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Now re-issued on 180 gram including comprehensive sleeve notes by Burning Sounds, Michael Palmer Meets Kelly Ranks At Channel One was originally released in 1985

Michael Palmer is a Jamaican reggae and dancehall artist. Michael Palmer's music has been part of the cultural and musical history of Jamaica and has a dedicated following among reggae enthusiasts.

"Flower power psych pop that’ll blow you away! Exploring the jangly folk and garage sounds of the late ‘60s, the Superfine Dandelion picks a wide variety of colorful folk, country and jug band influences and puts a psychedelic tint on their all-original compositions. Our favored stereo mix, pressed on blue vinyl!

Formed in 1967, this Phoenix, AZ band would only last for a year before parting ways, leaving behind just one album – a fate many Mainstream artists ultimately faced, no matter how quality their style and sound was. The Superfine Dandelion features Mike McFadden (formerly of the garage rockin’ Mile Ends) and Rick Anderson (founding member of the Tubes) showcasing the sound of the Summer of Love – kaleidoscopic, sunny & groovy!

“While the cheeriest cuts have the sunny folk-pop/rock feel of, say, some of the L.A. folk-rock issued by the Dunhill label (‘Don't Try to Call Me’ recalls P.F. Sloan) or the Monkees, their self-titled LP had a good deal of sub-Jefferson Airplane folk-psych-rock, with plenty of minor chords, harmonies, and wistful lyrics. Then ‘Janie's Tomb’ and ‘It's Raining’ have a jokey jug band vibe, like a cross between the Charlatans and the Lovin' Spoonful.” – Richie Unterberger (AllMusic)"

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"Let’s take a trip to the zoo, in mono! Labeled as a part of the Bosstown Sound, these Boston psych rockers take listeners along for the ride - their freak-out arrangement of “Gloria” and a slew of outtasite originals showcase their intricate psych pop sound. Got your lava lamp bubbling yet?

Originally from Swansea, MA, the Tangerine Zoo formed just six months before writing and recording their first album. Once they turned down RCA and Atlantic for Mainstream, the group agreed to do one single and an album, one that’d take just 13 hours to complete. Inspired by Vanilla Fudge and the hippie scene in Greenwich Village, the band’s acid rock captured the same psychedelic sound bands like Orpheus, Ultimate Spinach, and Beacon Street Union were creating in Boston.

After a promotional tour, the band went on to make just one other album before dissolving at the end of the ‘60s, leaving a true Bosstown artyfact behind.

“Tangerine Zoo may be an orange happening, and have to be seen to be believed. They make the claim that ‘your eyes and ears will throw a party for your mind.’” – Fall River, Mass. Herald News Feb. 13, 1968"

"Known for their unique blend of punk rock, post-punk, folk, alternative rock and all kinds of musical sub-cultures, New Model Army refuses to belong to any club or style. Formed in Bradford in 1980, the band's lineup has changed over the years, with Justin Sullivan being the constant and central figure. They have released numerous albums and continue to tour and record music, maintaining a dedicated fanbase. Their music often addresses themes related to social and political issues, personal struggles, and the human condition, making them a significant presence in the alternative rock and post-punk music scenes. The 2019 studio album “From Here” ranked # 13 in the UK Album charts, and the 2023 live album “Sinfonia” hit #1 in the UK Music Video-Charts, making it the highest charting album in the band’s history.
Described as ""Dark Motown"" by Justin himself, “Unbroken” features a diverse collection of tracks that touch on topics ranging from social and political commentary to deeply personal reflections. The album is a powerful and emotionally intense body of work ranging from rebellious tracks as “I Did Nothing Wrong”, to contemplative songs like “First Summer After”. With this album, the band continues to push the boundaries of their signature sound while staying true to the themes that have made them a force to be reckoned with in the music world. “Unbroken” is the first studio album since 2019’s long-player “From Here” and the 16th studio album of the band. It will is available in as a CD Hardcover Mediabook, Heavyweight Black LP Gatefold"

FAZI are a post-punk band based in the ancient Chinese city of Xi'an. However, there is much more to their story than meets the eye_ With five immersive full-length records and a brief stint on peak-time commercial TV already establishing the four-piece at the forefront of a truly pioneering wave of alternative music in China, the Euro-pean re-release of their latest offering, `Folding Story', represents an incredible new beginning for a band who have already spent years honing their craft - transforming timeless traditions of love, life and death into a perpetual dance of fre- netic, krautrock energy and sprawling, shoegaze panoramas. Fittingly, `Folding Story' is itself a cyclic experience of rebirth, renewal and a return to origin. Album opener `Invisible Water' is a contemplative start as frontman Peng Liu's yearning vocals reach out across synthesisers reminiscent of sonar and the hypnotic lapping of water on an un- known shore. Described by Peng as an "artistic conception of amniotic fluid in the mother's body", this motif returns at the end of the album's final track, `Way to Atman', this time as a gentle tide washing away the ash of a spent funeral pyre. Just as the album and its protagonist is born at the beginning and dies at the end, by deliberately opening and closing `Folding Story' with the sounds of water, Fazi invite listeners to flow through the record on a never ending loop, to listen to a story without pause, one that rises from a whisper to a roar only to subside as quickly as it arrived. First released in 2022 on pioneering Chinese record label Space Circle, `Folding Story' is a collection of 10 tracks that serve as stories themselves as well as part of a universal narrative in constant flow. A phenomenal accomplishment, its forthcoming re-release in Europe via Pelagic Records will ensure that Fazi continue to blow as many minds and ruffle as many feathers as possible. Gatefold sleeve, silver offset ink, printed on special all-black cardboard. FFO Joy Division, Suicide, Savages, Cabaret Voltaire, Iceage, Gilla Band, Fontän

If the Corona pandemic and the accompanying concert bans have at least one good thing going for them, it's the extra time musicians have to write songs and live out their creativity. This circumstance was also the driving force for the SAMURAI PIZZA CATS, who come from the Electric Callboy environment. Frontman Sebastian Fischer was behind the microphone in their predecessor band Her Smile In Grief, whose line-up also included Daniel "Danskimo" Haniß, who is now celebrating success as guitarist, songwriter and producer of Electric Callboy. The contact between the two never broke off and so Daniel also produced Sebastian's later band Fall Of Gaia in recent years, whose former drummer and multi-instrumentalist Stefan Buchwald is also involved in this new project - family business from downtown Castrop Rauxel! So while Stefan contributes the music, Sebastian writes the lyrics and Daniel, as a creatively involved producer, ensures a well-rounded overall result. Okay, before we try your patience any further, let's talk about the elephant in the room: the band name. The SAMURAI PIZZA CATS have named themselves after a Japanese anime series from the early nineties. Why? Stupid question! Of course, because they are fearless warriors on their instruments, love to eat pizza and like cats! And maybe a little bit because they have soft spots for anime and silly band names - but only maybe. Rumour also has it that "Banzai! Smack! Meow!" is an onomatopoeic description of the band's sound.

GOUTLAW, 4 piece rock and roll band, filthy and unhinged, as it should be, hailing from Melbourne Australia. Crystal visions. A moment captured in time. Picture Howlin' Wolf with Girl Trouble. The Virgin Mary, hooked on cough syrup, staring down the end of the line. Think Stooges, Beasts of Bourbon, Chrome Cranks and the Flesh Eaters. Elvis is dead and I'm not feeling too well myself. GOUTLAW to visit European shores in 2024 to showcase their self titled album, watch out!

Nach über 30 Jahren erscheint die Complete Discography mit vielen Songs erstmalig auf Vinyl! Die Indie-Folk-Punk Band machte Anfang der 90er nicht nur regional auf sich aufmerksam in dem sie auf Studi-Parties und Hausbesetzungen spielte, auch bundesweit auf Festivals und Konzertbühnen waren sie gern gesehene und vor allem gehörte Gäste. Der Output der Band, die nur 3 Jahre existierte war beachtlich! Musikalisch bewegt sich der Sound zwischen Violent Femmes, den Go-Betweens und Hüsker Dü Riffs - eine doch eigenständige Mixtur, nicht zuletzt auch aufgrund der markanten Geige und dem unterschiedlichen Background der einzelnen Members. Enthalten auf dieser liebevoll aufgemachten LP sind die vier Tracks der "water" EP (1991), die 5 Songs der "nightingales in diving dresses" MC (1992) und "strong" von dem "mom, flight 13 to the moon, please" 2xEP Sampler (1993). Das Album kommt mit Foto- bzw. Lyric Beiblatt und wurde von Markus Heinzel (Liquid Studio) remastered.

Punk Rock Isn't Dead... It Lives in South America! Das schreiben sich Los Problemas selbst auf die Fahne! Die chilenische Punk-Rock- und Oi!-Band "Los Problemas" hat ihr mit Spannung erwartetes Debütalbum herausgebracht. Die LP mit dem Titel "El Ultimo de su Especie" markiert einen Meilenstein in der Karriere der Band und festigt, was sie über mehrere Jahre hinweg, von der Veröffentlichung von Singles bis hin zu ihrer ersten EP "Malos Vecinos" (2020), gezeigt haben. Es ist ein energiegeladenes Album geworden, das Einflüsse von Punk und Oi! mit deutlichen Anklängen an Bands wie The Crack, Cock Sparrer, Sex Pistols und andere verwandte Gruppen vermischt. Das Album ist sehr melodisch, macht Spaß und ist durchzogen von scharfen Gitarren, die manchmal an den Glam-Rock der 1970er Jahre erinnern, aber mit einer Essenz und Haltung, die eng mit dem Punk verbunden ist, besonders im Bereich des Oi! oder "Reality Punk". Das Album enthält 11 neue Originalsongs und eine kühne Interpretation von David Bowies ikonischem Song "Héroes", in dem die Band ihr erzählerisches Können und ihre einzigartige Herangehensweise an den vergangenen Ruhm unter Beweis stellt. 180 gr. schwarz/grün marmoriert, weltweit 500 handnumerierte Exemplare. SPA "El Ultimo de su Especie" es un álbum enérgico, que fusiona influencias del punk y el Oi!, con claras resonancias de bandas como The Crack, Cock Sparrer, Sex Pistols y otros grupos afines. Este disco es altamente melódico, fácil de escuchar y está impregnado de guitarras afiladas que en momentos nos recuerdan al glam rock de los años 70, pero con una esencia y actitud ligada al punk y especialmente a la rama del Oi! o "reality punk."

On their debut "Hold Your Horse Is" Hella's style started to transform, organically. Zach was pushing the envelope rhythmically, and Spencer began to simultaneously play both rhythm and melody on the same instrument. 2023 marks the 21st anniversary of HYHI, which is being repressed as a commemorative re-release by KRS, including both the remastered original album and the 3 song demo which landed them their deal with KRS in 2001.

