Search:c i a records

Formed in Portland, OR in 1980, Poison Idea debut record features 13 songs in 13 minutes. Poison Idea were one of the first hardcore bands to inspire artists across multiple genre lines. Poison Idea’s 1983 Debut Release!!! Iconic Original Artwork! New Liner Notes by Jerry A. Features Sticker, Lyric Sheet, Credit Sheet, and Liner Notes.

Silence present a reissue of legendary live album from Sweden's own Woodstock, Gärdesfesterna, the start of the Swedish alternative music movement. It's hard to imagine an album with a greater symbolic significance than the 2LP set "Festen på Gärdet", recorded at the second of the two festivals held at the Gärdet field in Stockholm in 1970, with Träd Gräs Och Stenar and especially Bo Anders Persson as the driving force behind them both. Those festivals are often regarded as the starting point of the music movement. It's convenient having a fixed date of course, but as with any historical event, it was the product of a process, with one thing evolving into something else. So while the date isn't historically valid, the Gärdet festivals' importance to the music movement is unquestionable. This was the first time that several of the soon to be most important bands presented themselves to a larger audience. Most bands didn't have a record contact at the time, and some of them would never get one, such as Det Europeiska Missnöjets Grunder and Låt Tredje Örat Lyssna In & Tredje Benet Stampa Takten.

Major Keys work their magic once more with the release of two iconic tracks by celebrated Jazz musician, Donald Byrd. Known for being one of the few jazz artists who successfully explored funk and soul music in the 70s, whilst remaining a leading figure in Jazz (much to the disgruntlement of purists)

This 2-track EP salutes 2 records from that exploratory era with the official license and 12 inch reissue of ‘Think Twice’ & ‘Where Are We Going’

Think Twice - Taken from his 1975 LP ‘Stepping into Tomorrow’ released in 1975 on Blue Note Records and produced by the legendary Mizell Brothers, responsible for producing other artists including Gary Bartz, Johnny Hammond, Bobbi Humphrey, as well as Michael Jackson and Marvin Gaye. One of Byrd’s most recognisable records and a highly sampled song amongst a wealth of hip hop and house artists in recent years.

Where Are We Going – Taken from the 1973 album Black Byrd, the very first release of Byrd’s on Blue Note Records and was released in collaboration with Motown Records. Produced by Larry Mizell and Larry Gordon, then later performed by Marvin Gaye. The album still stands amongst some of Blue Note’s bestselling releases

For most members of the band it's the best album. But, tragically, the release of Operation Heavenly in 1996 was overshadowed by the sudden death of drummer Mathew Fletcher. The promotional tour was cancelled, the surviving members of the band went into emotional hibernation and no-one could bring themselves to celebrate these vibrant, upbeat songs. So, this release by Skep Wax Records, nearly thirty years on, is more like an album launch than a re-issue. Time has healed most wounds, and the songs on Operation Heavenly feel like they can finally emerge onto the stage, with Mathew's spirit very much alive: his effervescent witty drumming sounding as fresh now as it did then. These tracks are gleeful, melodic, sophisticated and knowing. The tough riot grrrl edge that Heavenly had developed a year before with seminal singles P.U.N.K. Girl and Atta Girl, has been blended with a deliberate quantity of Britpop styling. Heavenly were clearly listening to what was going on, liked the energy, but didn't necessarily feel the need to join in. Some of the tracks (eg Ben Sherman) are as jaunty as early Blur, but the lyrics, mocking a narcissistic boyfriend for his obsession with hair, clothes and his own erections, show that Heavenly didn't need or want to be part of the la - or even ladette - herd. Operation Heavenly was the band's first release on a label other than Sarah Records. Matt Haynes and Clare Wadd had brought that exceptional label to a deliberate and dramatic end. The liaison with US punk label K Records continued - as did the duets with Calvin Johnson: Pet Monkey is a moving duet between a growling Calvin Johnson and a sweet-voiced Cathy Rogers, as they dramatize another complex, maybe doomed relationship, with another self-centred boy finding himself frustrated by a girl who won't take any shit. But in the UK, Heavenly needed to find a new home - and Wiija Records were welcoming hosts, ushering the band into a brasher, less cloistered world: the production on this album is brighter than before, the artwork is colourful and upbeat. With tracks as catchy and as complete as Fat Lenny, Trophy Girlfriend and Space Manatee there was an expectation that Heavenly might finally emerge from the indiepop shadows and trouble the charts. And who knows if this might have happened. Mathew was lost before the album was released, and the band had no choice but to bring things to an end. This reissue also contains two tracks that appeared on the B side of the 7" single of Space Manatee. They are both cover versions, and along with Serge Gainsbourg's Nous Ne Sommes Pas Des Anges on the main album, these vivacious assaults on Art School by The Jam and You Tore Me Down by The Flamin' Groovies show that the band, briefly in its prime, could happily embrace any variant of pop music and make it something Heavenly.

