Search:chi

** INITIAL 400 LPs CONTAIN A BONUS 7" OF A RARE XMAS SOUL 45! **

** THE 4th VOLUME OF RARE & HIP-SHAKING SEASONAL GROOVES!! **

Dear Santa, we just loved "Santa's Funk & Soul Christmas Party," Volumes 1-3 TRLP-9013, TRLP-9027, TRLP-9050, and we have really tried to be good this year! Please bring us a whole 'nother album's worth of rare and obscure Christmas-themed funk and soul!

When the third volume of "Santa's Funk & Soul Christmas Party" was released in 2015, everybody involved was certain that it would be the final one. For years, the curators had been looking for "Christmas Rare Grooves" until they finally realized there was nothing left to discover that would justify a fourth volume. Sure, it would have been an easy task to dig through the catalogues of major labels to come up with 40 minutes of more-or-less trivial Christmas soul music. But who on earth would want that kind of album? Since the foundation of Tramp Records in 2003, the label has gained a high reputation as one of the very few German reissue labels of obscure funk, soul, and jazz music. 99% of the songs originate from 7" singles, the small and handy standard-format of the 1960s, which, like Santa's sleigh magically circling the planet on Christmas Eve, spins at forty-five revolutions per minute on the turntable.

So, what can you expect from this, the fourth volume of a series which had ostensibly been completed with only three volumes? After some seven years of digging across the world wide web with open ears and eyes, never tiring of the hundreds of (mainly) shitty songs, hoping to find that kind of monster soul or funk track that constituted the hallmark of the previous volumes, the compilers slowly and surprisingly began to see a fourth volume taking shape. Finally, after more than two thousand days, a complete album's worth of quality tunes had been discovered and secured for release.

"Santa's Funk & Soul Christmas Party Vol. 4" contains a highly diverse selection of obscure Christmas songs. For example, take Bey Ireland's garage-mod-rocker "All I Want For Christmas Is A Go-Go Girl," is something to get you go-going around the tree! Do you prefer mirror-balls to tinsel? Check out Bill Deal with Pure Pleasure. Too fast? How about the dazzling-melancholic "I Won't Be Home For Christmas"? Do you prefer rap music while you wrap presents? Then your choice is going to be Hot & Sassy. Old-School-Hip Hop at its best. Every single song has a compelling reason to be included in this extraordinary selection. Not least is the opening track by Sharon Jones & the Dap-Kings. Their contribution represents the soul sound of the 21st century. Charming soul music with sociocritical lyrics, something you rarely find in the current musical landscape.

Even though the selected tracks that the two compilers and their worker elves proudly present on "Santa's Funk & Soul Christmas Party Vol. 4" are unbelievable, they are very real and will be the surprise gift from Santa this season that can be enjoyed year-round! It took seven years to complete, but believe us when we say it was well worth the wait. Merry Christmas, everybody!

Key selling points:

- initial 400 LPs contain a BONUS 7" of a ULTRA-RARE Christmas soul 45

- ALL but one song appear on CD, Vinyl LP and digital for the very first-time

- the vinyl LP comes with a full album download code

- fold-out CD-booklet and gatefold LP come with liner notes and label scans

Luuk van Dijk has unveiled his hotly-anticipated debut album First Contact, out 11th November on his own Dark Side Of The Sun label. The Dutch DJ and producer’s maiden LP is the end result of a long and intense voyage of discovery.

Years in the making, it’s a project that Luuk can fully stand behind and be proud of. Next to a search for his own identity and his own place in music, it has also become a passage
through time.

By far his largest body of work to date, the 13-track release kicks off with the suitably-titled ‘Cosmiq’, a deep, grooving sonic exploration that immediately sets the tone. “Because of this
track I wanted to make an album to showcase my other kind of music that people won’t maybe expect of me,” Luuk explains.

Next up is the shimmering, ethereal sounds of ‘Love You’, a track that features the irresistible vocals of US singer-songwriter Dawn Richard and will be released as a single in October. “She really brought this track to a whole new level,” says Luuk. “I couldn’t be more happy with the result.”