The new album The Commune Of Nightmares by noise artist David Wallraf is a tapeloop-based musical game of cadavre exquis, a technique developed by surrealist artists.

David Wallraf is a noise artist and theorist living in Hamburg. His artistic work deals with the repressed and uncanny sonic residues of quotidian life, crafting soundtracks for the creeping disaster we inhabit. His works have been released on numerous international tape labels. A recent interest of his is the live scoring of silent films, including works by Luis Buñuel, Maya Deren and Jean Genet. His PhD thesis Grenzen des Hörens. Noise und die Akustik des Politischen (Limits of Hearing.Noise and the Acoustics of the Political) has been published in German, an English translation is in progress.

The Commune of Nightmares stems from the idea that nightmares are the logical reverse of 'capitalist realism': an uncanny undercurrent of daily experiences and an algorithmic haunting of dreams that at the same time is a shared – communal – experience of everybody. All songs are based on tapeloops that were cut arbitrarily from a stash of cassettes, some of which found on the street, others from a stockpile of 4 track tapes recorded in the late 90s and early 2000s – a musical game of cadavre exquis played with random strangers and former versions of DW.

Credits:

All music composed and recorded by David Wallraf in Hamburg-Wilhelmsburg, first half of 2023

In 1948, Moses Asch founded Folkways Records with a self-proclaimed mandate to record the sounds of the entire world. From the Sounds of North American Frogs to Speech After the Removal of the Larynx, Folkways documented the audible nooks and crannies of existence on hundreds of LPs produced by field recordists, scientists, and experimentalists probing the margins of the human soundscape. Seventy-five years later, electronic music duo Matmos have diced, looped, stretched, and recontextualized these recordings on their new album Return to Archive, which was assembled entirely from the so-called non-musical sounds released on Folkways. On just the album’s first track, dolphins, beetles, telephones, humans stretching the limits of their vocal cords, a shortwave radio, and metal balers co-mingle in a fantasia of sound both everyday and extraordinary. Each track on Return to Archive morphs its source material into something completely unexpected, honoring and expanding on Folkways’ legacy of sonic exploration. Featuring Evicshen and Aaron Dilloway.

Shotns/Shadows, Songs from Testimonies (2024) is the latest volume in the Fortunoff Video Archive’s Songs from Testimonies project. Over the past four years, the Fortunoff Archive has worked closely with D. Zisl Slepovitch, a Belarusian-born and New York based composer, multi-instrumentalist, ethnomusicologist, and Yiddish educator to document the songs recounted in the Archive’s collection. As the Archive’s first musician-in-residence, Zisl located songs and conducted research about their origins. He then arranged and recorded versions with his ensemble, featuring renowned singer Sasha Lurje. Sasha, a Latvian-born Yiddish singer, specializes in performing and teaching old Yiddish singing styles.

Cam Cameron appears to be another one of those performers from an infinite list of Black American artists that cut a solitary 45 single and then disappear into obscurity never to be seen or heard from again. Couple this with the passing of any of the relevant protagonists from the time along with any of the surviving ones ever diminishing memories and the job of collating events and artists back stories from over 50 years ago becomes that much harder.

Cam Cameron appears to be one of those artists (although our investigations are ongoing). Therefore, from the information currently gleaned, the artist Cam Cameron was none other than Alvin Cameron the writer of the featured song “You Say”, with Cam being a kind of nickname. The string arrangements on both “They Say” and “I’m A Lonely Man” were provided by the late John Andrew Cameron a hugely respected arranger, producer and songwriter within the Chicago music scene of the 1960’s and early 70’s, more often credited as Johnny Cameron. Johnny’s credits can be found on many recordings of the time often working with fellow Chicago music scene producer Clarence Johnson, some of the highlights from this liaison being the song “I Really Love You” recorded by both Jimmy Burns (Erica) and Bobby James (Karol) and the girl group, ‘The Lovelites’, on their acclaimed album “With Love From The Lovelites” (Uni). Johnny’s involvement with the Scott Brothers goes as far back as 1965 when he provided the musical arrangements on The Howard Scott penned song “I’ve Got To Get Over” recorded by Syl Johnson for the TMP-Ting label. Although they share the same surname, Alvin (Cam) Cameron is believed to be of no relation to Johnny Cameron.



“You Say” would gain a release on the independent Capri label owned by Sephus Howard Scott who together with brother Walter Scott composed the 45’s flipside “I’m A Lonely Man”. Howard also featured as one of the songs producers alongside the mysterious Edgar Mullins (a name which has been found on a couple of other tape boxes, the investigations continue).

Musical accompaniment was provided by The Scott Brothers Band, with both songs being recorded at RCA Victor’s Chicago number 2 Recording Studio at 445 North Lake Shore Drive, in the Navy Pier section. on the 10th of August 1967 and released on Capri Records during the month of February 1968.



Cameron’s “You Say” was another 45 that was first introduced to UK Soul Collectors via those much lamented and fondly remembered soul packs, always regarded as a quality collector’s 45 the only regular turntable action remembered was provided by Northampton’s very own discerning DJ Cliff Steele at venues such as ‘Detroit Academicals’, ‘Bretby Country Club’ and later ‘Albrighton’ during the leaner days of the UK Rare Soul Scene?! Hopefully a wider appreciation of both sides of this soulful Windy City 45 beckons! The second release in Soul Junction’s Capri series.

Sonor Music Editions proudly presents "A TEMPO DI JAZZ" by Maestro Piero Umiliani. This lost gem captures the formative years of Modern Jazz in late 1950s Italy - alongside the legendary Basso-Valdambrini recordings in the early 1960s, as well as the early years of Piero Umiliani's long and prolific career as a composer with over 190 soundtracks, 40 library albums, and 35 TV title themes recorded.

A TEMPO DI JAZZ includes seven original compositions by Piero Umiliani recorded in 1959. Here, at the age of 33, he lays a perfect ground with himself as a pianist, accompanied by some of the best Italian soloists at the time: Marcello Boschi on alto saxophone and flute, Ivan Vandor on tenor saxophone, Peppe Carta on bass, and the American trombonist Bill Gilmore. With plenty of room for improvisation, the sextet fuses Big Band moods with West Coast experimentation of Latin American rhythms and Modern Jazz ballads that sit perfectly between his soundtracks for the films "I Soliti Ignoti" (Big Deal on Madonna Street) from the same year that attained him international recognition, and his masterpiece "Smog" (featuring Chet Baker and Helen Merrill) from 1962.

Five compositions are outtakes from Piero Umiliani's mega-rarity "Tempo Jazz", released on RCA Custom in 1960, while 'Tema In Blues' has been published on the two - impossible to obtain - 45 releases "Moderato Swing" (RCA Camden 45CP 112) and "Tema In Blues" (RCA Custom 45 R3) from 1960 as well as the previously unreleased track 'Mezza Cottura.'

The music has been transferred and remastered from the original master tapes and lacquer cut in MONO, preserving the original sound of the recordings.

Crypt of the Wizard is proud to present Peace Vaults - I & II on vinyl and digital formats. New blood from the Viennese gutters. Amidst the vile and hostile ravines of sooted stone and waste filled waters is a glade to be found. Peace Vaults erect four pillars of crude and stoic Black Metal, guided by luring vocals and synth melodies, which shimmer like ominously kaleidoscopic light through cracks in the walls of rat filled sewers. Hissing through cracked and blackened feedback Peace Vaults produce jangly off-kilter rhythms, awash with raw metal energy and diffuse post punk lethargy. Frantically pulling chaotic drum patterns and howling guitar leads into rhythmic structure until, wild, they pull themselves apart again. This compilation of the band's two demo tapes rightly now presented on vinyl marks the beginning of an ongoing union between Peace Vaults and Crypt of the Wizard with new material due in the not so distant future

In the ever-evolving landscape of hip-hop, Divine ScienZe emerges with their third album, Divine ScienZe 3, a testament to their unwavering dedication to pushing boundaries and crafting music that is as refreshing as it is organic. As a dynamic duo, Divine ScienZe has consistently strived to redefine their sound, and this album stands as a brilliant showcase of their musical evolution. With this release, Divine ScienZe boldly ventures beyond the traditional boom bap approach, seamlessly merging the contemporary essence of hip-hop with their signature classic sound. The result is an auditory journey that transcends time, capturing the essence of both past and present in a harmonious union. Each track on the album is a testament to the duo's growth and innovation, offering listeners a transformative experience with every press of the play button. At its core, this album is a fusion of diverse elements, meticulously crafted to deliver a multifaceted sonic experience. Divine ScienZe masterfully weaves storytelling, hard-hitting bangers, and lush, soulful vibes into every track. The storytelling invites listeners to delve deep into the narratives, while the bangers ignite an irresistible energy, compelling even the most reserved to move to the rhythm. The lush vibes provide a tranquil oasis within the album, offering moments of reflection and introspection. Divine ScienZe 3 is more than just a collection of songs; it's a testament to the duo's artistic evolution and their unyielding commitment to creating timeless music. With every note, rhyme, and rhythm, Divine ScienZe proves that growth is not just inevitable but essential in the world of hip-hop. This release is destined to become an instant classic, a testament to Divine ScienZe's enduring legacy in the genre, and a must-listen for anyone seeking a musical journey that is both refreshing and profoundly authentic

Both hailing from Birmingham, Alabama, Shurlock launched his production career in 1990, Byron career began in 2007. Byron began collaborating with well-known Parisian producer Onra on an EP entitled "The Big Payback."

His catalog of songs and remixes for artist/groups where for artist Mista, Xscape, the Temptations, Juliet Arrington, DJ Nabbs, Ghost Town DJs, and many more. Together these 2 eclectic producers have come together to form a new experience in Hip Hop. From the classic styles of sampling and chopping beats, that was used in Egyptology, Time, and Play That Back.

To the new generation of beat making that encompass House, Jazz, Funk, and Soul, used in songs like Take It Back (Fool), I Miss Love (Love), and Love Instrumental (Tribe). This pairing has been years in the making, with both preparing in their own lanes and perfecting their craft. They’ve been told their hold life that you’re from Birmingham and you can’t make it in this world of music. Well this project is for those that stop dreaming, and believed that Shurlock, and Byron would never make it the world of music. Because they have had to make it without support or help, they obviously named this Album “Us Against the World”.

