Cerca:da thrill

Released in partnership with SEGA of Japan and composer Tomoya Ohtani, The Music of Starfall Islands is a collection of beautiful instrumental and classical-inspired tracks which are used as the background music for the various islands in Sonic Frontiers. The music for each island is presented as a suite, containing several movements that layer upon one another and build up to a climax, each with its own distinctive tone and feel, much like the islands themselves, which range from green meadows, to arid deserts, volcanoes and beyond. The music, composed solely by Tomoya Ohtani, is often stripped down, melancholic, and unexpectedly experimental, featuring an array of unusual sound sources (including Iranian percussion, Celtic vocal samples and Armenian folk instruments). In other moments, it is often rhythmic and emotive, with the addition of subtle electronics and the grandiose strings of The Nashville Scoring Orchestra.

While this release is by no means the complete soundtrack to Sonic Frontiers, we are thrilled to be able to present these beautiful and intriguing tracks as a collection on their own. With its downbeat tone and new compositional approaches, this music is unlike any Sonic soundtrack that has come before and may well subvert the expectations of some long-term fans, but should also surprise and delight audiences both new and old.

As Tomoya Ohtani explains in his liner notes for this release: “I wanted to create an atmosphere for each song that, despite the sadness it carries, also has a glimmer of hope. I do not believe there are many other pieces of Sonic game music that focus so much on the atmosphere as the tracks on Sonic Frontiers do.”

Back in stock soon !

Over the course of her lush, expansive, defiantly sprawling new album, “Sometimes I Might Be Introvert”, released on Age 101, the
Ivor Novelloaward-winning, Mercury nominated Little Simzdelivers an
undeniable modern classic, effortlessly condensing any number of
disparate styles and genres into music which thrillingly broaches the gap between urgent modern treatise and hip hop.

A bold, quantum leap forward from the critically beloved “Grey Area”, this is hardly music aiming simply for the pop charts; rather, it is turbo charged with the kind of fury and potency, confusion and anxiety that make up the modern experience of being Black, British and female at this particular point in time.

This is no mere philosophical exercise, however - the result is her most ambitious and soaring body of work to date, one which operates at the very heights of what rap can be.

Regarded by many as the greatest funk album of all time, ‘One Nation Under A Groove’ was recorded at United Sound in Detroit & included a live track from their concert appearance at the Monroe Civic Center in Louisiana in April 1978. The band’s tenth studio album released during September 1978 was also their most commercial & gave the band their first platinum disc. The iconic title track was an international hit and a US R&B No.1. With lead guitarists Michael Hampton & Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell & Walter “Junie” Morrison’s keyboard wizardry & many more, the album was produced by the genius of George Clinton. Regularly ranked at or near the top of various “best album” lists, ‘One Nation Under A Groove’ is mastered for vinyl in a deluxe facsimile gatefold sleeve with booklet & lyric inner sleeves, all housed in a protective PVC sleeve. The albums’ original bonus songs are now included on a second 12-inch “Special EP” which adds the rare 11-minute “Disco Mix” of ‘One Nation Under A Groove’ to replicate the original first UK pressing from 1978. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

One of These Nights occupies an important, unique place in the Eagles' discography given it represents the final album the group made before releasing the bajillion-selling Their Greatest Hits (1971-1975) compilation. The timing is telling. A coming-out party for Glenn Frey and Don Henley's songwriting skills, the studio record – the band's fourth, and its first to hit #1 on the charts – signifies the group's ascent to superstar status. Home to three massive singles (the title track, "Lyin' Eyes," and "Take It to the Limit") and nominated for four Grammy Awards, the quadruple-platinum 1975 effort solidified the Eagles' Southern California-reared sound and made the band a household name.

Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 10,000 copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set takes One of These Nights to the limit. And then some. Playing with reference sonics and a practically indiscernible noise floor thanks to MoFi SuperVinyl's special formula, it provides a rich, dynamic, transparent, and three-dimensional view into a release that moved country-rock ahead by leaps and bounds – and paved the way for the Eagles' ascendancy to global superstardom. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and presentation of the UD1S One of These Nights pressing befit its esteemed status. Housed in a deluxe box, it features beautiful foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes. As much as any Eagles LP, the connection between the imagery and the music and the band on One of These Nights runs deep. No wonder it led to a Grammy Nomination for Best Album Package.

