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One Voice melden sich mit zweiter Platte zurück und dürften damit definitv ein heißer Mitanwärter auf das Oi!-Album des Jahres werden! Nach ihrem ausverkauftem Debut-Scheibe "Tradition not Trend", zahlreichen Singles und Samplerbeiträgen hat die Band den Nachfolger diesmal bei "Heartbreak Engines"-Okie porduziert und aufgenommen. Und die 12 neuen Songs zeigen eindrucksvoll, dass diese Entscheidung goldrichtig war! ONE VOICE haben ihren Song weiter perfektioniert und konnten dabei ihr Potential voll entfalten, es gibt viel zu entdecken auf "Not everybody's cup of tea": Natürlich kann nicht Jeder so umtriebig sein, wie die drei Freunde Joost, Andre und Phil und alle Bands, in denen die Jungs von ONE VOICE mitspiel(t)en, können wir auch gar nicht aufzählen (Diggerz, On the Rampage, Dörpms, Bunga Bunga Club, Evil Conduct sollen reichen). Der Opener "Back in the Days" ist aber ein leidenschaftlicher Weckruf an alle Szeneveteranen verdammt nochmal ihre Ärsche wieder hochzukriegen, statt in Erinnerungen zu schwelgen...die Szene lebt nicht von alleine "Don't you think it's time again to go to gigs....sing a long, dance and drink with your friends?" Die knackige 3 Akkorde-Hymne "Cheers To You" zollt allen Supportern und Szene-Aktivisten, die das möglich machen ihren tiefsten Respekt. "Not everybody's cup of tea" ist eine Offenbarung für Freunde des klassischen Skinhead-Sounds! Auf den Punkt gebrachte Härte gepaart mit der genau richtigen Dosierung Melodie und Emotionen. Ein Oi!light des Jahres! 180gr vinyl, inside-out cover + printed innersleeve

One Voice melden sich mit zweiter Platte zurück und dürften damit definitv ein heißer Mitanwärter auf das Oi!-Album des Jahres werden! Nach ihrem ausverkauftem Debut-Scheibe "Tradition not Trend", zahlreichen Singles und Samplerbeiträgen hat die Band den Nachfolger diesmal bei "Heartbreak Engines"-Okie porduziert und aufgenommen. Und die 12 neuen Songs zeigen eindrucksvoll, dass diese Entscheidung goldrichtig war! ONE VOICE haben ihren Song weiter perfektioniert und konnten dabei ihr Potential voll entfalten, es gibt viel zu entdecken auf "Not everybody's cup of tea": Natürlich kann nicht Jeder so umtriebig sein, wie die drei Freunde Joost, Andre und Phil und alle Bands, in denen die Jungs von ONE VOICE mitspiel(t)en, können wir auch gar nicht aufzählen (Diggerz, On the Rampage, Dörpms, Bunga Bunga Club, Evil Conduct sollen reichen). Der Opener "Back in the Days" ist aber ein leidenschaftlicher Weckruf an alle Szeneveteranen verdammt nochmal ihre Ärsche wieder hochzukriegen, statt in Erinnerungen zu schwelgen...die Szene lebt nicht von alleine "Don't you think it's time again to go to gigs....sing a long, dance and drink with your friends?" Die knackige 3 Akkorde-Hymne "Cheers To You" zollt allen Supportern und Szene-Aktivisten, die das möglich machen ihren tiefsten Respekt. "Not everybody's cup of tea" ist eine Offenbarung für Freunde des klassischen Skinhead-Sounds! Auf den Punkt gebrachte Härte gepaart mit der genau richtigen Dosierung Melodie und Emotionen. Ein Oi!light des Jahres! 180gr vinyl, inside-out cover + printed innersleeve

Sad days for the kids, but great days for the Skins! Oi! made in Leipzig! THE SPARTANICS, nach Demo, LP, 10" und diversen Sampler-Beiträgen mit ihrem zweiten Komplett-Album. Das Trio kommt zwar aus Connewitz, klingt aber angenehm britisch nach 70`s Lower Class Streetpunk mit smartem Beat, eingängigen Melodien und geschmeidig-scharfem Gitarren-Sound. Schön trocken-schnörkellos, puristisch unterwegs. Mit leichter Sohle und harter Botschaft: ,Shut up, work hard and make money for the rich!" 10 Songs mit englischem Text, grobe Richtung: Knackige Melange aus SPARRER, NEWTON NEUROTICS, EVIL CONDUCT und den LURKERS. Farbiges Marbled Vinyl, kommt mit CD-Version UND DLC!

