piece outfit based in Naarm (Melbourne).
Their sound is a fusion of jazz, soul, R&B, showcasing an unfiltered energy that thrives in the flow state of improvised jams. Drawing inspiration from icons like D’Angelo, J Dilla, and Madlib, they’ve formed a sound that is steeped in nostalgia from the early 2000s neo soul era.
Led by singer Brandon DeLord, Lord Knows will bring a smile to your dial.
Their debut release features six soulful songs and artwork courtesy of legendary Naarm artist A.KID
The LORD KNOWS EP will be available on wax from April 20th, 2024, RECORD STORE DAY, with a performance closing out the day at NORTHSIDE RECORDS.
Enjoy a taste of the record with a download or stream of the lead single 'LOSING SLEEP' here.
Spread it like butter!
For the record stores, you can purchase wholesale copies for
We will make sure your order is fulfilled leading up to RSD. Get back to us on this email to put your order in. (Shipping available now for overseas)

The amphibian song revival begins here! This classic of both biological fieldwork and natural sound recordings, compiled and narrated by renowned herpetologist Charles M Bogert, was originally released by Folkways in 1958, and presents sounds of 57 species of frogs and toads (remastered from the original tapes) that were recorded in swamps, lakes, woods, creeks, and roadside ditches all over North America Listen to the bewitching tones of the Pig Frog, Dwarf Mexican Treefrog, Little Green Toad, Southwestern Woodhouse's Toad, Great Basin Spadefoot, and other unsung heroes of the bog creek. In a time when frog and toad populations are in rapid decline, this recording reminds us of the remarkable diversity and beautiful sounds we are in danger of losing.

In 'Everybody Loves Angels' Bugge Wesseltoft returns to the acoustic realm with a combination of original pieces and Jazz variations of popular music from various genres and eras

Best Of Kollektion der legendären australischen Gruppe THE EASYBEATS. Enthält ihren Top-20-US-Hot-100-Hit von 1966, "Friday On My Mind". George Young und Harry Vanda von THE EASYBEATS bildeten ein erfolgreiches Produktionsteam, das sechs Alben für AC/DC und viele andere produzierte.

«YENTL: Deluxe 40th Anniversary Edition» feiert den 40. Jahrestag der Veröffentlichung des Films und des Soundtracks Yentl. Disc 1 enthält den Original-Soundtrack zu Yentl, und Disc
2 enthält 15 Tracks, die Barbra als Demos in ihrem Wohnzimmer auf einem Stereo-Kassettendeck aufnahm, um den Film zu drehen, wobei Barbra jeden Track kommentiert. Bei den
Aufnahmen wird Barbra nur von Michel Legrand am Klavier begleitet

Zum 40. Jubiläum des ersten Teils des stylischen Actionspiel-Klassikers DEVIL MAY CRY erscheint der Killer-Soundtrack des Capcom Sound Teams - bekannt für seine Musik zur Resident Evil-Serie - spezielle für 180g Vinyl gemastert. Der OST ist eine genreübergreifende Meisterklasse, die von Rock über Techno zu Ambient und weiteren Paletten wechselt. Erhältlich als 2LP-Format mit 34 Tracks auf transparent-rotem und ockerfarbenem Doppelvinyl, sowie als luxuriöses 4LP-Boxset mit den kompletten 73 Tracks auf schwarzem 4fach-Vinyl.

Auf ihrem neuen Album vereint Lucky Lo Menschen durch Musik, indem sie Licht auf die dunkle Seite der Existenz wirft und Traumata in Triumph verwandelt. Mit ihren aufrichtigen und farbenfrohen Alternative-Pop-Songs bewegt sich die Musik der schwedischen Künstlerin im Bereich organischer und handgespielter Klänge ihrer Band und gelegentlicher Anspielungen auf größere Pop-Produktionen. The Big Feel dreht sich thematisch um große Lieben, tiefe Sorgen, berauschende Freuden und Reflexionen über aktuelle Bewegungen wie Klimawandel, sexuelle Freiheit und psychische Gesundheit. Die Musik lädt alle, Jung und Alt, dazu ein, ein kollektives Gefühl der Zugehörigkeit und Gemeinschaft zu entwickeln. CD und LP enthalten zwei exklusive Bonustracks.