WRWTFWW Records is very excited to announce its third release from visionary Japanese ambient/experimental/environmental composer/producer Yutaka Hirose, this time with brand new album Voices, available on limited edition heavyweight-sleeved double LP as well as double CD, both with liner notes from the artist.

Voices finds Yutaka Hirose expanding his signature spatial layering into a three-dimensional videography of sound, blending field recordings, electronic manipulations, and abstract narratives. The 12-track album is a journey through a crumbling library where books whisper, history collides, and sonic textures weave new realities. Chaos, memory, and transformation – Hirose’s voices echo throughout the space, creating a fully immersive sonic experience.

The pioneering experimental and abstract electronic piece with deep hints of ambient and IDM is beautifully represented by the original artwork by Koji Shiroshita and Mifuku gracing the double LP and double digipack CD sleeves.

Voices marks Yutaka Hirose’s third full-length release on WRWTFWW Records, following his kankyõ ongaku classics Nova + 4 (an expanded version of his genre defining Soundscape 2: Nova album) and archival compilation TRACE: Sound Design Works 1986-1989, both available in vinyl, CD, and digital formats.

Five Dollar Bill was originally released in 2003, and is now going to be widely available on vinyl for the first time. This record includes songs that are staples in Corb Lund’s live set, such as “(Gonna) Shine Up My Boots” and “Time to Switch to Whiskey.” In addition to these lively jams, Five Dollar Bill features everything from romantic imagery of Corb’s homeland, “Short Native Grasses (Prairies of Alberta),” to songs that give the listener a glimpse into the life of working class folks, such as “Roughest Neck Around” which is an ode to oil riggers and the grit that is required with that lifestyle. “‘Five Dollar Bill’ was a big milestone for me for lots of reasons. It was my first record after my metal band, The Smalls, broke up and it’s when I got really serious about western music. I really dove into my family’s cowboy ancestry and my very rural upbringing in this batch of songs. It was also our first record of many produced by Harry Stinson who is now a very close friend, and our first brush with Nashville, Tennessee, as we recorded half the record down there. It was our last record with Ryan Vikedal on the drums before he flew off into fame and fortune with Nickelback. It was also our last record as a trio. It was my first gold album,” says Lund, “And we are still playing lots of these songs at our shows. It really defined my path forward as a western songwriter and helped lay the foundation for my whole career."

This limited edition release is part of the Corb Lund - Dark Horses Club. New West Records will be releasing unreleased records and material from Corb Lund throughout 2025 and 2026.

ATA Records is pleased to announce the release of Early Works 2: Funk, Soul & Afro Rarities From The Archive, a compilation of tracks recorded in the fledgling days of the label paired with some rediscovered treasures from more recent years. While the majority of the album is previously unreleased material several tracks have appeared on different formats.

This is a rare chance for listeners to experience the birth of the ATA's enduring concept and recording techniques from the comfort of their own home.