Welcome to the " Triangle d'Or " by Nathan Melja. The first opus of a series to come out on his label Parodia, this record is an ode to those Parisian nights where the prestige and extravagance are prior.

Showing a strong willing to integrate elements from the mainstream world in his creative process, the EP opens with the contemplative and emotive 'Stargazing'. You're walking down Champs Elysées, looking at the sky. In a fraction of a second, everything starts to move in slow motion. You're passing out, your eyes stuck on moving stars. It was all a dream, they say.

As you wake up, you're sitting next to a glossy club. 'UnDcided' is blasting out of that neon door. You get lost in its colorful and trippy intro before your head starts to feel the vibrations of its wobbly baseline.

You need a cocktail to get your night started. You enter the restaurant next door. 'Welcome!' is playing in the background. That's Patrick Holland on the guitars you just tried to Shazam! Like the missing piece is not missing anymore.

One too many drinks - you got lost in the groove of the night. It's time to go home. As you leave the club, the sounds of 'Bblluurrryy' are floating in the air, every noise you hear melts into the music. Everything looks hazy. Nothing feels the same anymore.

The Dip is a 6-piece rhythm and blues band from Seattle who blend the best parts of funk and soul street music with the bounce of rock n' roll dance halls to create timeless songs of love and life. 'Love Direction', The Dip's fourth studio record and latest album on Dualtone Records (following 2022's 'Sticking With It' which landed at #1 on Billboard's Current R&B Albums chart), is the first time in the band's career they have relinquished complete control.

The group produced the record themselves and enlisted audio engineer Josh Block who contributed a lush addition to the 11-song collection along with a full spread of talented guest musicians across the tracks. Distant horns, funkier guitars and even a touch of pedal steel guitar from Will Van Horn on the introspective "Fill My Cup", The Dip sound as crisp as ever while exploring new sonic territories. The result makes for a fresh, loose mood that feels equally familiar to the band's earlier work and a confident, bold re-introduction that features some more nuanced and intimate moments highlighting the ways in which the band has matured.

Enjoy The Ride Records in conjunction with Morgan Creek proudly presents Stay Tuned (Music From the Original Motion Picture). Available on vinyl for the first time, Bruce Broughton's score to the 1992 cult classic comedy featuring John Ritter, Pam Dawber, Jeffrey Jones & Eugene Levy takes listeners on a musical adventure.

Saying Roy Knable loves television is an understatement. He's so hooked on it that his wife takes a baseball bat to the screen and shatters it. Mr. Spike soon appears at the Knable's door, selling Roy a Satellite dish with 666 channels that aren't available on regular cable (because Spike is sent from hell, and the Knables are about to become part of the Hellevision network lineup). The Knables have 24 hours to make their way through the channels (which are hilariously gory parodies of popular television shows and films of the era) to survive.

Stay Tuned (Music From the Original Motion Picture) is a 2xLP pressed at 45 RPM. It's housed in a gatefold jacket featuring original cover art by Drew Struzan, along with new gatefold and back cover art by Garreth Gibson. Pressing is limited to 1,000 copies.

Enjoy The Toons Records in conjunction with Scholastic proudly present Goosebumps™ Original Television Soundtrack by Jack Lenz. Available as a 2xLP Deluxe Edition, Goosebumps™ Original Television Soundtrack features songs from the 90s television series, along with a handful of unreleased tracks, including the "Goosebumps Gotcha Rap" and unreleased alternate theme song, plus ten additional tracks not included on the previous vinyl release. The screen-printed D side features characters from the beloved series.

"Enjoy The Toons Records in conjunction with Lionsgate proudly present Little Monsters Original Motion Picture Soundtrack. Composed and Conducted by David Newman, the score to the 1989 film is available on vinyl for the first time. Little Monsters stars Howie Mandel, Fred Savage & Ben Savage.The fantasy comedy tells the adventures of a boy who befriends the monster under his bed, discovering a world of mischievous monsters below!

Little Monsters Original Motion Picture Soundtrack features new art by Garreth Gibson, and the 2xLP is housed in a 350gsm gatefold jacket and black poly lined inner sleeves."

Enjoy The Ride Records in conjunction with Lionsgate, SModco & Destro Films proudly presents the Clerks III Soundtrack. Curated exclusively for vinyl and cassette tape by Kevin Smith and Enjoy The Ride Records, the Clerks III Soundtrack contains a selection of James Lewis Venable's score to the film, along with a collection of songs played throughout the film.