October Road is the fifteenth album by singer-songwriter James Taylor and is one of the few albums by Taylor to feature only original material. The album was nominated for a Grammy Award for Best Male Pop Performance, debuted at number four on the Billboard 200 and was certified platinum by the RIAA. The
12-track set is one of his most popular efforts, but also one of the most personal of his career.

The album spawned five singles: the title track, “On The 4th Of July”, “Whenever You’re Ready”, “Belfast To Boston” and “Raised Up Family”.

October Road is available as a limited edition of 1000 individually numbered copies on gold & black marbled vinyl and includes a
4-page booklet.

Total Touch was the Dutch duo of Trijntje Oosterhuis and Tjeerd Oosterhuis that infused music with a unique blend of smooth vocals, jazzy harmonies, and funky grooves. After the quintuple Platinum debut album, the follow-up was a guaranteed success. The album is a mix of infectious R&B, pop, and experiments with rap and dance. This Way entered the Dutch album top 100 at number 1 and immediately went Gold. That year the band made their first serious attempt to take their success beyond the Dutch and German borders. The band entered the US Billboard Dance Chart and were nominated for an MTV Award. Eventually, "This Way" became the band's swan song, with another mega hit in the form of "I'll Say Goodbye". In the end, This Way turned out to be the final studio album by the Dutch duo.

2023 marks the 25th anniversary of This Way and is therefore available on vinyl for the first time as a limited edition of 750 individually numbered copies on gold coloured vinyl. The vinyl package also includes an insert.

With the label MPS, post-war musical history was written in Germany: noble music productions with many international greats come from the Black Forest and are timelessly legendary. In this tradition, HGBSBlue releases selected projects on high-quality vinyl.

The DLW trio has been working together for twelve years now and is now setting the tone in the modern European music scene, as the trio has long since left the boundaries of jazz behind. DLW, that is the sound-painting vibraphonist Christopher Dell, the virtuoso Danish bassist Jonas Westergaard and the German star drummer Christian Lillinger.

Time and again, the three jazz musicians from Berlin play together with artists from classical or avant-garde music. "Supermodern"
is the project that brings the three DLW musicians together with US pianist Bob Degen. This music is also unikal. It is a reverence
to the legendary Modern Jazz Quartet (MJQ), which in the 1950s was the link between chamber jazz and European classical music.
With "Supermodern," this reference to the MJQ is illuminated from the perspective of European avant-garde music, rather than
its African-American roots, which nevertheless resonate respectfully throughout.
DLW has "developed a concept based on repetition and difference. The starting point for a piece is always a single bar, which is
rhythmically interlaced and repeated trance-like until the smallest irregularities occur, which are written down and creatively
processed further. From this "superimposed combinatorics" (Christopher Dell) a perpetuum-mobile-like sound movement
develops, which is further radicalized on record by sound alienations and cut-up techniques." Thus respectfully wrote the Neue
Züricher Zeitung in August 2023.
Word has long since spread outside the German jazz scene that the DLW projects are always musically new. This is also the case
with the double LP "Supermodern 2", with recordings made in 2021 in analog at the MPS studio in the Black Forest. Together
with US pianist Bob Degen, who has been one of the creative voices of the German jazz scene for about 50 years, they play highenergy music, with sparkling virtuosity and close communication. A musical treat, further enriched by the immensely present
analog sound of this recording.

■ In den frühen bis mittleren 60er Jahren war Gene McDaniels ein erfolgreicher Gesangstar. Er andete in den Charts mit den Singles "A Hundred Pounds of Clay", "Tower of Strength" und "Chip
Chip". McDaniels war jedoch ein nachdenklicherer und politisch bewussterer Mensch, als seine Hits vermuten lassen würden, und nach der Ermordung von Martin Luther King verließ er Amerika, um in
Europa zu leben und sich auf das Songwriting zu konzentrieren. Als er 1970 in die USA zurückkehrte, nannte er sich Eugene McDaniels the Left Rev. Mc D und seine Musik nahm eine scharfe Wendung in
eine neue Richtung.