Further collaborations come in the form of ‘Wolf’, a majestic, strings-led house cut featuring Steve Burton of oneofmanysteves; ‘Master Plug’, a deep, jackin’ number with Chicago artist
Kid Enigma; and the Detroit-indebted ‘Together We Rise’, punctuated by the spiritual vocals of MC Roga. “I tried making a track the way they used to make music,” Luuk says of the latter.

“With as few machines as possible, just a mixer, sampler and some synths.” Additional highlights include the enchanting ‘Let The Bass Kick’, orchestral ‘Lightning
Striking’ and hypnotic ‘Hot Stuff’, before ‘Knowing How To Love’ closes things out on a peculiarly wistful note. “The last track of the album, also a track that started as an interlude and
ended up being a full song,” says Luuk.

“This song basically sums up how I’ve been feeling the years 2020 and 2021, very emotional, sad, but also hopeful. Everything will be alright.”

One of the hottest new names coming out of Amsterdam’s bustling club scene, Luuk van Dijk is currently making waves in international waters with his infectious take on spirited house
music.

He has already released on labels like Hot Creations, Cuttin’ Headz, Solid Grooves Records and Eastenderz have established his name as a house music prodigy.

He launched Dark Side Of The Sun in 2020 with the aim of exploring a broader approach to his signature style.

First Contact represents a vivid sonic snapshot of one of electronic music’s brightest young talents.

Early DJ Support :

Jamie Jones
Marco Faraone
Carl Craig
Yuksek
Sasch BBC
CamelPhat
Paco Osuna
Stacey Pullen
Tocadisco

Straight from the Windy City to your ears!
Factory Music Chicago presents the new release by
label boss TRAXMAN himself, full of jackness and funk.

Twisted and irreverent, The Rabbits combined ear-splitting guitar shrapnel with one of punk’s greatest-ever snot-nosed vocalists. With hints of PIL or Chrome, but beamed in from a parallel dimension and filtered through the warped lens of visionary loner Syoichi Miyazawa. First-ever vinyl release, fully remastered from the band’s original early ’80s cassette releases, and housed in a sturdy tip-on sleeve. Includes a double-sided, printed insert. Edition of 500

Singer-songwriter Syoichi Miyazawa’s tale is a confounding one.

He grew up in a small town in Yamagata Prefecture (in northern Japan), loved Dylan and The Beatles, and had very little exposure to, or interest in, underground music. And yet, shortly after 24-year-old Miyazawa arrived in Tokyo in 1978, he began performing solo shows at tiny clubs in the city, singing and playing guitar. His performances quicky devolved from brisk acoustic jaunts to lengthy, heavy dirges sung in a snot-nosed wail over a blown-out electric guitar detuned to produce a kind of sonic sludge.

At one of his earliest gigs, a mutual friend introduced him to Endo Michiro, who would soon become the legendary front man of Japanese punk icons The Stalin. It turned out Miyazawa and Endo had attended Yamagata University at the same time just a few years earlier, but hadn’t known each other at school. In Tokyo, they became fast friends, moved into the same apartment building, and for years were inseparable. Endo played guitar and drums on Miyazawa’s debut release, the “Christ Was Born in a Stable” flexi disc. But while Endo was social and outgoing, Miyazawa preferred to be alone, avoiding concerts unless he was performing.

Despite these antisocial tendencies, Miyazawa came to despise playing solo. In 1982, an eccentric high school student named Chika introduced herself at one of Miyazawa’s gigs, and Miyazawa asked if she’d play bass. She agreed and drafted two of her friends to play second guitar and drums. The Rabbits were born.

Miyazawa wrote the tunes, and had a clear vision for the group, but struggled to get the sound he wanted from the other members. His second guitarist was more of a fusion player, and Miyazawa took great pains to get him to tone down the shredding. The group quickly went through multiple line-up changes. Frustrated with the sound of their first proper recording (self-released as the “X1(x)” cassette), Miyazawa spent a full year mixing their second cassette, “Winter Songs,” on his own.