The vinyl release features Matt Taylor's art on the gatefold jacket and has a double-sided full-color insert, featuring stills from the film and additional art from Matt Taylor. Pressed across 5 colorful themed variants RST THC, Clerks III Swirl, Quick Stop, Smoke (Secret Stash), and a Mondo Exclusive Split, this pressing is limited to 1,500 copies.

Following on from their highly anticipated debut on Steel City Dance Discs, Scottish duo Clouds, consisting of Glasgow based Liam Robertson and Berlin based Calum Macleod now unveil their second EP via the label, Positive Delusion.

Clouds waste no time in bringing us straight into their bass-soaked underworld with the title track and continue this unrelenting musical voyage with Get With It; an aggressive orchestra of distorted instrumentals, rolling percussion, bellowing bass and chopped vocals. The duo’s “mission” of achieving Rhythm Perfection is laid out bare in the aforementioned track, as its piercing stabs keep the listener hooked and chained to this ungodly underbelly of sound. Dreamarena, with its ominous rave-stabs and gut-hurdling bassline takes us eventually to our fate, as the EP reaches its darkest, deepest point with Vyperskin.

Celebrated Zambian guitarist and bandleader Paul Ngozi’s concept album about the stuggles of those living in Africa’s 1970s townships Includes Oversized 8 Page Booklet That Details Paul Ngozi and The Ngozi Family’s Arc, Including Rare Photographs, Discography And Annotation. The third entry in an era-defining reissue series on Now-Again centered around this Zamrock legend and his band - previous entries include Day Of Judgement and 45,000 Volts

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” (New York Times)

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere.

Brandon Tani is a multidisciplinary artist based in San Diego, CA. He is drawn to the varied intersections of minimalist, concrète, and found sounds. Mixing narrative and abstraction. Since 2022, Brandon has released music under the moniker "Daily Rituals" and has recorded 5 releases to date. This new album represents the first release under his own name.

MANOWAR is an American heavy metal band from Auburn, New York. Formed in 1980, the band is known for lyrics based on fantasy and mythology . The band is also known for a Loud and Bombastic sound. In 1984 the band was included in the Guinness Book of World Records for delivering the loudest performance, a record which they have since broken on two occasions. They also hold the world record for the longest heavy metal concert after playing for five hours and 1 minute in Bulgaria (at Kavarna Rock Fest) in 2008. MANOWAR have also been known for their slogan "Death to false metal » and have maintained a very strong following with dedicated fans worldwide as referred to by the band as "Metal Warriors", "Manowarriors", "Immortals" or "Brothers of Metal". The band signed with Atlantic Records in 1987. Via Atlantic, they released 'Fighting the World', which enjoyed more extensive distribution and increased the band's prominence in the international heavy metal scene. Album art was designed by Ken Kelly. In 1988, MANOWAR released the album 'Kings of Metal', which is the band's best known work. Songs like "Heart of Steel", "Kings of Metal" and "Hail and Kill" are performed regularly in concerts. 'Kings of Metal' is MANOWAR's highest-selling album worldwide. A new musical unit after the recent changes, MANOWAR released The Triumph of Steel in 1992. It gained some great success and was particularly famous for the presence of a suite lasting no less than 28 minutes entitled "Achilles, Agony and Ecstasy in Eight Parts", inspired by the events of the Iliad and the hero Achilles. After this release, the band went on a world tour for two years. Those MANOWAR’s album have become legendary and are still must have in any metal fan record collection . Vinyls formats Having been very rare and reaching high prices online, those three albums are now being made available again in quality coloured vinyls; Grab them now while you can !!