"Outlaw" ist eine Sammlung von Songs, die sich an der Grenze zwischen Jazz, Rock und Funk bewegen. Am wichtigsten ist jedoch, dass McDaniels als Songwriter die Gegenkultur und die damaligen gesellschaftlichen Themen begeistert aufgriff, und "Outlaw" ist voll von klugen, pointierten Texten, die von Rasse, Klasse und kultureller Spaltung sprechen. Die Musiker (darunter Größen wie
Ron Carter, Hugh McCracken und Ray Lucas) bringen eine unauffällige Virtuosität in ihre Darbietungen ein. In einer Zeit, in der das Bewusstsein der Afroamerikaner in der populären Musik in
neue und provokative Richtungen explodierte, zeigt "Outlaw", dass Eugene McDaniels an der Spitze dieser Revolution stand

To celebrate the 20th anniversary of Jonny Cash"s demise, listen to this double vinyl gathering all the greatest songs by the man in black ! Including : "Folsom Prison Blues", "I walk the line", "Hey Porter"...

In 2555, in a devastated future, the apocalypse threatens the Earth. The last hope lies with a man capable of time travel. His mission: to return to the past and change the course of events. His target: Gilbert Alibert, a Member of Parliament about to approve the construction of a nuclear power station with the Chinese company Axomako. This event in the present will cause a huge catastrophe in the future, with a radioactive cloud killing half the world's population every 70 years.

Jimmy Tellier and Florent Dorin composed and arranged the film's original music.

Bacao Rhythm & Steel Band return with another set of covers bound to get you out of your seat and on your feet. The mysterious German steel pan outfit is working on their fourth studio album now and treat us to another must have two-sider to hold us over while they finish it. This one is sure to become another favorite among DJs worldwide. The A side finds BRSB taking on a huge hit with an eerie cover of Drake's "Hotline Bling". The intro melodica hints at the melody and when the beat drops and the top line plays on the pans all bets are off. The B side is something of a Big Crown family affair as Bacao covers "Murkit Gem" from El Michels Affair's Yeti Season album. The tune lends itself to the pans with its infectious melodies and the way BRSB plays it, it takes on a James Bond spy chase energy that works perfectly. Tracks: A Side. Hotline Bling B Side. Murkit Gem

Discover the history of Hip-Hop with this brand-new 3-vinyl box set! The Gems Of Hip-Hop Culture - FEAT. - THE PHARCYDE - AFRIKA BAMBAATAA - MOS DEF - GRAND MASTER FLASH - RZA - CAPONE-N-NOREAGA - MONIE LOVE - DIZZEE RASCAL - GRAND PUBA - BRAND NUBIAN - BIG L - 2PAC...

Beyond the Red Mirror ist das zehnte Studioalbum der deutschen Metal-Band Blind Guardian. Das Album wurde im Twilight
Hall Studio in Grefrath aufgenommen. Inhaltlich knüpft es an die 1995 veröffentlichte Platte Imaginations from the
Other Side an und erzählt die Geschichte der beiden Welten vor und hinter dem Spiegel weiter.

Nach dem enormen Erfolg von "The God Machine" aus dem Jahr 2022 veröffentlicht das deutsche Metal-Powerhouse BLIND GUARDIAN nun neue farbige Vinyl-Editionen einiger heiß begehrter neuerer Einträge in ihrer beeindruckenden Diskografie. A Twist in the Myth" von 2006 und "At the Edge of Time" von 2010 sind seit einem Jahrzehnt nicht mehr neu aufgelegt worden, und auch "Beyond the Red Mirror" von 2015 ist heutzutage ziemlich rar geworden. Sichern Sie sich also diese edlen Ausgaben von feinstem, melodischem, schnellem und kompliziertem Heavy Metal und erleben Sie die Band im September/Oktober 2023 live auf Tour.

Shmu - Los Angeles, California musician SAM CHOWN

Written By, Performed by, Mixed By, Mastered By, Arranged By, Edited By AND Produced by – Sam Chown.

Also Mixing, Mastering and Producing Lionel Williams (aka Vinyl Williams)

12 new songs of love and loneliness in the modern world using jangly new wave
glory guitars and west coast classic pop melodies. Recorded skillfully and
completely analog by Michael and Brian D'Addario of The Lemon Twigs at their
studio in the East Williamsburg neighborhood of Brooklyn. Beach Boys harmonies
& a myriad of keyboards were added to the Uni Boys Power-Pop and Rock'N'roll
path giving Buy This Now! a fresh new slant.