The hard work paid off — the sound of “Winter Songs” is striking, and unlike anything the band’s peers produced. There’s liberal use of delay on the vocals, giving the music a psychedelic feel, but the guitars are caustic, cutting through the mix like metal shrapnel. The rhythm section seems on the verge of teetering out of control throughout, an overdriven and pummeling current below abrasive slabs of guitar and vocals. Even at their most aggressive, though, The Rabbits had strong pop sensibilities, complete with cooing backing vocals and the occasional harmonica solo. Miyazawa delivers his borderline nonsensical lyrics with equal amounts of menace and gaiety, consistently riding that fine line as only a natural oddball can. At times, the band sounds like a distant cousin of PiL, Chrome or The Homosexuals, but beamed in from a parallel dimension and filtered through Miyazawa’s warped lens.

Although The Rabbits briskly sold all 500 copies of the "Winter Songs" tape, live audiences at the time seemed dumbfounded by the group, and would stare at them in silence. After two years together, The Rabbits called it quits in 1984.

When asked if any of the many legendary groups (Les Rallizes Desnudes, G.I.S.M., etc.) he shared stages with left an impression, Miyazawa recently revealed that he always left the venue as soon as he finished performing, so he never caught any of the other bands…

All of which is to say —

The Rabbits are one of the great punk bands of the early ’80s, but their leader had no interest in the punk scene and always thought he was making “normal” music. They rubbed shoulders with a slew of notable groups of the era, and their singer was best friends with arguably the most famous Japanese punk of all time, but Miyazawa shunned fraternization and purposefully distanced himself from his peers.

Could this be why so few underground music fans are familiar with the group, even in Japan? Why they seem to have been written out of the official history of Japanese punk? One can never know for sure, but Mesh-Key hopes to remedy this travesty by offering this compilation, the first-ever official LP by The Rabbits, to a new generation of punk and psychedelic music connoisseurs.
credits

Toronto’s Dan Lee steps out of the spotlight and into the producer’s chair on the new collaborative Lee Paradise LP, Lee Paradise & Co., due October 28 2022 on Telephone Explosion. Lee Paradise & Co. follows 2020’s critically acclaimed The Fink LP, and finds Lee flipping the shadowy nihilism of the project’s previous releases upward into a sort of cybernetic universality. This is Dan Lee in producer mode, veering away from the pursuit of a singular musical direction rooted in personal vision, towards of a process rich in collaboration, emotional expansion and tonal exploration.

Starting off as a set of mood-focusedinstrumental sketches drafted by Dan on his own, the compositions began coloringthemselves in after he started sending the tracks out to collaborators, asking them to contribute without much in the way of direction or intention. With help from an ensemble cast of artists including Carlyn Bezic (Jane Inc.), Jonathan Pappo (Scott Hardware, No Frills, Ducks Ltd), Scott Hardware, Isla Craig, Victoria Cheong (New Chance), Jay Anderson, Charise Aragoza & Lukas Cheung (Mother Tongues) and Daniel Woodhead (Moon King), nearly every aspect of this album’s creation eventually became open to collaboration, from musical performances, lyric writing, and vocals all the way through to mixing and mastering.

Sonically, the record is still unmistakably Lee Paradise: a widescreen polyrhythmic psychedelia that melts, bubbles, whirrs and klanks; the sound of the human and the machine grooving in accordance towards new futures. The album’s sonic palette is at once synthetic, warm and extraterrestrial. Arpeggiated square wave melodies dance in lockstep with crunching hi-hats, digital bells and chimes fall like crystal rain in stereo above plush pads and gurgling bass figures. Used to finishing the records on his own, Lee mixed this album with Montreal’s Asher Gould-Murtagh and the results are spacious, dusty and dubbed out. “Carnival” sets the scene with it’s stuttering, busted funk groove and ribbons of aqueous vocal harmony from New Chance’s Victoria Cheong. “Raffles”(featuring one of Daniel’s two vocal performances on the record) radiates a mellow optimism in its solar-warped balearic bliss. The album’s final track, “Youngish” is a gliding, melancholic downtempo instrumental thumper saturated in a kaleidoscopic array of lysergic tones. As always, the record anchors itself to the dancefloor with the screwed-down electro of “Cement”, the swinging midnight afterglow of “Leaving” and “CS2X”’s fluttering rave arpeggios.