A journey, in 16 tracks, through the career of this pioneer band of the Latin American Punk 'n' Roll scene, active since 1987 and founded in the city of Quilmes (Argentina). Punk 77, Street Punk and Punk 'n' Roll on glorious vinyl and for the first time in Europe. DESCRIPTION Doble Fuerza is a pioneering band of the Latin American punk 'n' roll scene that has been active since 1987 (hence the title of the LP). Founded in the city of Quilmes (Argentina), south of the Buenos Aires metropolitan area, they have built their own recognizable sound, influenced by punk 77, street punk and punk 'n' roll. For the first time in Europe, on a long-playing record, on glorious vinyl, 16 tracks that represent a detailed tour through Doble Fuerza's 35-year career, remastered for the occasion. The result is most entertaining and activating. Primitive sonorities of angry young men doing street-punk without concessions in "Disturbios" Riots and "La Vida Se Va" Life Goes, give way to heartfelt street love in a hard-power-pop vein ("¿Por Qué No Me Llamas?" [Why Don't You Call Me?], "Encontrarte" [Find You], "Sola" [Alone]) and Ramonesian essences in "Desocupado" [Unemployed]. And all of this leads to their personal punk 'n' roll sound with a Buenos Aires accent, i.e. punk-rock clearly influenced by punk 77 and the rock 'n' roll of the 50s and 60s. In "Leave Me Alone", "Anestesiado" [Anaesthetised], "Grito de Revolución" [Revolution Yell], "Almas Gemelas" [Twin Souls] and "Canción de Libertad" [Song of Revolution] you can sense some of the many bands of the three decades that are part of their wide musical background and that have served as teachers to forge their style. Nor do they forget the cheerful tavern hymns to sing loudly and to overcome the struggle and heartbreaks with good humor, "Otra Vuelta de Cerveza" [Another Round of Beer] and "El Rey del Fernet" [The King of Fernet]. The three covers of this collection deserve special mention. Three adaptations sung in Spanish that the quintet led by Hugo Irisarri makes totally their own: "Pibes de Barrio" (Cockney Rejects), "Laburando" (Cock Sparrer) and "Spanish Bombs" (The Clash). The accent may be different, but the situations, the sound references, the messages... become immediately familiar and recognizable. "1987" is a careful presentation letter on this side of the pond of the Argentinean band's wide repertoire that unites commitment, fun and enthusiasm in equal parts

30 Jahre nach seinem letzten Besuch in Japan ist John Williams für ein besonderes Konzert zurückgekehrt
- er gibt sein Debüt mit dem weltberühmten Saito Kinen Orchestra mit Interpretationen seiner geliebten
Filmmusiken und trifft seinen langjährigen Freund, den weltberühmten Dirigenten Seiji Ozawa (1935-2024),
wieder. ”John Williams In Tokyo” wurde letztes Jahr live in der Suntory Hall aufgenommen und wird nun
von Deutsche Grammophon veröffentlicht. Es folgt auf seine gefeierten Konzertalben ”The Berlin Concert”
und ”John Williams In Vienna”, die weltweit die Charts anführten.

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

"Fear Life For A Lifetime’ is the eagerly anticipated debut album from Stone that demands attention. The songs unfold as a coming-of-age narrative, delving into the turbulent experiences of young adulthood. Produced by Rich Costey the album explores the alternative genre spectrum, blending post-punk fervour, indie anthems & hip-hop influence with a sharp edge. The album tackles a range of topics love, ambition, self-doubt, confidence, or a sense of belonging, this album resonates deeply, offering a sense of community embodying the spirit of Liverpool at its core.
The album features x 11 tracks, including the single ‘My Thoughts Go’."

Two track EP from the Italian early 90's cult label, Interactive Test, helmed by legendary Falsini brothers. Both sides going generously past the 8 minute marker and well into the upper 120 BPM class of affairs, "Farf-Ability" is another show case of the experimentally excursive approach to the early Italian progressive sound, this time on behalf of Francesco Farfa. Two flavours served confidently: uplifting daytime ravey on the A side, and darker trancier night time on the B side, heavy on the percussive samples. Remastered and re-issued with new full cover artwork, featuring photographic evidence of a special moment in time for Italian rave culture.

"Small Time Monsters, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.
If 2022’s critically-acclaimed debut album Thank God! It’s The Dream Machine… was their first and most wild child, then Small Time Monsters is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies."

"Small Time Monsters, the second full-length album from The Dream Machine, is set to be released this April on Run On Records/ Modern Sky.
If 2022’s critically-acclaimed debut album Thank God! It’s The Dream Machine… was their first and most wild child, then Small Time Monsters is its refined younger sibling. The psychedelia, euphoric choruses, flashes of surf guitar and B-movie references are all there, amongst the familiar reflections of life in their beloved and faded seaside town of New Brighton, but this time the wilder elements are controlled, the songs packed into three-minute pocket symphonies."

GNOD, the ever-transient psychedelic musical unit from northern England with over 15
years and dozens of releases under their belt, return in 2024 with a recalibrated sound and
a new sense of freedom. Spot Land’s five songs are tender and detailed, unfolding slowly
with wistful guitar textures, brushed drums and interjections of lap steel, piano and
kalimba. As founder member Paddy Shine says, the results sound like old GNOD and new
GNOD at the same time.
Though GNOD’s shift in sound from album to album is rarely planned too far ahead, there’s
been a quiet desire among the band to do something of this nature for a while. The results
might confound the expectations of some listeners, but in the longer view Spot Land is
liquid GNOD.

Yellow Vinyl

Seba smashes his way into 2022 with the much anticipated release of his third studio album, "Ingaro".

Prepare yourself for ten brand new tracks of Seba. Secret Operations presents the first LP in almost ten years, from a producer who believes albums are not to be taken lightly.