Die französisch-irische Alternative-Rock-Metal-Band MOLYBARON ist bekannt für ihren energiegeladenen, harten Sound, der Elemente aus Alt-Rock, Hard Rock und modernem Metal zu einem eklektischen, dynamischen Klangerlebnis verschmelzen lässt. MOLYBARON liefern eine intensiv rohe, originelle musikalische Signatur, welche Fans aller Genres anspricht. Mit "SOMETHING OMINOUS" verschieben MOLYBARON die Grenzen und präsentieren eine einzigartige Mischung aus tiefem Groove, stampfendem Metal und Heavy Rock. Songs voller Charakter, die durch eine donnernde Rhythmussektion, krachende Bässe unter riffgeladenen Gitarren und chilligen Synthies vermittelt werden. Tracks mit eingängigen Refrains, die durch nachdenklich stimmende Texte geprägt sind, nehmen den Hörer mit auf eine Reise voller Überraschungen und neuer Entdeckungen. Das Album ist ein Beweis für MOLYBARONs außergewöhnliches musikalisches Können, das mühelos durch ein breites Spektrum an Emotionen und Musikstilen navigiert und ein wahrhaft eindringliches Erlebnis schafft. Jeder Track ist akribisch ausgearbeitet und geht nahtlos von stampfenden Hymnen zu introspektiven Balladen über. Der unverkennbare Sound von MOLYBARON wird sich tief einprägen. Die Texte von "SOMETHING OMINOUS" befassen sich mit tiefgründigen und manchmal provokanten Themen und erforschen die Komplexität der menschlichen Erfahrung in der heutigen Zeit. Sie ziehen sich wie ein roter Faden durch die 10 bewusst knapp gehaltenen Songs und kommen direkt auf den Punkt, sind aber aktueller denn je: Alterung, Verfall und die Erosion der Gesellschaft. Das Album nähert sich dem akuten Bewusstsein für den Lauf der Zeit, wenn wir älter werden - dem nachklingenden Bedauern über kostbare Zeit, die mit unwichtigen Dingen und Beziehungen verbracht wurde, der Erwartung, die zu verlieren, die man liebt, und der Angst, alt und allein zu sein. Darüber hinaus geht es um den aktuellen Zustand der Politik - die Absprachen zwischen Staat, Medien und großen Unternehmen; die Manipulation der Öffentlichkeit, die systematische Zensur von Andersdenkenden und unabhängigem Journalismus. Dieses Album ist nicht einfach nur Musik; es ist berauschend und macht süchtig und hungrig nach mehr. "SOMETHING OMINOUS" ist ein Muss für Deine Sammlung.

Emerging from the ashes of Ireland's early rave era - that had been absorbed into the vastly commercialised club scene of the late '90s - was an oft forgotten, but exceptionally fertile period for electronic music in Ireland. Spearheaded by the then Dublin duo of Decal (later becoming the solo project of Alan O' Boyle), nurtured through nights like Phunk City at The Funnel, Model One at Switch and at a later point midweek club haunt Electric City, an unlikely Irish electro movement was born; breeding an abundance of new labels, parties and producers hungry to make their mark. "Dreams of Electric Bleep" revisits a crucial time of development (1999-2005), when production standards on the island of Ireland rose in perfect synchronicity with the collapse of the music industry as we knew it.

While Detroit, The Hague and London heavily influenced the sounds heard in the clubs, clubs in pubs, warehouses and great outdoors of Ireland - it was producers from Belfast, Cork, Donegal, Dublin, Limerick and Mayo who created the first significant chunk of high-quality Irish electro, demonstrated here over a range of styles (originally released a variety of local and international labels). This double 12" release - featuring key tracks from Decal, Magnetize, Metroneem, Americhord, Phil Kieran, Takeover Sound, Chymera and John Braine - comes on picture-sleeved coke bottle clear vinyl, and includes a download code.

Designed by Jonny Costello (Adult Art Club) with liner notes from Stephen Rennicks (Drexciya Research Lab). Mastered by Paul Mac at Hardgroove Mastering, vinyl mastered and cut by Simon Davey at The Exchange Vinyl.

Dad Loves His Work was James Taylor's tenth studio album. The album is a real fan favorite because it was Taylor's first album without covers. Again, James Taylor had a real commercial success, Dad Loves His Work was certified Platinum. The album also contains the hit single "Her Town Too", a wonderful duet with singer/songwriter J.D. Souther. The song peaked at number 11 on the Billboard Hot 100.