Lee Paradise & Co. is the sound of an expert producer and sound sculptor conceding to the elusive flows of inspiration, knocking genre conventions askew and hopscotching between a variety of styles, musical identities and sound worlds with absolute panache.

Means&3rd returns to Unveiled Nuance with 002 following the label's debut 'Thought Contortion'. This time coming armed with 4 tracks providing a more direct club sound and falling in line with NUANCE001's affinity for low-end, tight percussion and underlying tribalism.

‘Aberrance’ opens Side A with a broken rolling kick drum and FM-type polyrhythmic stabs which reach a
kinetic climax with further patterns of distorted FM crunch and propulsive percussion that sit next to alien
sound FX. ‘Life’s Glorious Mosaic’ gives way to a much more mesmerising mood, utilising classic CR-78
percussive shots to provide energy amongst a sea of delicately delayed glassy synth chirps, spacious and
mystic, the perfect hypnotic spell.

‘Kairos’ is the first cut on side B, picking up the pace with deep and dense shamanic formant drones
juxtaposed against ethereal stabs which provide rest bite from the heavy groove, a chance for the ear to get lost in a moment of psychedelia before seeing us out with the return to the solid rhythm. ‘Discordianism’ closes out the EP, anchoring around the repetitive grit of the lead synth, textured stabs unfold next to squeezed shots of phased synth work that subtly lay underneath it, the whole track, reduced in nature,perfect as a layered tool.

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

Produced, Programmed and Mixed by Means&3rd
Mastered by Neel @ Enisslab, Rome
Cut @ Schnittstelle Berlin
Design by Means&3rd
Pressed By Matter Of Fact, Güstrow, Germany
Distributed by Rubadub, Glasgow

Dressed in a powder blue suit with the frilly shirt to match, DJ Yoda invites you to be his +1 for ‘Prom Nite’, his new album promising retro Americana full of daydreaming reverie, international megastar guests, trip hop acknowledging the likes of Morcheeba and Nightmares on Wax, and the turntable extraordinaire’s bread and butter of cuts, beats and rhymes.

Certainly no stranger to retro sounds having famously peppered his DJ and AV sets with the unexpected the world over, and his ‘How to Cut n Paste’ mix series going all the way back to the 30s, Yoda’s harp-laden puppy love vibe spreads from the sweet and mellow sound of 2019’s ‘Home Cooking’, an album described as ‘boundary-breaking’ by Mojo upon slotting nicely into the UK’s blooming jazz canon. Think deliciously harmonised doo-wop murmuring ‘Goodnight Sweetheart’ with an eye for dreamboats en route to Makeout Point – on ‘My Energy’, Eva Lazarus takes the form of an earth angel, with Yoda on jukebox cut-ups, taking it back to starry-eyed, clean cut days of wonder (or more recently, Little Mix’s ‘Love Me Like You’).

Beginning enigmatically with the assistance of Hollywood A-lister (and former next-door neighbour) Lily James, ‘Breathe’ demonstrate Yoda’s continued evolution as a musician (not to mention shrewd decision maker), with James’ vocal confidence - a little Lana del Rey to her breathiness - returning on the velvet-smooth ‘Airplane Mode’. It’s a smartly executed soundclash accentuated by LA rapper Choosey, the star of the album’s straightest hip-hop shooter ‘Harder I Rock’. Homeboy Sandman adds some kick to the prom punch with typical wordplay sent down ‘Coconut Grove’, and Liam Bailey is perfectly cast for the darkly cinematic sway of ‘Don’t Even Try It’.