With her distinct sound treatment and signature improvised performances, Liliane Chlela has been pushing forward the boundaries of ‘Experimental and Electronic Music’ in Lebanon and the Middle East/West Asia and North Africa for over a decade both as a solo artist and via her various local and international collective projects. One of the most versatile female producers/musicians in the Middle East/West Asia and North Africa, Chlela constructs a characteristic sound both as a composer/producer and as a live musician. She further explores the connections between improvisation and sound treatment by approaching numerous musical genres with her signature techniques. Relentless and heavy dark electronic beats mingle with anger and anguish on Liliane Chlela’s album “Safala”. The Lebanese producer and hybrid DJ tapped into her personal memories to bring forth a sonic concoction anchored in the inherited oral epistemologies of her ancestors. Memories intertwine with Beirut, using incantations inherited from Chlela’s grandmother as building blocks to build an eight track album. From warding off the evil eye to protest sounds from the past year of events in Lebanon, the album haunts the listener to invoke a striking elegy on terror and anger, while inducing a rollercoaster of sonic eruptions.

A tape with the rather factual title “Rosa Beton – Demo 83” gained currency in 1983, albeit among an inner circle, or as it says in a lexical note on the band: Rosa Beton “achieved beyond-regional fame in and around Berlin”. Unlike some other bands that were merely rumoured to exist, this name was widely recognized in the East Berlin punk scene and the demo tape was received with some delight. It had been made in the suburb of Hönow, or more precisely in music enthusiast Thomas Wagner’s childhood bedroom. The band was less a classic combo than a short-lived pro- ject run, for a brief underground season, by 16-yearold Wagner and Ronald Mausolf, who was known as “Mausi” and had just come of age. An old clunker of a four-track machine served as an impor- tant nutritional supplement for the duo, allowing bass and vocals to be overdubbed separately. For a project without a professional background, especially for an illegal punk band in the East, this conventional procedure was clearly exceptional. Punk bands would usually record vocals and instruments simultaneously and on a cassette recorder. Recording gear was not readily available in the GDR, and it was disproportionately or prohibitively expensive. The adversities that had to be overcome in starting up a punk band were certainly challenging for teenagers. Rooms for rehearsals were few and far between despite wide- spread vacancies, and public space was taboo thanks to the state. Concerts, whether in flats and studios or under the protection of the Protestant church, remained rare events and, moreover, risky; starting with the party-loyal neighbour alerting the People’s Police as if there were a war on, to the ever-present “digging activity” of the Stasi. The only planned appearance by Rosa Beton never materi- alised. Whether it was the goddesses of fate who averted a show or the Stasi who prevented it can no longer be reconstructed. In any case, Rosa Beton never played live and thus joined a long list of GDR punk bands that, in the early 1980s, did not make it out of illegality into a public sphere, not even into a conspiratorial one. ausi compensated for the band’s lack of live performances by at least distributing a few copies of the demo tape. Among others, at the Kult, the Kulturpark Plänterwald, which provided an initiation field for the Berlin punk scene and a hotspot with a pull beyond it. The punks adapted the Kulturpark to their understanding of an amusement park.
They would thrash about to Schlager music and pogo to third-rate Ostrock bands, make fun of overwhelmed provincials, hang out and exchange half-baked ideas as superior knowledge. In between, the punks liked to ride the chain carousel, there was a certain liking for chains. The Kulturpark management made quite a fuss about the riot the punks put on. Initially they were banned from the chain carousel, then, when the punks switched to bumper cars, they were banned from the bumper cars, then from the roller coaster, and finally from the ghost

Karl-Marx-Stadt (now Chemnitz) was one of the GDR’s subcultural hubs in the late 1970s and 80s. The industrial city in Saxony produced an impressively wide informal cultural programme beyond state structures. Bands such as Die Gehirne, Knut Baltz Formation, Die Arroganten Sorben, Kartoffelschälmaschine, AG Geige or the projects of cassette label klangFarBe created a complex artistic environment, in which Tropenkoller ran its spiritual exercises from 1986 to 1989. The “introverted experiment” remained distinct yet was exemplary of a KarlMarx-Stadt sound that considered dissonance a non-ideological form of harmonics. A first and only tape appeared in 1988. The extravagant packaging illustrated the edition’s exclusive nature; no more than twenty-five copies were released by Tropenkoller into the limited coterie of its open circle. tapetopia is a series of vinyl releases based on cassettes from East Germany’s 80s underground, particularly from the East Berlin "Mauerstadt" music scene, featuring original layouts and track lists. For over 30 years after their initial “release” the music on these tapes was neither available on vinyl nor CD, but they were important statements in the canon of the GDR subculture. Contrary to the small print runs of the time, many of the bands were considered cult in the underground,but suspect in the higher floors.

tapetopia 008 Der Expander des Fortschritts was founded in 1986. The “risk group” described itself as “pop musique concrète” or “abstract pop”. Der Expander des Fortschritts relied on disharmony and ruptures, which resulted in radio plays in a song format; the GDR as a realsocialist satire provided its material. Even the band’s name was a cultural appropriation of the superstructure by the substructure: “progress” was a fetishized word in the GDR, factory sports clubs would add it to their name, solidarity concerts would use it as a motto. The title “Urknall · Horde · Mensch” resulted from an Expander-typical translation of “Weltall, Erde, Mensch”, a compendium ceremoniously presented to each initiator on the occasion of their socialist youth initiation. In 1988, the band released the tape album on their own label Irrmenschkassette, a big bang in a tiny edition. The tapetopia series, using the original layouts and track lists, publishes cassette editions from the GDR underground of the 1980s, especially from the “walledin” scene in East Berlin. More than three decades after their initial “release”, most of these tapes have yet to be heard on either vinyl or CD, even though they made an audible mark in the canon of GDR subculture. Despite the tiny original editions of the time, many of the bands were considered cult in countercultural circles, which made them highly suspect in informed circles.

Andreas Dombert's trio, including Andreas Dombert as the lead composer and guitarist, Henning Sieverts on Bass and Maximilian Breu on drums, performed a diverse repertoire in a warm, virtuosic
style. This exceptional experience is captured on limited 180g vinyl.

Sdban Records, the renowned independent groove & jazz label behind Funky Chicken, Hip Holland Hip, and Discophilia Belgica, is thrilled to announce the upcoming release of its latest compilation album, "The Belgian Soundtrack: A Musical Connection of Belgium with Cinema." Packed with the finest soundtracks boasting an unmistakable Belgian connection, this compilation takes listeners on a captivating journey through a collection of cinematic hidden gems from the early sixties to the late seventies.

Curated by the passionate duo Robin Broos and Tom 'Pélé' Peeters, known for their profound appreciation of obscure soundtracks, "The Belgian Soundtrack" showcases the exceptional talents of both local and internationally acclaimed composers and musicians. From obscure finds composed by lesser-known artists to Hollywood scores performed by world-renowned musicians, this compilation offers a vibrant blend of tracks, including the occasional contribution from renowned international artists who have lent their musical prowess to Belgian films.

"The Belgian Soundtrack" came into being as a serendipitous adventure. Former film journalist Jan Temmerman reached out to us one day, offering a treasure trove of vintage soundtrack albums discovered in his attic," recounts Robin Broos. "With 650 long players, mostly unheard of titles, we embarked on an extraordinary quest-to listen to every single one of them, totaling a staggering 29,250 minutes. It was like watching the original Star Wars trilogy 78 times!"

What started as a quest soon evolved into an intriguing investigation fueled by curiosity. Along the way, Broos and Peeters unearthed dozens of treasures, delved into the backgrounds of obscure composers and musicians, and witnessed an array of enigmatic films. "We encountered an abundance of (un)necessary nudity that we never could have imagined existed," Tom Peeters laughs. The outcome of their explorations is "The Belgian Soundtrack," a meticulously curated collection of funky, melodic, and uplifting tracks, each crafted exclusively for the silver screen and boasting an unexpected Belgian connection.

repress !

A lovely selection of mixes from Paolo Baldini’s Dubfiles, all mixed
at his Alambic studio in San Foca Italy. The vocal is supplied by Al Brown and music is from his band from the 80s the Inner Force.

There are 3 rumbling dubs as well as the opening vocal cut from
Al Brown. We have added some keyboard action from Toike Mitsuhiro.

The best of the traditional elements of Jamaican music, with modern mixing, and all done with a strong sense of respect towards
the original recording and playing. Comes in a custom Pressure Sounds sleeve.

repress !

A conscious roots celebration on the A side with Patrick Andy on lead vocal and Yabby You on harmony. A thumping rhythm with Tommy McCook leading the horns on a tasteful arrangement. The flip side is a plea to ’Show a little love’ You can hear all the familiar trademarks of Yabby’s production techniques, attention to detail on the rhythm and the recording. Yabby, like may top quality producers undoubtedly involved in the songs text as well as production. Quality music. Comes in a grey Pressure Sounds custom disco bag.

90's techno tracks from this Rotterdam techno pioneer David Spanish (also one half of Im Kellar). This is a worthy re-issue a mid 90's release on the Communique sub-label founded by Woody McBride. Including 3 previously unreleased tracks found on the original session tapes. Excellent and relevant house and techno tracks.

Sign Libra's third album Hidden Beauty is an intimate voyage through feminine nature, guided by the arts of subtext, musical collage, and mysterious allusions. Elegantly arranged, enigmatic, and mischievous, Hidden Beauty seeks to "release the invisible and bring fragility to the surface." From the rainforests of Closer to the Equator (Sounds of the Dawn, 2016 / Antinote, 2018) to the surreal lunar landscape of Sea to Sea (RVNG Intl., 2020), Agata Melnikova, the Latvian musician behind the Sign Libra symbol, has developed a signature blend of evocative composition with lyricless, ethereal vocalizing. Hidden Beauty attends to a closer space than her first two albums, a playfully layered pastiche of refined references, drawing musical inspiration from the assortment of Erik Satie, the early work of Mylène Farmer and Laurent Boutonnat, and 90s R&B. The first inklings of Hidden Beauty arrived in 2019, with the basic contours of the album sculpted in 2020 and early 2021. Like Sea to Sea, Hidden Beauty was invented as a solitary creative effort, but this time under uniquely hermetic impositions. Tethered to the world only by screen, the artist sought inspiration from an unlikely array of activities: new, unorthodox approaches at composing, learning French, a virtual pedagogical practice, and plenty of jubilant dancing in her flat, sunglasses on, to 90s dance music. Hidden Beauty moves inward from the distant spaciousness of Sea to Sea in favor of a "chamber-like" sound, reflecting the intimate environs of its creation. Balancing the New Age balletic resonance of Closer to the Equator and the cosmic-dancerly tracks of Sea to Sea, Hidden Beauty combines deft, postmodern arrangements with popular, contemporary suggestions. The reverb drenching her previous recordings is sponged up in the songs of Hidden Beauty, giving the exercises contained within a feeling of presence, and closeness. And always Agata's crystalline vocal furnishings, less a lead vocal than a first instrument, the ever-returning counterpoint in a beatific swirl. The other hidden elements of this work are plenty, and perhaps best left concealed for the listener's enjoyment. Or perhaps they are hidden in plain sight and sound, depending on what the puzzle pieces reveal to your imagination. Sign Libra's Hidden Beauty will be released in vinyl, Japanese import CD, and digital editions on November 3, 2023. A portion of the proceeds from this release will benefit Coral Guardian, a non-governmental organization working internationally and with local communities to protect coral ecosystems.