Devised by West Texas artist Boyd Elder, the striking skull-and-feathers themed piece gracing the front of One of These Nights represents where the Eagles have been and where they were headed. Album art director Gary Burden explained: "The cow skull is pure cowboy, folk, the decorations are American Indian-inspired, and the future is represented by the more polished reflective glass beaded surfaces covering the skull." Moreover, Elder had met the group years earlier when Henley and company performed at one of his gallery openings in California. MoFi's UD1S box set allows Elder's vision (and Burden's debossed treatment of the image) to pop and appear as if it was a stand-alone object.

Of course, what's inside the sleeves, and in the grooves, proves equally compelling. Though One of These Nights marks the final appearance of band co-founder Bernie Leadon on an Eagles LP and contains three of his tunes, the record's tremendous success owes to Frey and Henley's timeless contributions. Taking the next step in their maturation and evolution, the pair crafted several songs while living together as roommates in a rented house in which they converted a music room into a recording studio.

The duo's bond and chemistry pulse throughout the record – particularly in the tight arrangements, tasteful instrumental flourishes, and seamless blending of the folk, country, and rock elements. The musical combinations and partnership not only produced the Eagles' first million-selling single (the slow-dancing "Take It to the Limit," co-written with bassist-vocalist Randy Meisner) and the Frey-led cheating classic "Lyin' Eyes," but the famed title track, which nods to the era's nascent disco scene as well as Kenneth Gamble and Leon Huff's Philly soul platters.

Frey named "One of These Nights" as his favorite Eagles composition of all-time; Meisner's high harmonies alone send the track into a galaxy of its own. Speaking of the latter, Leadon's instrumental "Journey of the Sorcerer" ventures into another universe and was soon used by Douglas Adams as the theme to his "The Hitch-hiker's Guide to the Galaxy" radio series. Inspiration and creative experimentation also dragged the Eagles into the blues. Another Frey-Henley gem, the self-probing "After the Thrill Is Gone" serves as a response song to B.B. King's signature track and more evidence the band was turning the lens inward for lyrical narratives. Like everything on One of These Nights, the song confirms the Eagles were breathing rare musical air.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Baroness will release their eagerly-awaited new album ‘Gold & Grey’ on June 14th via Abraxan Hymns.



“Our goal is, was, and will always be to write increasingly superior, more honest and compelling songs, and to develop a more unique and challenging sound,” offers Baroness founder, guitar player and vocalist John Baizley. “I’m sure we have just finished our best, most adventurous album to date. We dug incredibly deep, challenged ourselves and recorded a record I’m positive we could never again replicate.



I consider myself incredibly fortunate to know Sebastian, Nick and Gina as both my bandmates and my friends. They have pushed me to become a better songwriter, musician and vocalist. We’re all extremely excited for this release, which includes quite a few ‘firsts’ for the band, and we’re thrilled to be back on tour to play these psychotic songs for our fans. Expect some surprises.”



While ‘Gold & Grey’ found the band once again working with Purple producer Dave Fridmann (The Flaming Lips, Mogwai), sequestering themselves at Fridmann’s remote upstate New York Tarbox Road Studio. The 17-track album ushered in two significant changes: a decidedly different recording process and guitar player Gina Gleason’s debut on a Baroness recording.



The band, who tracked portions of the vocals, guitars and overdubs in Baizley’s home-basement studio, another first for them, eschewed their normal routine of entering the studio with meticulously detailed plans and instead opted for a looser, more improvisational approach that resulted in their most collaborative and emotionally evocative release to date.



Featuring John Baizley (vocals/guitar), Gina Gleason (guitar), Nick Jost (bass) and Sebastian Thomson (drums), Baroness received a GRAMMY Award nomination for Best Metal Performance for ‘Shock Me’ from the 2015 album ‘Purple’.