On an album of many talking points, the LP’s crowning glory is opening single ‘Feel Like Home’: featuring the vocal comforts of the House Gospel Choir, it’s your go–to pick-me-up when the chips are down, targeting the hairs on the backs of necks like a softer focus version of Jamie xx’s ‘Loud Places’. Extended into an alternative, equally uplifting form by Beardyman’s ‘Don’t Mean Thing’, summer festival season already has its homecoming anthem.

With tongues wagging, the twists and turns step away from Heartbreak Ridge when O Love tucks into the mouthwatering shopping list funk of ‘Way Home’; and ‘Lesson 1956’, featuring Jamie Cullum and DJ Woody, jauntily pays homage to classic Cut Chemist alchemy, Yoda’s celebrated turntable tomfoolery back in full effect and extending the flavours found in ‘Home Cooking’.

Again maximising the experience and enjoyment gained from recording live instruments and prioritising songs over beats, Yoda continues to progress with a mixture of risk-taking, elite musicianship, nostalgia brought bang up to date, and ultimately, good clean fun capable of stirring your soul, making ‘Prom Nite’ a date to remember.

Magpie artwork supplied by London’s ENDLESS, whose signature style has tagged Liberty and Lagerfeld as but two high profile clients, Yoda again maximises the experience and enjoyment gained from recording live instruments and prioritising songs over beats. His continued progress mixes risk-taking, elite musicianship, nostalgia brought bang up to date, and ultimately, good clean fun capable of stirring your soul, making ‘Prom Nite’ a date to remember.

Featured 7” Vinyl singles:
Feel Like Home (feat. The House Gospel Choir)/ Don’t Mean A Thing (feat. Beardyman)
My Energy (feat. Eva Lazarus)/Lesson 1956 (feat. Jamie Cullum & DJ Woody)

repressed !

Lay Down The Groove – aka Juan and Matteo, Colombian transplants in Melbourne, Australia – bring a poised US house sensibility to this 5-track EP on their eponymous label, Lay Down The Groove. The legacy of Chicago legends like Gemini and Glenn Underground is palpable in the breezy grooves of ‘The 6-61’ and ‘Space Between’ on the A side, while the jazz-funk of Detroit shines through on ‘Noise In The Data’ and ‘Hidden Lines’ on the B. Finally, ‘No Hard Feelings’ unifies the two sounds to drift off gently over the horizon.

limited silver vinyl LP with obi-strip

With a string of soundtrack credits as long as your proverbial arm, it's no surprise Yellow Magic Orchestra man Ryuichi Sakamoto was top of the list when it came to scoring this "sumptuous romantic melodrama" from director Ann Hui. This is his first score for a Chinese film, however, and he pulls out the emotional stops to betray the tense, tumultuous stirrings going on beneath the surface of tight lipped manners and suppressed feelings. Many of the themes are explored through simple piano playing before returning in the form of complex string arrangements, a clever trick that proves Sakamoto was worthy of his Best Original Film Score prize at the 40th Hong Kong Film Awards for this work.

Repress in soon, note new price. For Fans Of:The Lawrence Arms, Into It. Over It, The Menzingers, RVIVR, Modern Baseball, Sundowner, Topshelf Records. Deanna Belos has been a fixture in the Chicago punk scene since she was in Junior High, attending shows, singing along, and raising hell in general. But she was more than just a face in the crowd, Deanna was a radiant friend to all, and at some point she picked up a guitar and made a different contribution the Chicago underground scene: her own music under the name Sincere Engineer. Over the last couple years we've encouraged her to keep writing songs and she surprised us all by assembling a great band and recording an impressive album. Her debut, "Rhombithian", was Produced by Matt Jordan (You Blew It!, Dowsing, etc.) and pairs the sounds of Chicago punk and the youthful Midwest "emo revival" movement. No one is more excited about music than Sincere Engineer, and Deanna plans to play a lot of shows and bring her infectious energy to the rest of the planet in support of "Rhombithian".