Dad Loves His Work is available as a limited edition of 1000 individually numbered copies on blue coloured vinyl.

Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.

It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.

The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.

On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.

Have you heard of the Nurse With Wound List? If you are a fan of creative-experimental-unlikely music, certainly. You would therefore be aware that amongst the recommendations that Steven Stapleton slipped into the first album of his group Nurse With Wound, were to be found a few restless frogs: Jef Gilson, Luc Ferrari, Jacques Thollot, Urban Sax, Horde Catalytique and last but not least Jean-Jacques Birgé and Francis Gorgé. Stapleton admired their album Défense de. The two Frenchmen just had to conceive of a fabulous precursor to the channel tunnel (check out the inside of the record, you’ll see) to enable Stapleton to come to France in 1980. The Englishman was looking for contributions to a compilation to be released on his United Dairies label that he had created with John Fothergill, and he naturally called on Birgé and Gorgé, who were then playing with Bernard Vitet in ‘Un drame musical instantané’.

It was a done deal and the compilation would be named In Fractured Silence. Alongside Nurse With Wound and Un drame musical instantané, could be heard Hélène Sage (whom Birgé introduced to Stapleton) and Sema, a project from the experimental British musician Robert Haigh who had participated in key records in the Nurse With Wound discography, such as Homotopy to Marie and Spiral Insana.

The curtain is raised and it is Un drame musical instantané who start the ball rolling. Mystery abounds; synthesisers lurk, percussion clatters and the sounds (creaks, whistles, vocal insertions...) fire in all directions. For the piano, it’s a debacle, the Drame won, Hélène Sage can take over. Heading up a quintette including Gorgé and Vitet, she creates a cushioned chamber music with strings and many silences.

On the B side, it’s the other side of the channel. Sema’s piano first off, which dares everything, even melody, before spilling out its darkest ideas in a raucous requiem. Finally, Stapleton appears, delving into his collection of female voices to devote himself to an iconoclastic transformation and concoct a song which collapses under the assault like Marianne at Agincourt. After having listened to In Fractured Silence, you will simply have to choose sides.

Sinead was born in Dublin in 1966, and was discovered by Paul Byrne, drummer of U2 proteges In Tua Nua, while singing wedding covers in the city.

After cowriting the first In Tua Nua single, she left school to focus on music, studying voice and piano at the Dublin College of Music before relocating to London in 1985.

Released in September 1994, Universal Mother was described by Sinead as "the first attempt to try to expose what was really underneath a lot of the anger of the other records". The album features sparse, striking but delicate arrangements on intense and honest songs. Standout moments include the singles 'Thank You For Hearing Me' and 'Fire On Babylon', along with contributions from Germaine Greer (opening track 'Germaine'), and Sinead's son Jake Reynolds ('Am I A Human?'), plus a cover of Nirvana's 'All Apologies'.

2023 Repress

A fully remastered reissue from the original tapes of The Fresh Band's highly sought-after 1984 classic 'Come Back Lover'. Produced by The Strikers' Darryl Gibbs and mixed to maximum effect by the one and only Tony Humphries, this super cool disco boogie floor-burner made it big in the Underground dance clubs of Chicago & New York, receiving heavy rotation from legendary DJs like David Mancuso, Larry Levan and Ron Hardy. This special edition from Best Italy contains for the first time all the four versions mixed by the legendary Tony Humphries: including the astounding Humphries Vocal, Dub, Remix and the rarest Dub Remix which moves towards a deeper, headier groove, with atmospheric echoing vocals and mind-blowing piano breaks.

'In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group (more precisely saxophonist/flutist Oliver Lake, trombonist Joseph Bowie, drummer Charles "Bobo" Shaw and trumpeter Floyd LeFlore) took the advice of their friends in the Art Ensemble Of Chicago and left their native Missouri to come and discover the bright lights of Paris for themselves. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: “In Paris, Aries 1973”.