Murdock will release his second album in January 2024. The first was released in 2018, collected 20 million streams, and reached radio in Belgium and abroad with a number of strong singles, partly thanks to guest appearances from UK legend Jenna G and reggae hero Errol?Dunkley.?Studio Brussel chose 'Make Me Stronger' and 'Different Way' for daytime radio, George FM in New Zealand played 'Dollars Aren't Cheap' so much that the track made it into the top 10 of the national Shazam list, and in the UK it was 'Double Dutch' with?Roni Size that convinced BBC Radio 1.?

This time he once again brings Sena Dagadu on board, with whom he scored his biggest hit to date: Can't Keep Me Down has almost 12 million streams and the title is tattooed on loads of body parts worldwide.?She will provide goosebumps again on the upcoming album with 'Reign'.?Omar Perry (son of!) gets on board for 'Fire Burning', which will also be the anthem of the upcoming Rampage edition in the Sportpaleis, Ayah Marar helps the euphoric 'Lost In You' to a dose of soul, and new talents Emilie Rachel and Medyk?steal the show on 'Living In The Moment' and 'Runaway' respectively, on which Murdock combines drum & bass with their pure songwriting skills.?Advance single 'Cola' has already done extremely well: 600,000 streams in a few months, and a lot of radio play in Belgium, New Zealand and United Kingdom.?The album is called X-Ray as each track represents a piece of the identity that makes Murdock a whole.

Two Berlin techno icons merge their art for a first collaborative EP on Amsterdam's Delsin Records. The two prolific producers have been playing a series of back to back DJ sets in the past months before they joined forces in the studio. The result is a flawless combination of their own unique styles, atmospheric break-beats from Answer Code Request matching the impeccable grooves and deep subs of Amotik.

Die Jubiläumausgabe zum 30-jährigen Geburtstag des zeitlosen Meisterwerks von East Village!

Das zeitlose Meisterwerk 'Drop Out' von East Village erscheint nach 30 Jahren in einer eleganten Neuauflage. Das Album, eine Mischung aus süßen Mollakkorden, dylanesken Texten und folkigen Einflüssen, verbindet geschickt Vergangenheit und Gegenwart, und gilt als verlorener Klassiker der Ära. Ein Must-have für Liebhaber zeitloser Gitarren-Pop-Musik.

Hard salsa with rocking tropical electric guitar! Príncipe's 1967 debut album, featuring powerful Afro-Latin rhythms like guaguancó and pachanga played with youthful exuberance and originality. Truly unique sound from the dawn of salsa in Venezuela. Príncipe y Su Sexteto, from Caracas, Venezuela, were early pioneers of "salsa con guitarra eléctrica" (salsa with electric guitar), a subset of the salsa genre where the electric guitar is the main melodic rhythm instrument, often taking the spotlight in place of the piano and brass section. They were the perfect combination arriving at the right moment, when salsa spontaneously emerged as a new musical movement coming from working-class youth of the barrios in Caracas. All the compositions are original to the band, and hold up really well more than 50 years later. Though the arrangements and playing are deceptively simple, the effect is both mesmerizing and energizing, like early rock 'n' roll fed through a Caribbean filter. This first time reissue has been remastered directly from the original tapes and licensed from Discomoda. With in-depth liner notes it has also been augmented by three smoking bonus tracks that were never released during Príncipe y Su Sexteto's existence as a band. 180g vinyl.

The group takes a psychedelic turn, adding lush orchestral arrangements to the group’s tight harmonies and narrative lyrics. The album was recorded at the famed IBC Studios in London. Barry Gibb commented that their recording process was one of impromptu creativity, in which they’d “think up a subject, then write a song on the spot.” The instrumental parts were added later, adding a fullness to the songs. For instance, ‘Bee Gee’s 1st’ opens with strains of oboe and harpsichord on the whimsical “Turn of the Century,” while “Every Christian Lion Hearted Man Will Show You” begins with dark Gregorian chants.

Kepler is free” represent the brand new Athenian Urban Jazz scene in full. You may say that they actually started the whole scene with their debut album "Teegarden" by Veego Records, an instant sold out! Voted by local music portals as one of the best albums of 2020 and probably one of the best debuts ever when it comes to the Greek jazz game. “Kepler Is Free” jazz rock ensemble makes expansive music that straddles the line between '70s soul-jazz, alternative hip-hop, and experimental electronica.

The name of the band is inspired by a retired space telescope launched by NASA to discover Earth-size planets orbiting other stars. Named after astronomer Johannes Kepler. Founded in November of 2018 by Sokratis Tsentoglou (drums) who gathered George Migdanis (electric guitar), Nikiforos Nugent (keys), Spyros Zardas (trumpet) and Vasilis Alexopoulos (bass guitar), they all came together from different musical backgrounds in order to create original and groundbreaking material.

Commuting over their shared love of jazz and hip-hop, they composed their debut album, “Kepler”, with five tracks that highlighted their love for the music of GoGo Penguin, Badbadnotgood and Alfa Mist.

The fact that all the members were young and had not played in other Jazz bands before was something that shook the Greek Jazz community. ''Second Light'' was recorded in difficult conditions and was delayed quite a while until it was finished due to the pandemic.

The band played a handful of sold out shows in Athens over the last few months proving with their performance and the attendance that the band created a crossover from Jazz to pop audience. "Juno" track was a smash hit on legendary "En Lefko'' Radio station over the last two years. Worth to mention that just a month before the release of their second album Kepler is Free collaborated with LEX, one of the most famous rappers in Greece with the "Spike Lee" track.

The Vinyl Only label rolls on towards its 20th release here with Mar De Novo serving up the irresistible Apericena EP. 'Quantity Check' is a low-slung funker with noodling baselines and nice loose percussive rhythms under some exotic vocals. 'Blue Eyes Clear' is a more lavish and downtempo number of chilling by the Med come sundown and then comes Ryu's Rub of 'Quantity Check' which is more funky and fat-bottomed. 'Nao Fazer Nado' rounds out an escapist EP with some dreamy melodic chill-out sounds that will have you gazing off to the stars.

The greatest hits of the 1960s and 1970s are now available on the „Golden Chart Hits of 60er & 70er Jahre“ vinyl compilation.

Enjoy 14 hits being still unforgettable up to the present day and played daily on numerous radio stations around the globe, including Top 10 hits such as Secret Service „Ten O‘Clock Postman“, Patrick Hernandez „Born To Be Alive“ or Kool & The Gang „Ladies Night“. An absolute must for all fans of 60s and 70s music!

Night Trains were formed in 1987 by bassist, producer and DJ Hugh Brooker and along with Galliano became part of the first wave of acts to sign to Acid Jazz Records.

Originally a sax and Hammond organ-led 5 piece, Blue Note inspired instrumental combo, the band first cut their teeth at Soho's legendary Wag Club's Monday night Acid Jazz sessions, along with DJs and label founders Eddie Piller and Giles Peterson.

Hugh Brooker currently DJs globally and has been co-writing with and remixing and producing for artists.

When Ben White was 25 years old Eddy Bongo Brown of the Funk Brothers brought him to Motown to play with Marvin Gay, 5 years later he recorded this single 'I would have to be a fool' and released it himself. Ben comes from a long line of musicians in his family, his cousins are Cab Calloway and Otis Redding.

Over the years he sessioned for Marvin Gay, Bloodstone, Carl Carlton, High Energy, Harold Johnson, J.W. Alexander, Richard T & The Salsoul Orchestra

Unfortunately, as is often the case, children came along and Ben moved away from music, this and forthcoming AOTN single 'Give Me Love' were his only solo recordings unless we can find the tapes of his lost LP further down the line.

Rawax are happy to welcome back our First Lady, DANIELA LA LUZ.
The 8th release for us comes under her new moniker "Vanilla".

This is a welcome return to the label for Amazingblaze who released his Can't Stop EP in January this year and his Venture EP in 2022. Since then he has continued to innovate with his heavy-hitting trance, techno and hardstyle influenced sounds. His ever evolving studio skills see him mix up old school influences with new school sound design that is perfect for engaging dance floors. His signature imprint is all over these four new cuts with their mix of big synths, bigger drums and all consuming grooves.

“Believe EP says it itself. All I wanted to say is that you have to believe in yourself”, Amazingblaze says. “This brand new EP contains 4 full-power tracks that definitely goes through your heart. Massive trance synths combined with vocals make it sound really mysterious and groovy. Hope you enjoy it, and believe in yourself.”

Charlotte de Witte adds: “It’s no secret that to me, Amazingblaze is one of the purest talents out there. This guy really understands what music is about and manages to create dancefloor bombs time after time. I’m super proud to have him on board for another EP on KNTXT and to watch him grow and become one of the top level artists out there.”

'Believe' kicks off with intense drum patterns and smart vocal samples that are lit up with bright and electric synths full of euphoric energy. 'Strange Candy' is a bulky and physical mix of clipped techno funk and throwback rave sounds with strobe-like lasers shooting across the face of the track. There is more peak time brilliance in the hard drums and hands-in-the air synth magic of 'It Happened Again' while 'Boyz Makin Noiz' shuts down with twitchy stabs and twisted acid lines and dark vocals appear from the shadows.

Amazingblaze delivers yet another exceptional EP, seamlessly blending forward-thinking techno and trance elements.

Das Release für das vierte Studioalbum der Grammy Gewinnerin Kali Uchis „ORQUÍDEAS“ ist angekündigt. Das Album ist eine Hommage an ihre kolumbianischen Wurzeln – rein spanische Songs und eine Reise durch die lateinamerikanische Musikkultur.