Black Truffle is pleased to announce Uri Katzenstein’s Audio Works, produced in collaboration with Holon’s Centre for Digital Art. Spanning sculptural installation, performance, video art, and many other media, Katzenstein’s absurdist, poetic, and often hilarious work made extensive use of sound and music. This, however, is the first release dedicated to the artist’s audio work, collecting 28 tracks produced between the early 1980s and 2017. Compiled from dozens of hours of recordings left uncatalogued (and in some instances unheard) at the artist’s death in 2018, these four sides are a treasure trove, offering a captivating glimpse into a uniquely uninhibited creative practice. Predominantly recorded alone, with some contributions from regular collaborators such as Ohad Fishof on the later pieces, many of these tracks stem from Katzenstein’s time living in New York in the 1980s. Feeding on the cross-pollination of post-punk energy, radical art practice, and new media possibilities that characterised the New York scene at this time, many of Katzenstein’s recordings squeeze multilayered vocal experimentation into synth-based miniatures with a distinctively pop twist, their forms ruptured with anarchic bursts of free-form electronics, sounds from self-built instruments, and field-recorded snatches of the outside world. Katzenstein’s electronic production calls up touchstones of skewed 80s art pop like Laurie Anderson, Ambitious Lovers, and Scritti Politti, but imbued with DIY directness and economy of means. The arrangements of synths, percussion, and noise elements are invigoratingly raw and, at times, almost austerely minimal. On ‘Intermission’, thick distorted chords accompany a wandering portamento melody, inhabiting the wayward carnival space of Roedelius’ most unhinged efforts. Many of the tracks centre on Katzenstein’s multi-tracked vocal performances, often moving between multiple languages, (most commonly English, German, French, and Hebrew). A bewildering range of vocal approaches are present on these pieces, from sweet wordless harmonies to hammed-up growls and monastic recitations. On ‘Skin O. Daayba – Complex Habits no. 3’, improvised resonance singing against a backdrop of echoing electronics and radio snatches. ‘Half Monk Half Herring’ layers multi-lingual syllabic fragments, crossing sound poetry techniques with melodic invention in a way rarely heard outside of Caetano Veloso’s Araçá Azul. On ‘Attempt to Raise Hell’, Katzenstein’s distorted voice spits out streams of alliterative nonsense (‘the hemlock of Henry, he was a hermit…purple pumpkin pulsates to pops’), while on the hilarious ‘Eric’, Katzenstein appears to instruct a small boy simultaneously in basic French and German conversation. On ‘Chicken’, vocal harmonies accompany the pecking and clucking of the titular fowl. Moving from bent, outsider synth pop to snatches of Jo Jones-esque automated instrumental clang and absurdist linguistic experiments, these are far more than footnotes to an artist’s gallery works. Accompanied by extensive, beautifully written liner notes by Roee Rosen and the little information that exists on the individual tracks, Katzenstein’s Audio Works inhabits an outer fringe of DIY pop and sonic experiment reminiscent of Pascal Comelade or Die Welttraumforscher, where accessible forms convey radical interrogations of song, word, and sound.

The stage is set for an almighty celebration as Groove Armada approach a huge milestone and mark the anniversary with a return to the road. New music plays a key part of the GA25 celebrations, with the duo recruiting some of today’s leading underground artists to remix their most iconic tracks, packed into a box set celebrating an award winning career that has seen them produce an impressive, record-breaking body of work.

25 years on from their debut, Groove Armada have become one of the most influential and successful dance acts of the 21st century, a position they have maintained, proving to be an influential force in the UK and globally. Over two decades of prolific productions and tireless touring they’ve proved that it’s possible to daringly explore a multitude of sounds while achieving critical and commercial success.