"Ingaro" takes it's name from the small island outside of Stockholm, which Seba has called home for the last 20 years and is also where he spent his formative years.

The new LP takes the listener on a soaring journey through the entire Seba sound. Whether it's the dark and insistent forces of "Horse Power", which grow and fold in on themselves throughout the track, or the blooming euphoric roller "Public Beauty". A fresh collection of tracks which contain the unmistakeable Seba DNA, which has helped cement the name Seba firmly into the world of drum and bass.

Any album is not complete without some guests joining along the way and Seba has also enlisted some helpers on the journey and the LP includes collaborations with Collette Warren, Björn Berglund, Samuel Lancine and Blackeye.

For many, Seba is a name they are very familiar with. From his early releases on Good Looking right through to the present day Seba has made a name for himself for his exciting and varied production.

His music draws influence from far and wide across the musical spectrum and his work alongside the legendary Paradox and vocalist Robert Manos have gone down in Drum and Bass history.

Not just famed for his work in the studio, Seba's sets have gained a reputation for their energy and emotion. One of the scene's unique veterans. Seba's work is inspiring producers and fans more than ever. An album which sets the bar high for 2022!

Veiga lands straight on the dancefloor, no ambiguity about it. Spurred by the guys from RS Produções, he's been honing his DJ skills since he was 17 (currently 23), initially with partner Nunocoox, who gave him even more motivation. Production came naturally sometime in 2020. We venture: maybe one of the good things coming out of the lockdown? Summer of '22, his debut at Musicbox (at the Príncipe monthly residency) is recorded as a festive, lively set, punctuated by the kind of crowd shouts only heard when things go really happy and sweaty. Since then, Veiga's name has been spotted regularly in the afro club scene, growing in reputation

This side of kuduro, "Leandro" is as expressive as it gets, with percussive forces pulling in deceitfully different directions, much in the same style as the slower form of tarraxo. But we can call this house, yeah? No niceties, however: little over 3 minutes and the track abruptly cuts into silence, exuding the raw power of something made for the mix, not in the least "for the people". In a similar pragmatic mode, the stabs in "Sem Nome" get the party started unannounced. Full mode, for the duration. Minimal groove, broken beats and emotive highlights. "Boiler Room" may be wishful thinking, an interpretation of what is required to rock the place or, ultimately, just a title to wrap up the project. In any case, here's a feisty vocal-and-whistle driven stormer, building up to perfection over three and a half minutes. All elements exactly where they belong. Relentless pace in "X de Destroi", a dark side operation, unreal ambiance, breakneck beats, a purgation?

The title "Tudo É No Guetto" contains all the necessary theory. Everything happens in the ghetto. This uplifting house slab celebrates life as it is, freezing hardships for a moment, the ghetto seen as welcoming, a natural place to be. Vocals stashed away in his cell phone come from the animação crew Os Twinni (he joined them for a while). Clipped, repeated and manipulated to convey the very simple feeling of good times. Veiga himself talks about growing up with minimum resources but still happy. That is the memory he retains from being a kid in the ghettos of Amadora, just outside of Lisbon, born to a Cape Verdean father and Portuguese mother. Though the music sounds carefree and the message is chilled, let us not be tempted to rebrand Reality.

Das K-POP- Powerhouse, ENHYPEN sind zurück mit einer neuen Album-Serie, die mit ’ROMANCE : UNTOLD’ beginnt.

Das Album ist als CD in drei Standardversionen und einer Kompaktversion, sowie als Vinyl erhältlich. Die Standardversionen sind die INCEPTIO Ver., ARCANUM Ver. und CONCESSIO Ver.. Die Kompaktversion ist als ENGENE Ver. in 7 Ausführungen spezifisch den jeweiligen Bandmitgliedern erhältlich.

Der Inhalt der Standardversionen umfasst den Versionen entsprechend: CD, Outer Box, Brief, Fotobuch, Fotokarte A (zufällig 1 von 7), Fotokarte B (zufällig 1 von 7), Sticker, Album Logo Sticker, Postkarte (zufällig 1 von 7), Papierringe (zufällig 1 von 7), und Poster.
Die ENGENE Ver. enthält spezifisch für jedes Mitglied eine CD, ein Fotobuch (zufällig 1 von 7), eine Fotokarte A, eine Fotokarte B (zufällig 1 von 7), ein individuelles Coverfoto A und Coverfoto B.

Abmessungen: 183 x 130 x 11 mm.

Der Inhalt der Vinyl umfasst eine durchsichtige 12” Vinyl, Lyric Booklet (8 Seiten) und 2 Sticker.