Inspiriert von der sinnlichen Anziehungskraft der kolumbianischen Nationalblume, der Orchidee, durchquert ORQUÍDEAS mehrere lateinamerikanische Genres, darunter Reggaeton, Dembow, Bolero und Salsa. Nun bringt sie ihr neues Werk auch auf LP raus

Trystero comprises Scottish/Luxembourgish producer Thomas Lea Clarke (aka MR TC) and Low Bat, otherwise known as one half of the formidable duo Jean-Luc. Their debut album, Sfumare e Vedere, was conceived over three days aboard Urban Boat, a 1960s barge transformed into an arts and performance space. Moored along the river just outside of Paris, the duo embarked on a joint residency, discovering their complementary creative energies and a mutual passion for all things strange and psychedelic.

As frontman, Low Bat is a fire-powered poet, his unparalleled stage presence resonating through Trystero's music. The French native and fluent German speaker has a natural flair for languages. For this project, he sings in a combination of Italian and English about love, loss, and class struggle, constructing surreal wordplay about pelicans and puttanesca. Meanwhile, Clarke's drone-lead electronic accompaniment takes its cues from sizzling acid, 1990s snap rhythms, post-punk, krautrock and shoegaze. Firmly rooted in these tripped-out genres, Trystero journeys to entirely new cosmic dimensions.

When it comes to warming, quality, life-affirming live blends of house and disco, Italian duo Micky More and Andy Tee are in a league of their own. Logo Side Sees "Celebrate” Feat. Kathy Brown & Sheree Hicks; A beautiful original song with a great energetic two-voice chorus full of intensity; Hypnotic guitars and explosive strings surround the voices of Kathy Brown and Sheree Hicks. Feel-good house music with disco and soulful influences. On The Flip “So Wide Open” Feat. Angela Johnson is a horn-heavy, disco and funky-fired organic house number. Quality dance music as we like it.

DJ Support: David Morales, Dimitri From Paris, Dave Lee, Simon Dunmore, David Penn, Michael Gray, Brian Tappert, Melvo Baptist, Seamus Haji, Terry Hunter, DJ Spen, Hector Romero, Dr. Packer, Kenny Carpenter; Jellybean Benitez, Husky, Birdee, Derrick McKenzie, Angelo Ferreri.

Amazing floaty modern soul / disco goodness out of late 70s Queens, NY. 'Love Is The Same' two brilliant and different versions, both dancefloor fire…

Mark Beiner met Ben Iverson in 1976 when I was 17 years old, at the time he was a junior at Newtown High School in Elmhurst, Queens. Mark had taken a part time job as a Produce Clerk at Walbaum's Supermarket on Northern Boulevard in Jackson Heights, Queens, where I met Ben Iverson, the "Frozen Food Manager."

Back then Mark remembers, 'I was going to work early just to talk to him about his musical background and his time spent in the 50's and 60's with the Ohio Doo Wop Group, "The Hornets", or better known as, "Ben Iverson and The Hornets."'

In 1978 after Ben and I discussed getting together and composing music, I started writing poetry and expressing in writing my break-up with my college girlfriend, Paula. Ben and Mark went on to writing two albums worth of material, which in turn gave us a lot of time and presence on stage at our live gigs.

The regular Coast to Coast Band members consisted of Ben Iverson on Lead Vocals, Rhythm Guitarist and Co-Executive Producer, Joe Crowley, who is known today as "New York Congressman Joe Crowley." Carl (Woody Wood) Morton on Bass Guitar, Jimmy Johnson on Keyboards. Lead Guitarist, Lou Jimenez, currently owns his own recording studio, Music Labs in Elmont, Long Island. On Drums, Eddie Byam, on Alto Sax, Jay Cohen, who in the 70's used to record for "Gary U.S. Bonds." Gary Pevols on Trumpet. On Bone, Scott Burrows, Trumpet player, Steve Becker, along side Neil Levine, Stan Stockley, Tom Russo.

dirtybLends edition 8 is a 3 track INFERNO-SMACKDOWN combining 3 different ideas of new age/oLd scHooL Jakbeat inspired from a significant hero in the Chicago Underground scene of the early nineties dropping crucial releases on record labels: Saber, Dancemania and Relief.

The Falcon kicks the A-side into madness with ‘Sound The Alarm’ made 2 Jak 4 Crazies that’s completely bezerk n twisted!!
B1 introduces this nU cOhort to the label on this release comes from Grizzly Knuckles (a thuggish menace) bringing his weapon of choice musically in a hypnotic spell of mental riddims wit ‘Mad Bell’
this is chicago pit-tripping for those who are aware!
B2 brings The Jak as the final nail in the coffin to complete this 12 inch with ‘Aftermath’ that is for those who have any idea of SLaM dance body blows..this is that level of crazy!

—THIS ISN’T TECHNO—

UNDERGROUND Chicago TrACKs

Krafty Kuts and DJ Robert Smith have teamed up to highlight the skills they are best at. Krafty Kuts is known for his unique beats from Hip Hop to Ghetto Funk. DJ Robert Smith on the other hand is famous for his scratches and turntable work. After Krafty passed on a few beats to DJRS about 2 years ago, Smith quickly realized that he wanted to create an EP from these beats with the help of his worldwide connections. The first song to receive rap vocals was "Here I Come" ft. Wildelux, who delivered in no time. The vision was strengthened and more feature requests followed: Supastition, 1773, BambuDeAsiatic and Slimkid3 who took Moonbeam Kelly on board. Within a very short time a masterpiece of first-class artists was created. The "Krafty Smith EP"!

This Fear featuring Slimkid3 & Moonbeam Kelly:
I think we don´t need to announce Slimkid3 of the legendary group The Pharcyde. He is the living legend and voice of 1,2 many Pharcyde songs we all can sing along. His songs in collaboration with DJ Nu-Mark, such as "I know, didn't I feat. Darondo" are world famous. "This Fear" wouldn't be a masterpiece without the incredible voice of Moonbeam Kelly, who was brought to this song via Slimkid. She is an outstanding singer with gangster and soul appeal. It's simply beautiful to listen to her voice.

Here I Come featuring Wildelux:
Wildelux has worked on numerous albums and EPs as a producer over the last 15 years, and performed at shows across the UK and internationally during this time. His motto has always been quality over quantity. His latest album is called "The It Factor".

Repress!

Given the vital importance of your contribuNon as a member of the music community in France, we would like to tell you about our new approach – which aims to miNgate the impact of the current lack of events and fesNviNes – and explain iniNaNves organized to provide the best possible response to both your needs and those of the clubbers you are helping during this extraordinary crisis. Pixadelic and E.enne de Crécy are working to make new tracks available and help to limit the gloom that has been furNvely emerging over this period with the producNon of a third release in the Commercial ep series.
Begun in 2006 and halted in 2007, the series achieved very promising results, encouraging fun on the dance floor all over the world. In view of recent events, we felt it was urgent to conNnue our efforts in that direcNon. The result is two tracks: JUNK and DRUNK, whose effects on the body sNmulate those rushes of communicaNve excitement that have become essenNal at this Nme. We will be supplying these resources to players in the sector in order to contribute to cultural and fesNve events in France and the other countries of the world.

Matti Bye, a renewed film music composer responsible for many of recent years most intriguing Swedish movie soundtracks presents his latest outing. Previously only featuring on NE trough the many collaborations with Varg2(TM), Between Darkness and White Snow is Bye's first solo LP on the Stockholm label. Melancholic tones for a dark winter landscape.

Dutch dance troupe ISOTOOP inaugurates its label with a quaternity of sly rhythms to mystify and elevate. Adhering to ISOTOOP’s unstated yet practised mantra of many growing as one, the culprits behind the pieces are none other than core family members Shoal (Kenny Kneefel) and Vand (Viktor van der Riet), unifying for the first time under the name of Voal.

The longtime friends and compatriots in sound meld together to form a distinct entity; aligned as one, but audibly a product of their individual approaches. Across the four cuts, the two producers share a singular vision of club music, designed to initiate movement and shake the floor, while leaving essential space for thought and imagination.

From the low-down and dirty funk of ‘Carpet Crawler’ to ‘Take My Hand’s bleary and dazed downtempo, evaporating in its final moments into transcendent closing ambience, Voal journey through a wide landscape of club electronics with a fervent pulse. Pinned between the two slower joints are ‘Lucifer’, a consecutive tumble through iterated rolling percussion and minimal basslines, and the kinetic, high-tempo fiesta of ‘Saffron’, a sure-fire favourite for the ecstatic midnight.

Thick like warm tar, and airy as steam, Voal’s debut whets the appetite for more.

Written by Freddie Hudson

In January 1983, Minor Threat went into Inner Ear Studio for the first time as a five - piece (Brian Baker had moved from bass to second guitar and Steve Hansgen was now playing bass).

They had six new songs that would end up being the centrepiece of what became the ‘’Out of Step’’ 12" EP. The band had also decided to re-record the song "Out of Step" with some extra language to try to clarify the lyrics, as well as "Cashing In", a tongue-in-cheek song about the DC punk scene which they had only played live once.

After much debate, "Cashing In" was added as a hidden track on the original vinyl release though not listed on the cover or label. There was still blank tape on the reel, so they decided to record an instrumental with the working title, "Addams Family" and then recorded new versions of "In My Eyes" and "Filler" to hear what they sounded like with two guitars.

"Addams Family" ended up being used as a coda to "Cashing In", but the other two songs were never mixed and largely forgotten for over 35 years until the multitrack tapes were taken into the studio to be digitized in 2021.

Surprised by the discovery, Ian and Don Zientara mixed the two songs along with the complete take of "Addams Family". These outtakes are now being released on a 7" to mark the 40th anniversary of the release of ‘’Out of Step’’.

In the midst of the pandemic, Enjoy Jazz Festival has developed a musical project whose members will be recruited new every year and then debut at a concert on UNESCO International Jazz Day, April 30. The members come from the jazz scene of the German state of Baden-Württemberg. "We wanted," festival director Rainer Kern stresses, "not only to revitalize the fragile network of outstanding creative minds, but also to rethink it artistically as a rolling system." Two experienced and renowned band leaders, Alexandra Lehmler and Erwin Ditzner, now curate an annually changing ensemble of outstanding artists of the most diverse provenance. As part of a voluntary commitment, the ensemble is to be organized in a sustainable, diverse, and, in three years at the latest, completely gender-equal
and climate-fair manner. Thus, as a commitment to the goals of the "European/Local Green Deal" (and with reference to the jazz standard "On Green Dolphin Street"), the name Green Dolphin Orchestra was created. Another special feature: The renowned Oriental Music Academy Mannheim (OMM), a long-standing partner of the Enjoy Jazz Festival, receives a white card, so that musicians with a migration background or protagonists from other musical cultures are always part of this "orchestra of many" and constantly expand its sound language.