From huge outdoor performances to intimate parties, travelling the world, delivering their diverse dance floor-focused sound to raucous crowds on every continent, the duo have done it all. Despite their extensive list of achievements, there’s still plenty of motivation to have another huge party and go the extra mile to make GA25 one to remember, for fans new and old.

At the spearhead of the music press, Tsugi presents for the first time its selection in this vinyl CHILL-OUT from Rone through Baxter Dury and Modeselektor.

Repressed !

Hot of the heels form his "Omega" album Robert hood delivers 2 killer new tracks. The thundering kick and warehouse style acid line on "Power To Prophet" will add energy to any dancefloor "Clash" is a nod to the old skool Chicago minimal techno sound of producers such as Steve Poindexter.

2022 Repress

Falling Apart Record comes after a lo-fi chill out record with a brutal answer from DJ ALI. The Melbourne based artist who origins from the beautiful Lebanon comes from the hard techno scene and his thing is to play live, record live and just using some machine and synths for the perfect workflow. Just how we like it! All tracks on this 12 inches are recorded live in 1 clip. "1 shot. 1 opportunity." - Em.

On Blowback Tricky works with Ed Kowalczyk, the singer with the band Live, Alanis Morissette, the Red Hot Chili Peppers, Ambersunshower, Cindy Lauper and Chris Blackwell's signee Hawkman. The album is full of contrasts and surprises. The excitement and the imagination and the sheer audacity that made the first album 'Maxinquaye' such a ground-breaking record are back. "When I made that first album I had a dream of changing the world," Tricky says. "You realise after a couple of years you aren't going to do that and its all a load of bullshit. Which is OK and you carry on. But now I've got my dream back. Music has stood still or five years and it's time to change it around again.

MONO’s first-ever feature-length motion picture soundtrack. My Story, The Buraku Story is a new feature-length documentary film that explores the discrimination against a group of people – commonly called “the burakumin” who were classed into lowly groups and segregated from the rest of Japanese society. This discrimination is not by race or ethnicity, but rather by place of residence and bloodline, and has existed for centuries – albeit very rarely acknowledged or discussed in Japan. When director Yusaku Mitsuwaka imagined the exemplary score for such a culturally sensitive and significant subject, he idealized MONO to help tell this story through their legendarily cinematic music. Following their recent experiments with electronic textures infused into their trademark dynamic rock compositions, My Story, The Buraku Story finds MONO at their most understated and elegiac. The songs that make up My Story, The Buraku Story are largely built around piano, strings, synths, and choral vocal loops. As one might expect from MONO, the arrangements are masterworks of understated execution with oversized emotional resonance. By far MONO’s most delicate album, it is a fitting document of the band’s first-ever full-length film soundtrack.

Bei solch einer langen Bandgeschichte, muss auch rauschend gefeiert werden!

Heute auf dem Geschenketisch: Eine Vinyl-Neuauflage vom lange vergriffenen Longplayer "VI". Das 2013 veröffentlichte Album steht auch kurz vor einem runden Geburtstag und darf endlich wieder über die Plattenspieler rasen! Wer den Onslaughtklassiker noch nicht kennt: Wir können versprechen, dass es hier pfeilschnellen, aggressiven und erstklassig gespielten Thrash Metal zu hören gibt, der mit einer Überdosis Adrenalin ausgestattet ist, der trotz aller Brutalität aber stets eingängig bleibt. Klasse Platte einer wichtigen Band.

2023 Repress

"Fear Inoculum" ist das Grammy-prämierte Meisterwerk von Tool. Nach der Veröffentlichung der limitierten 5-Disc-Vinyl-Box mit Einzelpressung ist dieses von der Kritik hochgelobte Album nun als 3-LP-Set erhältlich, das ein neues Artwork in einem dreifachen Klappcover und ein exklusives Poster enthält. Zu den Mitgliedern von Tool gehören Schlagzeuger Danny Carey, Gitarrist Adam Jones, Bassist Justin Chancellor und Sänger Maynard James Keenan.

F-Side Special etching, NO AUDIO