"We Can Live Together is the first full LP by Earthtones on Wonderwheel. The title is a message, a prayer, and a vision for humanity. It is a reminder that we are in this life together, that love binds us all, and it is only the ideologies and social systems built to prohibit our ability to recognize how close we are that hold us back. We can live, together. The record is based in Folkloric Futurism, a movement that explores the convergence of global folk traditions with technology. Channeling the influence of proto House & Techno pioneers like Mr. Fingers, Kevin Saunderson and Inner City, Earthtones combines analog synthesizers & vintage drum machines with folkloric vocals and instrumentation in a way uniquely his own. It's a celebration of the intersection of past and future, here and there, ancestry and technology. It celebrates themes of spirituality, feminism, love, and most of all, peace. Highlights include "Ọ̀sanyìn", a prayer to the Orisha Ossain, with Maikel Alberto Salazar of rumba super-group Obbatuké on vocals. Recorded in Santiago De Cuba, the track is evocative of Mala's classic "Mala In Cuba" album that broke down barriers between electronic music & traditional music. "La Mujer Serpiente", having seen a sellout 7" last year features Polaris prize winning artist Lido Pimienta-behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of uplifting womxn and femmes everywhere. Ancestral and contemporary Colombian voices are present on the mid-tempo dancefloor track that is the single "Limones" with Semblanzas Del Rio Guapi, Oliwa & the chugging analog rap soundscapes of "Quiero Que Mami" with Verito Asprilla . The album also touches into ambient moments ("Song of the Wind" , Waves") – inspired by friends Carlos Nino, Matthew David, Colloboh and the vibrant West Coast environmental sound movement. credits







g 07: Selam (Dub) [feat. Etsegenet Mekonnen]

Subexotic Records warmly welcomes Miles Otto, with his debut full length LP Desynclined, objectively his most ambitious and conceptual project to date. Following a series of inaugural EPs inhabiting the
margins of dance music and metronomic rhythm, Desynclined takes an unexpected turn. Patterns become twisted, formulae disassembled, and a form of restless energy abounds, feeding off the inherent entropy of live improvisation.

“On ‘The Nashville Sessions’ as throughout Van Zandt’s entire catalogue, the more wretched he sounds, the better - and on the best parts of ‘The Nashville Sessions’ he almost makes melancholy sound a condition to be envied.” Uncut In 1974, Townes Van Zandt recorded what would have been his seventh album, ‘Seven Come Eleven’. Business issues prevented its release until the recordings surfaced two decades later as ‘The Nashville Sessions’ In 2014, Townes Van Zandt’s original manager and producer Kevin Eggers gave Charly Records’ Rob Caiger and engineer Pete Reynolds the only surviving tapes to restore and remaster to present a stunning document of the folk-blues master at his absolute peak, originally released on vinyl for the first time in 2015. “You did a first-class with the record. The packaging looks sensational and the records sound great. That was what matter most to me over the years. I know Townes would be very pleased. The simple truth is the only things that matter to him was his songs and his music. All the rest was bullshit and he could have cared less. We began as dear friends and that’s how it ended just before his death. When it came to the music he gave all he had to give.” Kevin Eggers - 26 March 2015

MC Duke aka The Darkest Knight EP Picture Disc

Subbase honors the great MC Duke, Kashif Adham, a true legend in the music scene and the Godfather of UK Rap.

This incredible limited edition tribute vinyl picture disc celebrates MC Duke's legacy. He began working with Suburban Base in the early '90s and became the most prolific artist on their sister imprint, Boogie Times, before they collaborated with his own label, Hard Disk. This stunning picture disc features some of his rarest releases from Hard Disk, which have never been reissued since their original pressings in the '90s. Together, Duke and Suburban base meticulously planned and remastered these amazing tracks before Duke's unfortunate passing. He was so excited for collectors to enjoy these tunes once again.

MC Duke's unparalleled talent and unwavering dedication to music throughout his life solidified his status as a true legend in the UK music scene. He made significant contributions to UK music, from Hip Hop and Rap to Hardcore and Jungle. Let’s remember the man and his music!

This 4 track EP includes all tracks from The Darkest Knight HARDDISK 004 plus the promo only white label My Sound (HD7) which has sold for as much as £95 on discogs although none have been available for over four years since 2020

Fellwarden was a concept forged by The Watcher (Fen, De Arma) back in 2014 to give voice to an epic, exultant form of black metal that nonetheless carries with it echoes of deep lamentation and remembrance. The Watcher’s goal was simple – to tell tales of sacrifice, of long-forgotten heroism and the rearing timelessness of the storm-forged landscape against a backdrop of windswept extreme metal. Fellwarden’s sound is steeped passionate vocals, subtle waves of keyboards, acoustic guitars, booming choirs and powerful riffs, underpinned by a cavernous percussive battery courtesy of Havenless (also of Fen).