In 2020 label founder and musician Neil Innes decided to destroy the studio he had spent 14-years building, destroy it and rebuild it from the ground up.

Once the studio began to take shape again and Innes was finally able to take a breath he began rooting through the label's archives, pulling out reels that had been propping up tables, holding open doors and generally lurking in nooks and crannies for years.

His trip down memory uncovered a wealth of dusty musical treasures and also got him thinking about tracks from newer artists, nuggets to compliment the archive gold.

Along with the first airings of tracks by The Harmony Society, The Disarrays this 11track comp includes appearances by studio favourites: The Magnificent Tape Band, The Sorcerers, The Mandatory Eight, Ivan Von Engleberger's Asteroid and long time collaborator Chris Dawkins (recording under Earl Dawkins).Also on the comp is Joe Tatton's Bang Bang Boogaloo, previously only released on 7 inch and greatly desired by record diggers everywhere.

Chaz Bear (formerly Bundick) was a musician from birth. Growing up, it was normal to hear music across genres, from Michael Jackson to Elvis Costello to The Specials, in the Bundick household. These influences were quite unique for a biracial kid growing up in South Carolina, contributing to the complexity of Chaz’s self-understanding and expression through his own music.

Chaz began playing and recording original compositions in his preteen years, forming multiple indie bands starting in middle school and continuing until his personal project, Toro y Moi, was signed by Carpark Records in 2009. Before getting signed, he was already an incredibly prolific artist, having released over 10 Toro y Moi albums on his own (and undoubtedly retaining a vast compendium of unreleased songs). His personal work drew upon a vaster array of influences than did his full band. Early Toro work called upon Chaz’s childhood exposure to 80’s R&B, pop and electronic music, while also evolving with his discoveries of acts like My Bloody Valentine and J Dilla and his burgeoning interest in French house. Just before his graduation from the University of South Carolina, where he earned a degree in graphic design, Chaz caught the attention of music bloggers and record labels with his dreamy, bedroom recordings.

Outer Peace, was written and recorded in the Bay Area after Chaz’s return from a one year stint in Portland. It is somewhat of a homecoming celebration, filled with features by friends and saturated with a playfulness that had not previously been embraced in past Toro albums. Outer Peace stands in contrast to the more sparse and contemplative Boo Boo, an album recorded while in Portland in relative isolation. With Outer Peace, Chaz showcases his ability to remain on the cutting edge of music’s evolution while not taking himself too seriously. There are contemporary hip hop references mixed in with funk, Eurodance and ambient elements, all interwoven expertly and retaining that quintessential Toro y Moi aesthetic.

The Populists—the alias of Yan Wagner—are about to unleash their latest assault on the dancefloor with the hotly anticipated EP, Extrême Intensité. This drops on Deadbeat Records in July and comes equipped with a dark, dusty, electro-infused remix from Mr. Ho.

When these demos landed in our inbox, we instantly knew that we needed to release it. This couldn’t be more Deadbeat if it tried; ravey, playful, banging. Expect this to be on heavy rotation throughout summer.

Produced in the vibrant heart of Marseilles, France, Extrême Intensité is a raw, unapologetic salute to UK rave, early dubstep, electro, and acid - the sounds that make your head spin and your jaw shake. Yan describes the project as “probably the most heavy and ‘brainless’ (in the best way) bunch of tracks I’ve ever created; the most UK sounding too.”

This new EP was produced in Yan’s home studio in Marseilles in March 2025, amidst a fierce USBJ digging craze and emerged as a most welcome breath of fresh air as he was immersed in the production process of another, more sombre, project. It’s packing hallmark breakbeats, gritty samples, and vintage Roland synths, all wrapped up in a playful, confident package designed to obliterate the dancefloor.