Therefore, it was not surprising that they crossed paths with Jef Gilson in the capital. He was always on the lookout for new artists for his recently formed Palm label and had been active on many fronts in jazz since the end of the 50s. The French bandleader / pianist / composer / sound engineer had already recorded, in the preceding months other American musicians who would go on to have great careers: Byard Lancaster, Keno Speller, Clint Jackson III, Khan Jamal... Gilson therefore offered Baikida Carroll the chance to record his first album under his own name, which would be the 13th release on the label. Carroll logically asked Oliver Lake to join him. He also recruited Manuel Villaroel, a young Franco-Chilien pianist from the group Matchi-Oul, who had already released an album on Futura in 1971 and would release another on Palm in 1976. The group was completed with the addition of Brazilian percussionist Naná Vasconcelos, who had just released a well-received album on the Saravah label. They were ready to enter the studio for the 3rd, 4th and 5th June 1974.

The first side of the album is divided into two long tracks which send free jazz back to its long-lost African roots. The opener “Orange Fish Tears” indeed rolls out a jungle of percussion of all sorts and sizes -the whole group is involved- which weave and mix together reaching a point where all bearings are lost, lending a sense of wonder to the majestic entry of the brass and woodwinds, flying suddenly out from the undergrowth. “Forest Scorpion” (sic) is a real voodoo ceremony where a venomous percussive groove backs the fiery solos from keyboards and saxophone in a furious trance. A warning; after these two tracks listeners are physically and emotionally wiped out!

The other side is more introspective. Deliberately using dissonance and repetition, “Rue Roger” -the only composition by Oliver Lake- in a long dialogue between trumpet and saxophone, could almost remind us of Terry Riley in his favourite ballpark. “Porte D'Orléans”, the fourth and final track on the album, has the group back to their old tricks in a long hallucinatory jam which owes as much to the contemporary music of György Ligeti as to the most angst-ridden Jerry Goldsmith soundtrack music (remember the heavy chords which beat through “Planet of the Apes»).

With these two sides, and in under 45m, Baikida Carroll and his musicians show just what they can do, from cerebral to charnel without ever simplifying things. This is an essential album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek. For those with good taste, in other words.'

High-octane tour-de-force by legendary post-punk group, INU. Widely considered in Japan to be one of the all-time greatest punk records, 1981's Don’t Eat Food! remains shockingly unknown to the rest of the world. Led by literate but unhinged Machida Machizo, a magnetic stage presence who sang in a thick Osaka dialect that sounded like nothing else at the time, INU took Japan by storm in the late '70s with their powerful and often belligerent live show. Their membership changed frequently but INU's final lineup -- the group that recorded Don't Eat Food! -- was sharp as a knife, and the band's airtight debut still wows forty years later.

It's hard to describe INU's unique sound in comparison to other bands, but maybe imagine a more fidgety Richard Hell & The Voidoids jamming with PiL? Better yet, just listen for yourself.

This first-ever fully-licensed edition has been remastered from the original tapes and cut by Kevin Gray and includes an 8-page booklet with never-before-seen photos, lyrics in English and Japanese, and liner notes by Syojiro Ishibashi in English and Japanese.

'Capital Punishment is the debut studio album by Puerto Rican rapper Big Pun, released by RCA Records, Loud Records and Fat Joe's Terror Squad Productions. Released on April 28, 1998, it is the only album released during his lifetime and was regarded as "super groundbreaking" upon release. The album peaked at number five on the Billboard 200 charts and number one on the Top R&B Albums chart for two weeks. It was nominated for Best Rap Album at the 1999 Grammy Awards. Ltd double Black LP Vinyl

Zum 25-jährigen Jubiläum von Big Puns legendärem Debütalbum "Capital Punishment" erscheint diese 2xLP-Edition auf schwarzem Vinyl. Das ursprünglich 1998 veröffentlichte Album etablierte Big Pun als einen der begabtesten Songschreiber in der Geschichte des Hip-Hop und zeigt seinen unglaublichen Flow und seinen brillanten Wortwitz. Durch die Zusammenarbeit mit Hip-Hop Schwergewichten wie Fat Joe, Inspectah Deck und Busta Rhymes enthält "Capital Punishment" einige der kultigsten Hip-Hop Tracks, darunter "I'm Not A Player", "Twinz (Deep Cover 98)" und "You Came Up".