After two years of careful crafting, the debut album of Fellwarden ‘Oathbearer’ is now ready to be proudly unleashed by Eisenwald – six stirring hymns of strident ambience and powerfully emotive songwriting. A heavily layered, textured release, ‘Oathbearer’ at once convokes the essence of contemporary acts such as Drudkh and Negura Bunget whilst simultaneously channelling the spirit of the old masters – Summoning, Bathory, Abigor, (early) Emperor and (early) Ulver.

Born out of revelry and resolution in a redwood cabin tucked into the California coast, endowed with a spirit simmering in wanderlust, and ornamented with the rich traditions of the Louisiana bayou, 'Lonesome Highway' marks the resilient return of Irena Eide, aka Rainy Eyes. These are eleven songs of triumph, punctuated with perseverance and perspective, here to sober up the soul and send it back stronger onto the blacktop. If Rainy's 2019 folk-infused debut, 'Moon in the Mirror', revealed the truth, 'Lonesome Highway' tells poignantly and poetically of the consequences.

'Lonesome Highway' was written as Rainy reflected on the juxtaposition of her circumstances. While she basked in the joy of her recent entry into motherhood, she was simultaneously confronting a troubled relationship that had turned toxic. "Songwriting was my therapy. It was basically how I dealt with the pain and the trauma. The music helped me heal," says Rainy. "This album is about how I had to help myself. To take that pain and use it. For it not to destroy me, but to make me who I am."

The Mighty Monarch of Exploitation Cinema! These audacious adults-only radio adverts and trailers showcase all original counter-culture compositions from Friedman’s freaky frontal lobe! Includes a DVD!

Always a carny at heart, Friedman gravitated towards the sleazy independent film world, where he started a new company and ushered in a decade of his greatest films. Always brimming with bodaciously bare beauties and copious carnality – which became his tawdry trademark. From 1964-1975, he wrote and produced roughies, historical costume dramas (based on literary classics), counter culture time capsules, wild wanton westerns, various soft-X sizzlers, an elaborate jungle epic and perhaps the worst sci-fi movie ever committed to celluloid.

But what ties all of these films together is the ballyhoo. Friedman sure knew how to craft an auditory advertising campaign to got ‘em in the theatres. He was the king of alliteration and catchy taglines and his coming attractions were among the best and most entertaining of their time. Many of the trailers and radio spots utilized all-original compositions and scores from Billy Allen – a composer/conductor Friedman enlisted to set his films apart from all the other smut peddlers.

As “adults only” films were getting more explicit in the ‘70s, Friedman longed for the good old days of sin and skin. He only dabbled in the XXX world for a short time before retiring. So, listen up and get ready to have your ears spanked hard!

I have no neat and tidy way to summarize Joan of Arc. The group's obdurate dedication to shape-shifting reinvention charmed and frustrated in equal measure, and often simultaneously. Any conversation of who or what Joan of Arc is must also consider what the band is not—beyond a unit that avoided convention. Only one person, bandleader Tim Kinsella, remained in Joan of Arc from its 1996 debut to its final days in 2020. For nearly a quarter century, Joan of Arc maintained a fluid lineup that drew from a multitude of subversive Chicago music communities. Every musician and behind-the-scenes collaborator that played a role in Joan of Arc (a number that exceeds 100) influenced the band's direction and character. All the while, Tim helped maintain Joan of Arc's singular identity throughout all the shifts. No two Joan of Arc albums sound identical, but if you listen close enough, you trace ideas that took root on one LP and blossomed in the next. This book expands and deepens the story of Joan of Arc's first five albums (its Jade Tree period) with archival photos and pages ripped from Tim's journals, presented alongside Tim's recollections and a compact early history. This book comes with a live recording of the one and only show by Red Blue Yellow the band Tim started just before Joan of Arc presented here on a 7", along with download code for a couple hundred bonus tracks from the group's archives.