Some cities just know how to produce bands by the bucketload. Take Detroit, for instance: we don’t need to rattle through a full list or anything, but safe to say that if your town has given the world the likes of Motown, Derrick May and J Dilla - before we even start to think about The Stooges et al - then you could be forgiven for thinking there must be something in the water round those parts. So whaddya say? Should we get to know two more fine exponents of melodic wonder from the Motor City? Only seems fair. This split LP between citymates The Stools and Toeheads certainly isn’t a letdown as far as the illustrious company of their forebears goes. In fact, it’s a fast-paced thrill ride that oscillates between hip-shaking rock’n’roll swing and bone-shaking hardcore energy. You might already be familiar with The Stools thanks to their ludicrously addictive Feelin’ Fine 7”, which dropped via Drunken Sailor (hey, those guys sound familiar…) early in 2021. If you though that short EP was a good time, wait ‘til you see what they’ve got in store here: right out of the gate, opener Dead Man’s Ford smashes the devil-toed boogie of the MC5 at their slinkiest into the teeth-clenched intensity of Negative Approach (and that’s a pretty decent John Brannon-style roar they deliver too). They maintain this quality and velocity across their side, which is brilliant. There’s no let-up from Toeheads either - their side of this split sounds like someone revved up The Gun Club and aimed fireworks inside their exhaust. This is the sound you always knew you were working towards when you got into this rock’n’roll business; guitars blazing, lungs bursting, a wall of sound collapsing while we all dance in the debris. Does it sound like anything new? Fuck no, but that’s not the point. Much like The Stools, there’s nothing you can say about Toeheads that can’t be summarised with the phrase ‘total exhilaration’. So there you have it. Another compelling case for Detroit as home to the finest sounds around, put forth by two young bands who make playing loud, fast and dumb sound easy. Call it conviction, call it chutzpah… hell, call it talent if you want, I ain’t gonna stop you. But chiefly, call it a fucking good time and put the damn record on. This slays. Will Fitzpatrick.

Featuring what may be his only recordings on the Prophet keyboard,
these once lost performances expand the omniverse of Ra across a
stellar set of lengthy cuts! All recorded in a single day and finally making
their terrestrial debut, pressed on colored vinyl and packaged with a
Prophet keyboard brochure plus notes from Ranthropologist Brother
Cleve!What happens when a Prophet meets a Prophet? The answer lies
within these grooves
Amongst the hundreds of recordings issued by Sun Ra and his Arkestra, under
their various guises, the majority were recorded in concert or in makeshift studios
such as their early 1960s set- up at NYC's Choreographer's Workshop. Beyond
those, roughly 22 albums were recorded at Variety Recording Studio in New
York's Times Square. However, on August 25, 1986, Sun Ra and cohorts entered
Mission Control, a state- of- the- art 24- track studio north of Boston, which was
teeming with electronic keyboards and otherworldly sound generators. Nestled
within that arsenal was a brand- new digital ultra keyboard — the Prophet VS
("Vector Synthesizer").Of all the keyboards Ra played throughout his half-century
career, the Prophet was one of the most sophisticated. There's no evidence that
he had played either of the instrument's earlier incarnations, the Sequential
Circuits Prophet-5 and Prophet-10. Created using microprocessors, a then- new
technological advance, under the auspices of engineer Dave Smith in 1978, the
Prophet-5 revolutionized electronic music as the first polyphonic and, most
importantly, programmable synthesizer.Ra was intrigued by the Prophet (surely by
the instrument as well as by the name). Recorded during a single day, it's about
time that these once lost performances have now been found.It was a joy and a
thrill to be sitting at the console hearing this music for the first time, especially
with my fingers on the faders and knobs of the mixing desk. We watched the
oxide fly off the 2" tapes during playback, making this our one chance to digitize
before they metamorphosed into dust. Welcome to the new Sun Ra album….35+
years after it was recorded. The Omniverse has expanded once again.— Brother
Cleve (1955 - 2022)

• Darrow Fletcher’s belated success in Europe - from the 70s onwards, but particularly in this century - has been very rewarding from him; he has been thrilled by the interest and admiration for his past work. These are two of his revered Jacklyn label sides; Jacklyn being owned by his father, who named the imprint after Darrow’s sister.

• This Repro coupling will be welcomed by collectors who cannot afford the high price of the originals – many of which are often found in poor condition as they were played the hell out of in 1960s Chicago.

Limited vinyl pressing in collaboration with Rico Toto. Artwork by Floating Bstrd.

Invisible City Editions continues our 10 year anniversary in adventurous sounds. We are thrilled to announce the re-release of Rico Toto’s 1993 CD recording Fwa Épi Sajès. Mind melting synthesizers and drum machines fuse with ancient Guadeloupe Gwo-ka rhythms in this musical endeavour Rico Toto describes as “Electro-ka.” The improvised live instruments of the Moundjahka ensemble meld with electronic abstraction to create a psychedelic, immersive digital diaspora dream state. With nods to Jon Hassell’s’ atmospheric soundscapes, YMO and Baldelli / TBC Cosmic mixtapes, this selection of songs encompasses an entire spectrum of moods and sounds. The A side begins with fourth-world tropical percussions, opening with sounds of nature in “Jungle Meditation” and leading into the downtempo summer synthpop jam “Yadadé.” The B side takes a darker turn, starting off with the deep chugging rhythms of “Rawal Pindi” and continuing even deeper with synth sounds and haunting vocals that culminates into the dreamy meditative final track, “Golgotha.”