The project has a free improvisation approach with changing personnel. "We actually even thought of drawing lots for the different formats within the band pool," explains saxophonist Alexandra Lehmler. "We decided against it in the case of the first concert and instead put together curated formations." And drummer Erwin Ditzner adds, "In principle, however, this procedure remains an option." It was important to the two of them to also mix the genres represented by the individual musicians in such a way that free space for something truly new could emerge. "We wanted to challenge ourselves," Lehmler sums it up. The only restriction: a time code was assigned to each sub-project. "Each formation was given a time limit, although it was possible to virtually override this limit by spontaneous
reshuffling," says Ditzner, explaining one central of the few rules. "In concrete terms, this meant that after eight minutes, the improvisation in progress was either ended or new musicians simply joined in the ongoing creative process, while others took themselves out of the game."

Alexandra Lehmler summarizes the artistic impact of the ensemble as follows: "We really cross-fertilize each other. In order to push this process even further, we forced ourselves when putting together the ensemble not to fall back on our 'favorite playing partners', i.e. musicians with whom one feels particularly at home. In other words, we consciously wanted to step out of our comfort zone with this project." The present pieces were recorded live in Heidelberg during the ensemble's premiere concert on the occasion of International Jazz Day on April 30, 2022.

Krafty Kuts and DJ Robert Smith have teamed up to highlight the skills they are best at. Krafty Kuts is known for his unique beats from Hip Hop to Ghetto Funk. DJ Robert Smith on the other hand is famous for his scratches and turntable work. After Krafty passed on a few beats to DJRS about 2 years ago, Smith quickly realized that he wanted to create an EP from these beats with the help of his worldwide connections. The first song to receive rap vocals was "Here I Come" ft. Wildelux, who delivered in no time. The vision was strengthened and more feature requests followed: Supastition, 1773, BambuDeAsiatic and Slimkid3 who took Moonbeam Kelly on board. Within a very short time a masterpiece of first-class artists was created. The "Krafty Smith EP"!

Don´t Stop featuring 1773 & Katjuscha
1773 are Wisdm Uno & Jay Nagoma from Chicago. They have worked together with Ohmega Watts, Othello & Bombeardo and among others. Katjuscha is a friend of DJ Robert Smith circle of friends. She is an absolute singing talent with an incredibly insane ability to perform live on stage. What a voice!

Hang On featuring Supastition:
Supastition is without a doubt one of the most talented underground rapper and beatproducer there is. His latest album "Every Last Word" and "Art Of Direspect" with his other project "Speaker Bullies" prove his rap and production skills, first-class entertainment.

This is a special audiophile vinyl version of Live Improvisations, an album featuring two sides of music, one the response to the other. The A-side is a recording of a 2014 session between Hakobune and Chihei Hatakeyama that was made with the colours of autumn and rural Japan in mind. Both of these artists have composed dozens of works that have established them as leaders in their field and this is no different. On the flip, zake and From Overseas craft 'Live Improvisation II' and 'forge an intercontinental bond' as they recorded the music in one take with no editing afterward. It's a gorgeous listen that shows a real mastery of tone and texture.

Oxford indie-folk quartet Stornoway followed up their celebrated 2010 debut album, Beachcomber"s Windowsill, in 2013 with Tales From Terra Firma. Ten this year, Tales From Terra Firma is an album of stories - birth, death, marriage and coming of age. Featuring the singles "The Bigger Picture" and "Farewell Appalachia", it was recorded and produced by the band in the main at their own Oxford space, bringing in mix engineer George Shilling (having loved his work with Teenage Fanclub, a huge infl uence on them) midway to help them achieve their vision. It worked too. By being true to themselves and remaining oblivious to outside infl uences, they made a truly special album where life is unfurled for the listener. The Guardian said in their full marks review that there"s "no curse of the second album for Stornoway, who"ve stretched out without losing sight of the intimacy of their charming debut." For its sleeve, the band worked with the artist Kirini Kopcke who used fragments of lyrics as her start point to create a picture for each "tale" on the album, presenting a strip cartoon-like depiction of the adventures in the life of the main protagonist.

Following the reissue last year of Fairuz's classic 1979 album "Wahdon", Wewantsounds pursue their exploration of great Lebanese music with the reissue of Fairuz's highly sought-after LP "Maarifti Feek," released in 1987. Recorded in Beirut around 1983-84, the album features the Diva's superb voice combined with Ziad Rahbani's jazz and funk orchestration, making it one of the most in-demand albums on the Arabic funk scene. The release will coincide with "Arab Divas," a major exhibition set in the prestigious Institut du Monde Arabe (IMA) in Paris, celebrating the greatest singers from the Arab World and starting 13 May 2020. One of the greatest singers of the Middle East, Fairuz started her career in Lebanon in the 50s and quickly established herself as the most renowned Diva in the Arabic world, playing the most prestigious venues in the world. At the end of the 70s, Fairuz was at a turning point both professionally and personally. Her Husband Assi Rahbani, who, with his brother Elias, had penned her biggest successes, has suffered a stroke a few years earlier. This setback ultimately led to both the demise of their marriage and the end of their professionnal partnership. Enters Ziad Rahbani, Fairuz and Assi's son, a young musician, playwright and producer who had cut his teeth writing a handful of Fairuz's song - including her 1973 hit "Sa'alouni El Nas" - at just seventeen. Ziad Rahbani swiftly took over from his father and uncle as the singer's musical director and composer and this fruitful association, which started in 1979 with the album "Wahdon," broke many new grounds for Fairuz with funkier rhythms and edgier lyrics. It was recorded at the same time as Rahbani's own 12 inch "Abu Ali" which became a sought-after disco classic in its own right. The association between the two continued with a second album, "Maarifti Feek" ("Our Encounter"), recorded between 1983 and 84 in Beirut but only released in 1987. The album was another groundbreaking mix of influences ranging from the traditional arrangements of "Oudak Rannan" and "Ma Kdirt Nseet" to the brazilan flavour of "Version 1" via the synth funk of "Ouverture 83" and its follow up "Reprise 83". Also featured on the album is a beautiful remake of Joaquin Rodrigo's "Concerto de Aranjuez" in the form of a tribute to the lebanese capital, "Li Beirut." This blend of Oriental grooves with jazz and funk orchestrations by Ziad Rahbani is a unique document of Fairuz's career development in the 80s and explains why "Maarifti Feek" is such a sought after album on the DJ and collector circuits which Wewantsounds is delighted to reissue for the first time since the album first came out.

Flee new issue tries to document a Caucasian musical phenomenon mixing criminal songs, Adygean culture & post-soviet society; and features original recordings of traditional songs, and contemporary reinterpretations by a selected line-up of electronic-esque producers: Emmanuelle Parrenin & Colin Johnco, Misha Sultan, Zongamin, Minami Deutsch, Valentina Goncharova, Simone Aubert, Ben Wheeler...

Ulyap is a village in the Caucasus, where one can find an enormous number of accordion and harmonica players. "Ulyap Songs: Beyond Circassian Tradition" represents an attempt to document ancient bards' chants and their entanglement with popular rural heritage as well as post-Soviet culture during modern times, through a critical prism.

This publication reflects on a music phenomenon involving talented female and male musicians, performing in lively (and sometimes festive) social dynamics. It does so by revealing important songs of the repertoire on the one hand, inviting original artists to experiment with Ulyap songs on the other.
Built around an important work of documentation on this genre mixing criminal songs, Adygean culture and lyrics related to post-Soviet society, the book and record (available separately or as part of a bundle) include essays, archive and contemporary photographs as well as three art commissions questioning this original phenomenon from various point of views. Written in English and Russian, the book encompasses a dozen contributions.

Musically, the double LP conists of rare and unpublished archives as well as recordings made by FLEE, Ored recordings and Nikita Rasskazov over the last years in various locations of the Caucasus. These original celebration and drinking songs performed by group of professional and amateur musicians alike have been used as a creative fabric by sonic sound artists and musicians.

Flee new issue tries to document a Caucasian musical phenomenon mixing criminal songs, Adygean culture & post-soviet society; and features original recordings of traditional songs, and contemporary reinterpretations by a selected line-up of electronic-esque producers: Emmanuelle Parrenin & Colin Johnco, Misha Sultan, Zongamin, Minami Deutsch, Valentina Goncharova, Simone Aubert, Ben Wheeler...

Ulyap is a village in the Caucasus, where one can find an enormous number of accordion and harmonica players. "Ulyap Songs: Beyond Circassian Tradition" represents an attempt to document ancient bards' chants and their entanglement with popular rural heritage as well as post-Soviet culture during modern times, through a critical prism.

This publication reflects on a music phenomenon involving talented female and male musicians, performing in lively (and sometimes festive) social dynamics. It does so by revealing important songs of the repertoire on the one hand, inviting original artists to experiment with Ulyap songs on the other.
Built around an important work of documentation on this genre mixing criminal songs, Adygean culture and lyrics related to post-Soviet society, the book and record (available separately or as part of a bundle) include essays, archive and contemporary photographs as well as three art commissions questioning this original phenomenon from various point of views. Written in English and Russian, the book encompasses a dozen contributions.

Musically, the double LP conists of rare and unpublished archives as well as recordings made by FLEE, Ored recordings and Nikita Rasskazov over the last years in various locations of the Caucasus. These original celebration and drinking songs performed by group of professional and amateur musicians alike have been used as a creative fabric by sonic sound artists and musicians.

The most iconic italian italo-disco-syntpop, nu disco duo: “Italoconnecon” (aka Fred Ventura and Paolo Gozze!) are back on track with a brand new vinyl only release which collects 6 among their best producons of the near present, recently released digital only on Bandcamp. Their very many worldwide fans have been awaing a lot for this and finnally they have now their favourite tracks pressed on a vinyl support for the first me! This is an unmissable release unique for the freshness and contemporary quality of the sound, in fact, their remixes have been out on the most relevant publicaons so far such as Savage, Styloo, Scotch and many more… This is a super limited edion printed in only 100 copies on transparent blue vinyl and 100 copies on red vinyl, each edion come with a 30x30 cm insert poster , the blue one is signed by the duo and both variants are hand numbered

Never said it'd be like this, right? Skullcrusher's 21st century rendering of The Hated's 1985 early emo blueprint "Words Come Back" reinvents the song as subtle, ambient folk music. The flip features two versions of the original, including Dan Littleton's home demo, cut in a maddening double groove, and housed in an elegant black and silver sleeve, with embossed braille lettering for the visually impaired. "This is my way of making a punk song," Skullcrusher's Helen Ballentine said, "ignoring structure and letting everything just pour out_though quite a bit quieter."