Finland has long had a uniquely progressive underground, with thriving punk, avant, jazz, and rock scenes with oversized output and impact. Jussi Lehtisalo’s (Circle, Pharaoh Overlord, Mahti, etc) label Ektro has been at the center of this activity for the last three decades, with a stream of excellent and conceptually bonkers releases covering music of all types. Here Lehtisalo joins up with Jan Anderzén (of Kemialliset Ystävät among others) for an album of absolutely fun and unusual miniature duets that sound like alien Library music beamed in from the outerlands. Tracks like “Luukku Yksi” and “Puistossa” use a charmingly retro synth-y sound palate and Cluster-like melodic sensibility to make accessible some deceptively “out” music. Some cuts (like “Kylpy”) have a vague hint of early ’80s post-punk / new wave vibes, bouncing along in a friendly way with odd interjections of sample debris and electronics jumping out of the mix to keep it weird. The surging “Hymy yössä” could be music for the credits of the world’s hippest newscast. Beautiful jacket by renown Helsinki-based artist Dylan Ray Arnold, bringing the die-cut techniques of their gallery pieces like “Growth of the Night Plants” to LP form.

The Eminent Jay Jay Johnson Volume 2,” released in 1955 under Blue Note Records, continues showcasing J.J. Johnson’s exceptional trombone talent. Accompanied by notables like Horace Silver on piano and Paul Chambers on bass, the album is marked by remarkable technical performances and deep lyricism. Tracks like “Too Marvelous for Words” and “Pennies from Heaven” illustrate Johnson’s agility and creativity, solidifying his status as a master of the trombone in modern jazz.

The album “Capuchin Swing” by Jackie McLean, released in 1960, is a seminal work in hard bop jazz. Recorded with renowned musicians such as Blue Mitchell on trumpet, Walter Bishop Jr. on piano, Paul Chambers on bass, and Art Taylor on drums, the album stands out for its intensity and inventiveness. Tracks like “Francisco” and “Capuchin Swing” showcase McLean’s exceptional talent for blending technique and emotion, making this album a must-have for jazz enthusiasts.

2026 Repress

Hometown to Come' is the second full-length album by Minhwi Lee from Seoul, South Korea. The eight tracks were written over a period of seven years after Lee's first album and loosely form a single story, contemplating how people who have lost their hometown can return.

“What I had imagined from the title, Hometown to Come, was something forever delayed yet constantly approaching; however, upon repeated listens, it takes on a different meaning—a promise of hospitality being realized every day. Even if our places to meet disappear, ‘the song we sing today’ will remain. We will continue to grow, cross paths again, venture far away, and encounter more faces. And when time has passed and you, having forgotten me, ask about my smile or sadness, I will hum ‘the same song,’ cherishing it as a keepsake.” (morceau j. woo, sound designer)

Repress!

Formed in 1968, Jazz Sabbath was considered by many to be at the forefront of the new jazz movement coming out of England at the time. The eagerly awaited debut album, scheduled for release on Friday 13th February 1970, was cancelled when news broke that founding member and pianist Milton Keanes was hospitalised with a massive heart attack which left him fighting for his life.


The record company shelved the album and cancelled the scheduled release out of financial uncertainty of releasing a debut album from a band without its musical leader. When Milton was released from hospital in September 1970, he found out that a band from Birmingham, conveniently called ‘Black Sabbath’, had since released two albums containing metal versions of what he claims were his songs.


All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner, leaving only a few bootleg tapes of Jazz Sabbath’s live performances as proof of existence.


The album masters were said to be lost in the fire, but were actually misplaced and gathered dust in the basement vaults of the recording studio. These tapes have now been remixed and, half a decade later, will finally be heard; proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.

2024 repress

Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.

The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan.

Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.

Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.

The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.

This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.

Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored.

VA - Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996) is a 2xLP/2xCD that includes liner notes by Chee Shimizu and artwork by Hagihara Takuya and is released on February 28th.

2024 reissue

American jazz pianist and composer Weldon Irvine dropped his fourth and some say best album, In Harmony, in 1974. It came originally on the legendary spiritual jazz outlet Strata-East and now gets reissued by Japan's equally well regarded P-Vine. It has got a fresh mastering job for the occasion so sounds as good as possible with standout cuts like 'What Are Ou Doing For The Rest Of Your Life' and 'Pleasure, Pain & Me' exemplifying Irivine's unique conversational style and ability to lay down spiritual jazz sounds that energies and refresh mind, body and soul.

Driven by lust-fueled limerence and drifting far from conformity, Butterflies Don't Go Away captures Majesty Crush's transient, yet subversive mark on the landscape of American shoegaze to come. Tracked between 1991-1995, the quartet reimagined the collapse of the American rust belt as a late-night, nail biting fever dream/revenge fantasy. This deluxe 2xLP compiles their Love 15 album, singles, EPs, and rarities, all remastered from the original tapes, with thorough annotation and visual documentation in a 24-page booklet. An immortal transcendence if there ever was one.