Waxwork Records in partnership with Back Lot Music is honored to release NOPE Original Motion Picture Soundtrack by Michael Abels. Oscarr winner Jordan Peele disrupted and redefined modern horror with Get Out and then Us, he reimagines the summer movie with a new pop nightmare: the expansive horror epic, Nope. The film reunites Peele with Oscarr winner Daniel Kaluuya (Get Out, Judas and the Black Messiah), who is joined by Keke Palmer and Oscarr nominee Steven Yeun as residents in a lonely gulch of inland California who bear witness to an uncanny and chilling discovery. NOPE marks Abels' third feature film score with director Jordan Peele, having previously scored Peele's GET OUT and US. The album also features songs from the film, including a new version of Corey Hart's classic "Sunglasses at Night (Jean Jacket Mix)", Dionne Warwick's "Walk on By", The Lost Generation's "This is the Lost Generation", Exuma's "Exuma, the Obeah Man", and a never-before-released gem by a young Jodie Foster, "La Vie C'est Chouette" from the 1977 film MOI, FLEUR BLEUE. "NOPE is my most ambitious score to date," says Abels. "There are elements from the genres of sci-fi, action, horror, and westerns, but always through the tonal palette of Jordan Peele's unique vision. The lines between source music and score are blurred, as a good part of the score seems to be playing at the theme park, which is a key location in the story. The score is at times terrifying, yet also invokes the sense of awe and wonder that the characters feel as they realize what they are seeing. The film eventually becomes a grand adventure, and so the music expands into the larger-than-life scale we expect of a summer blockbuster." He goes on to say, "it was a joy to compose a score that encompassed such a broad range of genres and emotions, and I'm thrilled to have audiences experience all of them through this album." "Michael is one the most exciting composers working today - he has this amazing ability to create new sounds which was important for this film," Jordan Peele says. "He's able to play in the familiar and in the unfamiliar at the same time, so that helps give every film its own character, and he has an incredible mastery of so many different music genres." Abels is known for his genre-defying scores for the Jordan Peele films GET OUT and US, for which Abels won a World Soundtrack Award, the Jerry Goldsmith Award, a Critics Choice nomination, and multiple critics' awards. The hip-hop influenced score for US was short-listed for an Academy Awardr and was named "Score of the Decade" by The Wrap. Abels is also co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, gaming and streaming media. Waxwork Records is thrilled to present the official NOPE deluxe double LP soundtrack album. The package comes complete with 180-gram colored vinyl, quality packaging, original artwork by Ethan Mesa, heavyweight gatefold jacket with matte coating, a multi-page 12" x 12" booklet, liner notes, & more!

"I was 27 when this album came out, LA was a whole different animal. I was going back and forth from NY to LA, touring a lot and trying to make progress for me and my close friends and family.

Oct 1 2002 seems like it was yesterday... The day we released the album, I got a call from Nas, completely caught me off guard. He complemented me on the writing of “Release Date” the first track on the album. Those are some of the moments I think of when I reminisce about dropping this project. It was such a turning point in my life, I was coming off of a huge push with “Restless” and the follow up had to be a smash, at the same time I was still finding my standing as a man, a young father, and an artist. It was always my dream to work with the people I’ve now been able to work with and I can listen to this album and remember exactly where I was and who I was with, it’s like time travel.

Fast forward 20 years later and I am thrilled to be able to share this body of work with you and more generations to come.

Thank you for rockin' with me for all this time.
Enjoy the 20th Anniversary Edition of MAN VS MACHINE,

From its dramatic intro, "Release Date," to the thundering West Coast march "Enemies," Xzibit's fourth and mythical album, Man vs. Machine produced by no less than Dr Dre, spent a total of 19 weeks on the "Billboard" 200 chart and was certified gold only a month after its release with over 500,000 copies sold.

The legendary album that features a heavyweight cast of featurings with the likes of Snoop Dogg, Eminem, M.O.P, Nate Dogg, DJ Premier and Dr Dre himself is now available for the first time since its original release, to celebrate its 20th anniversary!

