And to cap things off, Mr Ho, one of the current scene’s biggest producers and close friend of the label, has delivered a dark and warehousey remix that’s guaranteed to keep dance floors ablaze. As a big fan of his, we’re buzzing to finally land him on Deadbeat.



c B1. Extrême Intensité vinyl only

Blue and orange Stardust vinyl, limited to 500 copies. Since 2016, Indiana's Wraith have been emitting their incendiary brand of blackened thrash and speed metal into the world. Summer 2024 will see them release their debut full length under the Prosthetic Records label banner; prepare for Fueled By Fear. What started as a one-man band many moons ago has evolved into a propulsive beast of a band. Channeling a reverence to classic metal from a bygone era, Wraith incorporate their distinctively blistering sonic signature to create something urgent and contemporary. The band have previously described their collective mission as follows: a war of aggression on the dour confines of the modern metal scene and total sonic annihilation. Fueled By Fear captures the raw punk edge of their previous releases; a sound that will already be familiar to converts who have caught the band live in all their full-throttled abrasive glory. The album was self-produced by the band in Griffith, Indiana -, with engineering, mixing and mastering handled by CJ Rayson. Each member brings their own influences and stylistic flourishes to the table, combining to create a tightly wound, cohesive collection of scorching tracks that reflect their individual personalities and tastes.

“Rob wanted the world of The Northman to feel harsh and uncomfortable, and for everything to feel like it was caked in mud and dry blood, so it was crucial for the score to mirror that.” Composers Robin Carolan (Tri-Angle Records) and Sebastian Gainsborough (Vessel) were given a task of epic proportions when director Rob Eggers (The VVitch, The Lighthouse) asked them to create the score for his ambitious and highly anticipated new film The Northman, releasing on April 22nd. They needed to make a score that both honored the immense research that had gone into the authenticity of this Viking era period piece and complimented the cinematic maximalism of the film for a modern audience. The artists stretched themselves to the depths of their creativity and the resulting album is a gorgeous sonic tableaux that places the listener right in the center of the film.

While arranging the score the composers consulted musician and ethnographer Poul Høxbro for inspiration and insight into the history of Viking music. Having backgrounds in left field electronic music, Robin and Sebastian felt liberated by the constraint of using a small selection of musical tools for this piece. “Electronic music has almost limitless potential when it comes to making sounds and that’s obviously an incredible thing, but you can also go down the wormhole and get lost in it sometimes. There’s no risk of that happening when you only have a few primary instruments to draw upon.” Robin remarked.

They utilized traditional instruments such as the tagelharpa, langspil, kravik lyre, and säckpip to build the cinematic world of The Northman but they also took creative freedoms in adding instruments likes drums, which some academics believe wouldn’t have played a big part in Viking musical culture, simply due to the lack of archaeological evidence of actual drums. “One of the pieces we wrote was intended to emulate the sound of a bullroarer; an ancient instrument used in sacred rituals or in battle to intimidate enemies. It makes a really disorienting roaring vibrato sound and low frequencies capable of traveling insane distances.” Robin says when asked about one of the more unique aspects of the score. Everyone involved put so much effort into both their research and their creativity and this richness is evident in every track. The album as a whole is a cinematic masterpiece of sound and ambiance, both gorgeous and disturbing, like the film it so beautifully accompanies.

Originally released in 1996, Kerosene 454’s sophomore album 'Came By To Kill Me’, is back in print after 28 years. These were the first recordings written exclusively with drummer Darren Zentek (formerly of the band, Glendale) and came at a time when the band felt like they were moving at 100 miles per hour. The album was recorded in the summer of 1996 with J. Robbins (Jawbox, Magpie Cage Studio) and Don Zientara at Inner Ear Studios with help from Juan Carrera (Warmers, Slowdime Records).

*JAPANESE PRESSING* ** Limited Edition** *** Unique hand silk-screened cover details*
Note: the colours delivered are random - examples shows above**

Enchanting and highly focussed material on a self released LP ** BIG TIP!!