Holy Hive haben in der kurzen Zeitspanne von 3 Jahren zwei Alben und eine EP veröffentlicht und dann beschlossen, sich aufzulösen. Während die Fans diese Nachricht zweifellos nicht mögen werden, bleibt uns allen die zeitlose Musik, die sie während ihrer gemeinsamen Zeit gemacht haben, erhalten, und produktiv waren sie sicherlich. Springs zartes Falsett über dem schweren Schlagzeugspiel von Homer Steinweiss erwies sich als eine himmlische Kombination und sie schufen einen Sound, der die Ohren und Herzen aller Hörer verzauberte und den Begriff "Folk Soul" prägte. "Big Crown Vaults Vol. 3 : Holy Hive" gräbt in der Schatztruhe unveröffentlichter Aufnahmen und holt einige heraus, die nie den Weg auf Vinyl gefunden haben. Diese Aufnahmen entstanden größtenteils während ihrer zwei Album-Sessions, einige wurden sogar aufgenommen, bevor sie bei Big Crown unterschrieben.

Alien Transistor is proud to announce a reissue of Such December, the fourth album by Japanese indie folk-pop artist, Gratin Carnival. Listeners might already know Gratin Carnival from their appearance on the Alien Parade Japan compilation of indie pop groups working with brass and woodwind; compiled by Markus Acher of The Notwist and Saya of Tenniscoats, it introduced this beautiful genre to the wider world. Gratin Carnival’s “Just Watching” was one of the many highlights of that compilation, and its gentle bossa-folk glide reappears on Such December.

Originally released in 2020, Such December captures beautifully the happy-sad charm of Gratin Carnival. The project of Koreyuki Mitsunaga, Gratin Carnival started in 2011; Mitsunaga had been home recording for some time and decided on the name as an umbrella for his music-making. Mitsunaga’s main instruments are guitar, which he uses to great effect throughout, his gorgeous acoustic playing reminiscent of players like Ueno Takashi of Tenniscoats or João Gilberto, and alto saxophone and clarinet. Those three instruments make up the core of Gratin Carnival’s sound, along with Mitsunaga’s charmingly doleful singing.

Recording at his parents’ home, with a four-track cassette recorder and a MacBook, Mitsunaga created Such December during 2020, though the songs on it stretch back to 2016. The closing “On The Train” was the first song written for the album – “a song about a small trip,” Mitsunaga recalls – and from there, he built a beautiful collection of songs that sit together perfectly. There’s great clarity in Mitsunaga’s writing, with nothing extraneous getting in the way of the lucid arrangements and gorgeous melodies; there’s something of chamber jazz about it at times, so it’s no surprise that Mitsunaga shares his love of Benny Goodman’s small group playing.

He's also a fan of Japanese folk artists like Kenji Endo and Kyouzou Nishioka, and grew up listening to Japanese popular music, The Beatles, and The Carpenters. You can hear trace elements of all this in Such December, in the clear-headedness of the melodic decisions made by Mitsunaga, and the quiet charm of the song’s gentle arrangements. They take on different shapes live, too, where Mitsunaga often invites other musicians to join in – his live band currently includes Masafumi Ezaki (trumpet), Nahoko Kamei (bass clarinet, piano, keyboards) and Tadashi Yonago (trombone, self-made instruments).

As with plenty of musicians from the Japanese underground, Mitsunaga is involved in other music, too – he’s been working with The Otoasobi Project, which performs music in collaboration with individuals with learning disabilities, and their families; and he’s also involved in improvised music. With Such December, though, you get to hear Mitsunaga’s music at its most personal and individual, ten songs of still, gorgeously poised indie folk-pop, where the swooning clang of six strings meets the breathy bliss of woodwind and brass.

Bob Dylans "Christmas In The Heart" wurde am 13. Oktober 2009 von Columbia Records veröffentlicht. Das Album ist Dylans 34. Studioalbum und sein erstes und einziges Weihnachtsalbum, das aus einer Sammlung von Hymnen, Weihnachtsliedern und populären Weihnachtssongs besteht. Das Album enthält u.a. "Must Be Santa", "Little Drummer Boy" und "Here Comes Santa".

Colombian producer Faunes Efe known under his moniker Filmmaker, is one of the most productive and vital producers in the EBM, Industrial, Synth-wave and Electro community. He has quickly built a cult following amongst those with an affinity for dystopian electronics drenched in seductive darkness.

After more than 20 records within a 5 year span, Filmmaker keeps running engines with “Machinations”, a mini-album containing 7 cuts that blast a mechanical blend of Electroclash and Minimal Synth. This ride of prominent square waves, robotic beats and detuned atmospheres is born from mainly two instruments: a Syntakt & a processed guitar.