Never said it'd be like this, right? Skullcrusher's 21st century rendering of The Hated's 1985 early emo blueprint "Words Come Back" reinvents the song as subtle, ambient folk music. The flip features two versions of the original, including Dan Littleton's home demo, cut in a maddening double groove, and housed in an elegant black and silver sleeve, with embossed braille lettering for the visually impaired. "This is my way of making a punk song," Skullcrusher's Helen Ballentine said, "ignoring structure and letting everything just pour out_though quite a bit quieter."

"An ACE Tone Compact Drum'n'Bass Psych Punk LSD Massacre pressed on WAX and just produced for your 24h Dance and Hangover Nights in Haarlem/Amsterdam!" Haarlem Amsterdam's Underground-Helden aus der Niederlande - eine Band, die mit einer ACE Tone Compact Orgel (aus der Mitte der 60er Jahre) arbeitet und den erstaunlichsten Sound aller Zeiten herausquetscht, in einem Song ins orbit katapultiert und im anderen eine Fuzz-Shred-Punkrock panzer Faust direkt in die Mitte _ und Ganz zu schweigen von der großartigen Drums-n-Bass-Sektion, die einem in kürzester Zeit den Kopf um 380 grad umdreht. 3 Leute machen einen Sound von 5, in diesen Aufnahmen gehen sie mehr in die Richtung Synthesizer oder Elektronik angehaucht. Aber es ist nicht nur das, es ist diese verdammte ACE Tone Compact Orgel die durch deine Ohren dröhnt!!!! Die Platte beginnt mit ,Boots` einem typischen ,E.T. Explore Me" Smasher, Ark ist eine Reise in sich selbst eine religiöse Offenbarung. Erhelle die Dunkelheit!!! ,Drug me, haben wir bereits als Vinyl 7 veröffentlicht und erzählt wie im song in ,Drip" über die Einnahme von verbotenen halluzinierenden Medikamente in einer 24 Stunden party und eine durchgeknallte Tanznacht in den Nachtclubs von Amsterdam, ,SIC" ist eine gefährliche unkontrollierte Fahrt mit dem Auto durch die Nächte in Haarlem und im song 98% mit gast Sängerin Kim-Lee Tio Bitte Nehmen Sie sich eine Minute Zeit und tauchen Sie ein in die Welt von ,E.T. Explore Me" ein und erfahren sie sich selber neu mit dieser Truppe aus Haarlem/Amsterdam. Digisleeve CD incl. 12page booklet, Vinyl-LP classic black w/ pinted inlay plus dlc.

Rogamar by Cesária Evora, released 19 January 2024, includes the following tracks: "Avenida Marginal", "Tiche", "Rogamar", "Modje Trofel" and more.

This version of Rogamar comes as a 2xLP. This release comes with (a) Insert(s).

The vinyl is pressed as a turquoise disc. Another vinyl is pressed as a turquoise disc.

Vladislav Delay's complete "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label Rajaton.

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Sasu Ripatti's complete "Dancefloor Classics" series. Music for imaginary dancefloors, released on Ripatti's own label Rajaton.

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.
He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?
He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.
”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”
New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.
She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”
”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?

I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.

2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?

It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.

3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?

I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.
I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.

4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?

Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.

All tracks composed and produced by Sasu Ripatti.
Artwork & photography by Marc Hohmann.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

- Newly Expanded Deluxe Double LP Edition! - Includes the original 1972 album, plus all of Larry Mark's acoustic demos and tracks from his unreleased 1970 LHI LP for the first time on vinyl - Previously unreleased session outtake of "Cold Hard Times" plus demos of obscure Hazlewood compositions "Drums," "The - Start," "Susie," "Miracle on 19th Street," and "Peppermint Morning" - 30 total tracks - Remastered by GRAMMYr-nominated mastering engineer John Baldwin - Liner notes by GRAMMYr-nominated reissue producer Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman & Suzi Jane Hokom - Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter - Double LP housed in a gatefold jacket // DESCRIPTION "Pimps_ whores_ pushers_ dopers_ gangsters_ and bottom of the human chain shit-heels. Now you're probably thinking I'm writing about major record companies and their unscrupulous executives_ and lawyers. You could be right_ but this time_ YOU'RE WRONG! I'm describing the characters in my album `13' _Some I knew_ some I invented _ some are true_ some are false_ some I liked_ some I didn't. But they all had a story to tell and I told it_none of `em seem to care_ and I don't either_ have fun_" - Lee Hazlewood "He (Lee) took my voice off the album and put his voice on the album. Now don't forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that's the way he wanted it." - Larry Marks The album 13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The Bombastic brass heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks (LHI producer, artist and the voice of the first Scooby-Doo theme). Larry's concept was to take Hazlewood's strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry's record. The tapes were taken to Sweden, Larry's voice was wiped and Hazlewood's was dubbed_ 13 was born.

The heavyweight trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return with their 12th and most epic release to date, the triple LP With pats on the head, just one too few is evil one too many is good that's all it is. Documenting the entirety of their final performance at the dearly departed Roppongi home of Tokyo underground institution SuperDeluxe in November 2018, the music spread across these six sides splits the difference between the guitar-bass-drums power trio moves and experiments with novel instrumentation that have defined the trio’s decade of working together. Containing some of the most delicate music the three have committed to wax since the gorgeous 12-string acoustic guitar and dulcimer tones of Only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen (BT011), this wide-ranging release also offers up some of their most blistering free rock performances yet.

The side-long opening piece finds Haino on a single snare drum in duet with O’Rourke on unamplified electric guitar, playing in the lovely post-Bailey vein heard on his classic 90s recordings with Henry Kaiser and Mats Gustafsson. Spiky dissonance and ringing harmonics interweave with flowing melodic fragments as Haino single-mindedly explores the resonance of the snare like an untutored Han Bennink. On ‘Right brain, left brain; right, left; right wing, left wing. Just how many combinations can be made from these?’, O’Rourke moves to synth and electronics, joined by Ambarchi on drums, who at first focuses on sizzle cymbals before hypnotic cycles of gentle tom rhythms combine with electronic burbles and flutters to suggest a dream collaboration between Masahiko Togashi and Jean Schwarz. Ambarchi’s percussion is then joined by Haino on wandering, overblown flute, before the man in black switches back to the snare for a bizarre, stuttering drum duet.

For the first trio performance, Haino makes another new addition to his seemingly infinite catalogue of instruments, this time a homemade contraption he refers to as ‘Strings of Dubious Reputation’. Joined by O’Rourke on increasingly spaced-out electric guitar and Ambarchi on skittering percussion, Haino’s wonky, slack strings adds a definite ‘musique brut’ edge to this side-long performance, certainly one of the most enchantingly odd in the trio’s discography. When the group reconvene for the second set, spread out across the final three sides, they seem ready to breathe fire from the first instant. O’Rourke slashes distorted chords on the six-string bass, Ambarchi breaks into his signature irregular caveman thump, and Haino squeals and squawks on heavily delayed oboe before unleashing an overpowering electrical storm when he first picks up the guitar. For over half an hour, the trio pound out one of their most relentless performances, a constantly rearranging kaleidoscope of tortured fuzz guitar, insanely busy bass riffing and propulsive, tumbling drums. A hushed atmosphere initially reigns on the final long piece, given the mournful title ‘There are always things I wish to say but I can only convey them in this language August 6 August 9’. Haino’s clean guitar strumming calls up the shimmering tones of his PSF classic Affection, gradually building to a surging wall of sound, bass and drums lumbering through a roar of jet-engine guitar. Arriving in a deluxe trifold package with photos by Lasse Marhaug alongside inner sleeves with extensive live images, this epic release is perhaps the most remarkable document yet of this unique trio’s stamina and continuing inventiveness.

To coincide with The Courettes' first US tour, Damaged Goods put out this special compilation album. Boom! Dynamite includes singles, deep cuts from their studio albums, with B-sides and rarities thrown in for good measure! First pressing on orange vinyl is limited to 1000 copies only! The Courettes are two souls in love with each other and in love with rock 'n' roll. They've been touring nonstop throughout Europe since 2015, bringing their "perfect blend of garage rock, '60s Girl Group, Wall of Sound, surf music and doo wop" to the delight of any audience even remotely interested in rock 'n' roll. Expect excitement, danger, sweat, explosive performances, and most importantly, GREAT tunes! The "hardest working band in showbiz" now venture further away - After visiting the Land of the Rising Sun in 2022, The Courettes are thrilled to tour the USA for the first time in 2023. Described as "The Ronettes meet The Ramones at a wild party at Gold Star Studios echo chamber", The Courettes have released four fantastic albums on the legendary label Damaged Goods Records, each one praised by magazines such as MOJO and Shindig!, most notably the Back In Mono album in 2021, a true milestone in their career. This new compilation, Boom! Dynamite, released exclusively for the US market, guides you through their albums from the very beginning, from the early raw power garage rock onto their present Spector/Levine Wall of Sound Gold Star sound, made using complex recording techniques at StarrSound Studios in Denmark with top producer Soren Christensen and mixing genius Seiki Sato from Japan. Featuring Brazilian Flavia Couri on guitars and vocals, and Danish Martin Couri on drums, The Courettes were born international. For them there are no nations or borders. Their mission is to connect, cherish, and inspire rock 'n' roll souls around the world, including now, in the USA. The Courettes are pure dynamite! Turn up the volume and fuzz out! BOOM!

Limited Transparent Blue vinyl. “Pop” is a tag that’s been assigned to Minus the Bear throughout their career. It’s been used to set a distinction between the unique brand of complex indie rock they introduced on their first EP, and the more angular and aggravated sounds of their previous bands Botch, Kill Sadie, and Sharks Keep Moving. It’s also a tag that was thrown around frequently in the wake of their streamlined fourth album, OMNI. And it’s a descriptor that immediately comes to mind within the first few seconds of their classic second formal EP, They Make Beer Commercials Like This. Beer Commercials is the evolutionary step between Minus The Bear’s first two landmark albums, Highly Refined Pirates and Menos El Oso. Opening track “Fine + 2 Points” remains one of the band’s strongest opening tracks in their discography, charging out of the gates with a syncopated stomp that comes across as a more agitated take on Kylie Minogue’s “Can’t Get You Outta My Head.” If Minus The Bear were looking to make pop music without any of its major-scale bubblegum trappings, they nailed it here. The band follows it with “Let’s Play Clowns” and “Dog Park”—nods to Highly Refined Pirates’ formula of frenetic clean guitar work, bombastic choruses, and Jake Snider’s lyrics of detached romantic nostalgia. These tracks may represent Minus the Bear’s original trademark version of pop but on songs like “I’m Totally Not Down With Rob’s Alien,” the band eschews its restless energy for atmosphere and dynamics, creating a sound that’s inspired more than a handful of contemporary melodic post-rock bands. By the time the band belts out “Pony Up!” the listener has watched the three-year sonic transition between Minus the Bear’s first two full-lengths transpire within under half an hour, with their earlier math rock predilections yielding to the tightly wound club-banging pedalboard trickery that defined their sophomore album. Even if Beer Commercials doesn’t fit within your definition of pop music, the unorthodox energetic charm of this relatively low-profile release serves as an exciting reminder of why Minus the Bear became one of the most important and influential indie rock bands of the new century

Repress!