TORSO's 2nd vinyl release.
TORSO (トルソ) is a unit formed by Kenji (flute, sax, etc.) & Orie (cello, voice, etc.), a married couple based in Tokyo, JP.

Technical:

Mastering and cutting were carried out by Graeme Durham of THE EXCHANGE mastering studio, established by the former "Sound Clinic" mastering and cutting section of Island Records UK. This ensures deep grooves and exceptional dynamics.

Kenji: Flute, Sax
Orie: Cello, Voice, Piano
Mixed by: Naoyuki Uchida
Mastering & Cutting by: Graeme Durham (The Exchange)
Press: Toyokasei Japan

The album cover features new artwork by Masaya Nakahara aka HAIR STYLISTICS, with the album title hand-printed using a silk-screen method in 7 colours, individually finished for each of the 500 copies.

Finnish Samuli Tanner is a drummer and producer swimming in alises and side-projects. Tanner's been part of Modern Feelings (released on Sähkö Recordings) and on this 7" it's back to early-mid 90's Braindance with hectic & quick paced patterns, klanks, whirl and rhythmically short voice snippets. B-side has Jimi Tenor Remix, highlighting a (clubbier) structure resembling the area of early Rephlex and Warp releases.

Brady Corbets "The Brutalist" wurde für 10 Oscars nominiert, darunter "Best Original Score". Dass der Film, der im Vintage VistaVision-Format gedreht wurde, von der Musik lebt, wird direkt am Anfang klar: er beginnt mit einer fesselnden 10-minütigen Ouvertüre, komponiert von Daniel Blumberg. Die Erzählung folgt dem ungarischen Architekten László Toth (Adrien Brody), der sein Leben im Nachkriegsamerika neu aufbaut.Die Filmmusik umfasst eine Mischung aus groß angelegten Blechbläser-Orchestrierungen, lyrischen Klaviermelodien und improvisiertem Jazz und verkörpert die Brutalismus-Designästhetik mit ihrem reichen und resonanten Klang. Dafür arbeitete Blumberg mit Musikern in Großbritannien und Europa zusammen, darunter Axel Dörner (Trompete), Evan Parker (Saxophon), Sophie Agnel (Klavier) und John Tilbury (Klavier).Für die Jazzclub-Szene des Films stellte Blumberg ein Quartett zusammen, das live am Set auftrat und eine der dynamischsten Nummern des Films schuf. Im Epilog des Films, das in den 1980er Jahren spielt, ist zudem Synth-Pop-Pionier Vince Clarke (Depeche Mode, Erasure) zu hören, der das Hauptthema des Films in einen Synth- und Drum-Machine-getriebenen Track verwandelte.

When unknown virtuoso guitarist Tosin Abasi released his debut solo album under the moniker ANIMALS AS LEADERS in 2009, few would have predicted the band's meteoric rise over the next two years. Although Abasi earned acclaim as the lead guitarist in the Washington, D.C.-based metalcore act Reflux, it was still a long-shot that an instrumental album of progressive metal with jazz, electronic and ambient flourishes would develop anything more than a cult following. With "Weightless," the group's sophomore effort, ANIMALS AS LEADERS is revered worldwide as a trailblazing pioneer of modern heavy music. The group's genre-defying compositions have earned extensive praise; Steve Vai called the band "the future of creative, heavy virtuoso guitar playing," and MetalSucks recently ranked Abasi #2 on their list of modern metal's top guitarists. Whereas the group's self-titled debut was a collaboration between Abasi and Periphery's Misha Mansoor, "Weightless" features the recording debut of ANIMALS AS LEADERS, the true band; Abasi (guitars), Javier Reyes (guitars) and Navene Koperweis (drums). After nearly two years of touring together, the trio wrote and recorded "Weightless" together in mid-2011, with Koperweis producing and Reyes mixing. The group debuted a new track, "Isolated Incidents," during their inaugural headlining tour that summer, which included sellout shows from coast-to-coast.