[q] D3. My Life, My World [Bonus Track]
[r] D4. What a Mess [Bonus Track]
[s] D5. (Hit U) Where It Hurts [Bonus Track]

red/clear splatter vinyl

Shake Chain will also be performing at Marina Abramovic’s private view at Modern Art Oxford on September 23rd.

Shake Chain have been busy demolishing audiences and expectations for the best part of three years. Vocalist Kate Mahony sets that standard by starting each live performance by crawling from the back of the room through a disbelieving crowd’s legs in a shiny yellow raincoat. The resulting questions that frantically arise of ‘what’s going on?’, ‘am I hallucinating?’ and ‘is this part of the show?’ are hallmarks of how Shake Chain approach making their unruly, lyric-bespattered rock music.

The four-piece from London are completed by Robert Syres (guitar, synth), Chris Hopkins (bass, synth) and Joe Fergey (drums), all artists hailing from Goldsmiths College, Nottingham Trent and Wimbledon, University of the Arts. A mutual love of thought-provoking performance art and a yearning for disruption have helped Shake Chain lock into their wayward sound. Twitchy guitar lines jolt and jerk, synths burble noisily and tack-sharp drums pin things down for Kate’s reeling vocal to vault and slur. Kate’s singing has drawn comparisons with Yoko Ono, Su Tissue and even a seance with it’s unique embrace of flights of atonal fancy, head-first repetition and ecstatic frenzy. Opinion-dividing arguably, but singular in making Shake Chain dauntingly brilliant.

Shake Chain’s debut album ‘Snake Chain’ was recorded in the New Forest’s Chuckalumba Studios early in 2022. The tranquil setting only slightly skewed by the intense extratropical cyclone occuring outside. When asked to sum up the album the group collectively settled on it sounding like “crying in a Catholic sex dungeon with Eastenders on”, perhaps only half tongue in cheek given the soapy dramatics of opening track ‘Stace’. ‘RU’ is a stompy triumph of ad lib monotony, heavy and wonky, its vocal slowly unwinding into residual sense. Shake Chain’s songs are populated with cowboys, cherry-pickers, content-addicts, private investments, a careless driver called Mike, architects and by much lamentation at the state of our confusing existencies. This last point underlined in luminous marker pen with slow-building vortex ‘Highly Conpeptual’ and whispered closer ‘Duck’.

‘Copy Me’ races along with radiant headbangs of dynamic abandon, one part tumble, two parts pummel, “hold your breath til something changes” commands Kate whilst everything of course is in hammering flux. ‘Second Home’ is similarly coruscating yet bouyant, whilst ‘Arthur’ feels like it could tear inside in two amid sobbing wails and the twining of its disparate parts. Throughout all the unhinged freakouts, found sounds and blasting rhythms though is Kate’s questioning, resilient presence, anchoring everything. On bruising creeper ‘Birthday’ she asks most tellingly “Do we speak language or does language speak us? Is there a mouth in the middle of the desert? Do you ask how cups are designed? Would you say yes when you really mean I don’t know”? Shake Chain are cathartic and absurd, humorous and deadly serious yet always inspired. Its this tightrope walk which makes their album such a thrilling, vital listen.

Funkadelic’s eleventh studio LP, released in 1979, was more militant in tone than its predecessor 'One Nation Under A Groove' which described a Funk utopia. In contrast, ‘Uncle Jam Wants You’ stated mandate was to “rescue dance music from the blahs”. The album features a 15-minute version of what was to become the Funkadelic’s last hit single ‘(Not Just) Knee Deep’, an edited version of which made no.1 in the US R&B chart. This was Funkadelic’s first album since 1972 not to feature a cover design by artist Pedro Bell (although he did contribute the interior design). A reference to the “Uncle Sam Wants You!” US Army recruitment poster, the sleeve depicts George Clinton aka Dr Funkenstein in a Huey Newton Black Panthers pose. ‘Uncle Jam Wants You’ and Funkadelic-Parliament had a huge influence on Prince, The Red Hot Chilli Peppers, Bill Laswell, Tupac Shakar, De La Soul and many more across all musical genres. George Clinton’s genius Funk & Style will continue to be an influence for many more years to come... FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Following their iconic remix of ‘Space Date’ in 2019, the classic collaborative work of Adam Beyer, Layton Giordani and Green Velvet, we are thrilled to have Pleasurekraft back on Drumcode for their debut solo release on the label.