Immerse yourself into the universe of orcs, hobbits and elves through the soundtracks of The Hobbit & The Lord of the Rings with this limited edition 2LP.

Erster Release der Light In The Attic Re-Issue Serie zu Ehren von LEE HAZLEWOOD mit Stücken von so essentiellen Alben wie ,Cowboy In Sweden". Mit Duetts mit Suzi Jane Hokom, Ann Margret und Nina Lizell. Extensive Linernotes und bisher ungesehene Photos. Mit seinem Schnurrbart und dem klingenden Bariton war LEE HAZLEWOOD einer der Stars der späten 60er Jahre. Obwohl er wahrscheinlich am bekanntesten wegen seiner Arbeit mit NANCY SINATRA ist (er schrieb ihren Megahit ,These Boots Are Made For Walking"), leistete HAZLEWOOD auch fernab dieser besonderen Glamourkönigin beachtliche Arbeit und fand später große Fans in BECK, SONIC YOUTH und JARVIS COCKER. Für den Record Store Day 2012 präsentiert Light In The Attic den Startpunkt einer Anthologie mit ,Singles, Nudes&Backsides", die LEEs beste Solosongs und Duetts seines Lee Hazlewood Industries Sublabels (LHI) versammelt. Die Serie wird sich Material von LHI widmen (das hier zum ersten Mal von den analogen Originaltapes neu gemastert wurde), zusammen mit LEEs Output bei anderen Labels, Raritäten, unveröffentlichten Schätzen und den Filmen von Torbjörn Axelman. Man muss nur das Cover anschauen: umringt von nackten Mädchen, die alle einen unechten Schnurrbart tragen, spielt HAZLEWOOD im Anzug leicht unsouverän den Playboy. Exakt wie dieses Photo zeigen auch die Songs einen gespaltenen Mann: er ist der zärtliche Romantiker, der gebrochene Loser und der zerfurchte Cowboy zugleich.

Sad Lovers and Giants second album, a brilliant atmospheric post punk record with several elements akin to Joy Division and The Chameleons. We can definitely apply the term’ ethereal’ to these composition, certainly the sound is very oceanic and otherwordly melancholic, typical trademarks of the new wave renaissance. Recorded in 1983 – and released on their own label Midnight Music - Feeding the Flame showcases the original line up at its very best.

Attention Banger Alert! Parissior Is a Spanish Dj Producer Who Has Been Producing Countless Tracks for Many Years Now. His Style Could Be Described as a Mix of Dark Disco, Indie Dance, Italo, Trance but Personally We Think It Goes Much Further. He Has a Total Mastery of the Art of Production (Something We Have Rarely Seen), It Looks More Like Sound Design It Sounds So Huge. His Tracks Are Not Just Dj Tools to Be Played but Bangers to Send in Pick Time. It Is Extremely Powerful, We Have Already Verified This During Our Recent Skylax Evenings (Especially for Our Event &Ldquo;série Noire”) and We Can Tell You That the Effect Is Devastating. for Us, He Managed the Perfect Ep, the One That All the Italian Indie Dance Producers, Even the Biggest Names in the Genre, Failed to Create. There's Nothing Cheesy About It, We've Been Listening to His Music Non-Stop Since We Received It, No Weariness in Sight. This Guy Is Monstrous. the 12 Inch Begins With the Brilliant Antennae, Which Is the Perfect Mix of Italo New Wave & Trance, Followed by Canes Venatici Which Could Have Been Created by Daft Punk if They Had Chosen to Be Less Commercial and Put Their Balls on the Table Instead of Hiding Behind Masks. Ceres and Alpha Apodis Follow the Same Line. We Miss Words So Much This Maxi Is Gigantic. a F%c$ing Masterpiece. to Add a Final Touch, Just Note That Many of His Recent Productions Have Been Recently Played a Lot by Pablo Bozzi & Soft Crash at Hör Berlin....

Immerse yourself in the musical universe of ONE PIECE MOVIES - BEST SELECTION! Enjoy over 70 minutes of music from the One Piece films for the first time on vinyl, taking you on a journey through the adventures of the famous Straw Hat crew.

Fully licensed.

Luffy, a mischievous boy, dreams of becoming the king of the pirates by finding the "One Piece", a fabulous and mysterious treasure. But, inadvertently, Luffy one day swallowed a "magical devil fruit" that turned him into a rubber man. Since then, he is able to contort his elastic body in all directions, but he has lost the ability to swim, the height for a pirate! Over the course of ever more incredible adventures and chance encounters, Luffy will gradually compose his crew and multiply friendships with the peoples he discovers, while facing formidable enemies.

Kohei Tanaka worked on the composition and arrangement of this album.

LA-based composer/arranger E. Lundquist (aka Eric Borders) returns with ‘Art Between Minds’. Having cut his teeth in the LA hip-hop and beats scene and explored realms of cosmic-funk under previous monikers, E. Lundquist’s music displays a rich tapestry of influences including the cinematic & experimental jazz-infused library music that influenced his previous LP ‘Multiple Images’. Now he is back with another ample helping of his hallucinogenic sonics, utilizing a bevy of vintage gear to replicate that warm glow of ’70s jazz-funk. From the Fender Rhodes MKI to the ARP Odyssey, to the Mellotron, the keys and synths he employs on these tracks display a genuine appreciation for the groove-driven music of The ‘Me” Decade.

The album plays like the score to a cult classic B-movie. The sun-drenched haze of “Soliloquy” could easily be what you hear during the calm before the storm in a Blaxploitation flick and the laidback crawl of “Euphoria” seems ripped right out of a fuzzy ‘70s blue movie. But there is a certain sophistication here, like the way the horn section, slinky guitar, and trippy synths combine on “Escape” to sound like liquid one moment and like a summer breeze the next.

While E. Lundquist’s artistry will eventually take him to new plateaus of sound, where he is right now is undoubtedly a high watermark in his career. He has become a torchbearer for jazz-funk in a new jazz revolution, updating the sub-genre with his delicate balance of digital and analog elements that will easily appeal to fans of Kamaal Williams, Surprise Chef, BADBADNOTGOOD, Khurangbin, Robohands and similar.

Top-Sampler mit 10 Klassikern, produziert von Reggae-Legende Philip 'Fatis' Burrell, der in den 1980er Jahren in den Channel One-Studios auf Jamaika seine Arbeit begann und später das Label Vena Recordings gründete, das im Laufe der Zeit zu Kings & Lions und später zum legendären Xterminator-Label wurde. Mit neun Protagonisten seines Labelstalls, angefangen bei Luciano und Sizzla, über Marcia Griffiths und Ini Kamoze bis Charlie Chaplin und Beres Hammond.

Repress 2024

Servus everybody!

Why "the hell" didn't anyone think of this before? It was so obvious: When the same music goes the same way, the truth always lies on the turntable.

KOMPAKT presents the long-awaited "two-tracker", cold-pressed and remixed. The Voigt brothers meet Helmut Geier and vice versa, or: Kölsch meets Löwenbräu, because we stand by you, star of the south.

So let's welcome the megahit "W.I.R." by Wassermann from 2000 in a brand new DJ Hell remix, and a remix by Voigt & Voigt of DJ Hell's "Anything Anytime" anthem from 2017. Two classics that go down like liquid gold. It comes from the heart.

Ja, Servus mitanand!

Warum ist da eigentlich niemand vorher d’rauf gekommen, es lag doch immer auf der Hand: Wenn gleiche Musik denselben Weg geht, liegt die Wahrheit immer auf dem Plattenteller.

KOMPAKT präsentiert Euch den lang erwarteten Zweiteiler, kalt gepresst und geremixt. Die Voigt-Brüder treffen auf Helmut Geier und vice versa, oder: Kölsch trifft auf Löwenbräu, denn mer stonn zo Dir, Stern des Südens.

Begrüßen wir also den Megahit "W.I.R." von Wassermann aus dem Jahr 2000 im neuen DJ Hell-Remix und den Remix von Voigt & Voigt zu Hells "Anything Anytime"-Hymne aus dem Jahr 2017. Zwei Klassiker, die runtergehen wie flüssiges Gold. Et kütt vun Hätze, oder wie der Bajuware sagt: ’S kimmd vo Herzn.

plastic death - the second album by glass beach - is a follow-up record almost five years in the making. The band's 2019 debut, aptly titled the first glass beach album , has over the years grown a cult fanbase for its unflinching depiction of queer life as mediated through social media, its oversized ambition, and its scrappy yet adventurous production. And while it took some time to arrive, plastic death sounds like the logical expansion of all the things that made their first album so special. Years and years of relentless writing, tinkering demos, cancelled tours and a few lockdowns only strengthen the chaotic core of what makes glass beach' s maximalist approach work so well. Frontperson and primary songwriter J McClendon is joined by lead guitarist Layne Smith, bassist Jonas Newhouse and drummer William White to create something adventurous on each song. Trumpet, trombone, violin, and even marimba dance and bloom alongside the band's own creative and dextrous instrumentation - a stunning, transformative creation that pulls from indie rock, jazz, prog, hardcore, metal, experimental, and beyond. Songs like lead single "the CIA," are examples of the band's ambitious writing. It's a dark, dancy, post-punk/jazz hybrid, a coordinated, breathless braid of synth and saturated guitar. Tension and confusion explode into a brutal modern metal climax to close the track, flickering with glitchy production zaps and razor-sharp stops. The artwork of plastic death is similarly rich with detail, resulting in a bioluminescent, fully-realized double album depicting sprawling scenes where moments of neon brightness shine momentarily in a dark undersea - a metaphor for the moments of optimism and catharsis glass beach provide on these songs. "This album is the Pacific garbage patch: cultural trash strewn together seemingly by accident, standing in stark juxtaposition to each other ," says McClendon. plastic death is a complete, uncompromising, playful work of art; every corner and crevice of the record's 13 tracks, each arrangement and timbre and texture, is alive with intention and possibility.