Not keen to colour within the lines, the production duo caught Adam Beyer’s ear as they carved out their self-dubbed ‘cosmic techno’ niche within the techno genre. Conceived as a musical vision that attempts to go beyond mere hands-in-the-air moments, Pleasurekraft incorporate a cinematic soundscape as a canvas for philosophical themes regarding humanity's place within the cosmos. Their 2020 album, ‘Love in the Age of Machines’ explored the myriad and often dystopian relationships we have with the ubiquitous technologies that pervade our every interaction.

The new two-tracker ‘Sex and the Machine’, continues this thematic trajectory in considering the role machines will increasingly play in satisfying the more carnal desires of our species. The title track considers questions such as, will machines of the future have the capacity for thoughts and feelings? Will our answers to such questions be forever tainted by our singular perspective, unable and unwilling to grant future silicon entities such capabilities? The EP’s second track, ‘Body Horror’, with its repeating refrain, “You are changing”, considers the manner in which future technologies will continue to merge with biological entities giving rise to all manner of unimagined consequences. Both tracks showcase the tough, yet still melody-driven cosmic techno sound Pleasurekraft has become synonymous with. However, despite the cerebral content that inspired the music – the form is still pure dance floor muscle.

A joint release by LA's Hippos In Tanks and Montreal's Arbutus Records, the Darkbloom EP is a thrilling split by d'Eon and Grimes. Harnessing the dark energy of her sophomore album Halfaxa, along with the shimmering dream pop of her debut Geidi Primes, Grimes' side represents a synthesis of her two sonic personalities. Displaying a level of clarity and craftsmanship heretofore unseen in her releases, Boucher presents a stunning new collection of ethereal dreamscapes that expand her creative palette without compromising the spectral presence she is known for. Following the Middle-Eastern-tinged R&B of 2010's Palinopsia, d'Eon broadens his stylistic breadth through reference to a number of electronic genres - for example, he simultaneously incorporates elements of Chicago footwork and new jack swing, but surprises the listener with strange forays into bygone genres such as UK drum and bass and trip hop. Presently available worldwide on CD and Digital formats, Darkbloom will be available on vinyl, for the frst time in many territories, on May 20th, 2016.

Terapia Records is thrilled to introduce you the very first release of its catalogue, a stunning LP by the two founders Luca and Michele (aka Complementary Minds) called Butch Haynes introduces Complementary Minds Vol. 1. The newborn label launches its ambitious, yet very much considered project, after the debut of one of the two head-honchos Luca Ferrara aka Butch Haynes on Apparel Music and Sistrum Recordings. He metaphorically introduces the first LP by the Milan born and bred duo, who share a deep love for music and a great productive connection. They deliver a brilliant eleven-track album, full of diversified sonic influences and quite representative of their bright talent. The record, which will be presented to you both on vinyl and digital, starts with a couple of masterly produced beats (Fantastic/Teacher Carey), both with an analogous mellow, warm energy, some brilliantly crafted bass-lines and a substantial harmonic presence. The album keeps rolling with the Deep feeling of Flower Diva: its soulful, skilfully arranged vocals and the dreamy synthetic chords help the pair to perpetuate this passionate, balmy vibe. Insomnia ends the first quartet of sexy tunes with some seductive improvised spacey key stabs and its delicate pensive chords while Q Orchestra (the lost tape mix) speeds up the heartbeat and leads to the closing track of the A side, Bebi: a gorgeous groovy interlude. B side kicks off in style with the slightly darker feel of Myers Boogie Man where the pitched sampled vocals, the solid rhythm section, a profound array of sonic details and a marvellous warm synth melody towards the end of the track make it a true ghetto hit! Right On, with its broken-beat and a radiant harmonic progression, Contact 911 with its tight kick-snare connection and some far-out, whimsical chord evolution and G Buster with its irresistible slightly acid driving force, pave the way for the grand finale where Maam, a proper club banger, ends this amazing LP in epic fashion. Butch Haynes introduces Complementary Minds Vol. 1. is such a cohesive, yet incredibly diversified album and their authors, Luca Ferrara and Michele Fallabrino, achieve the challenging task of telling their sonic story with a flawless work. What a way to start Terapia Records’ experience.

For Fans Of... Michael Kiwanuka, The Black Keys, Curtis Harding, Black Pumas. Latest 7” from Philly band named Artist to Watch by NPR station WXPN. Features signature Synth & Soul production from Eraserhood Sound. Follows the 2022 7” Money In Your Mouth / Miss Me. Philadelphia band Stereo League has always been about discovering new genres and working with collaborators who can bring unique sensibilities to their music. On their latest 7” Operator, Please / Seasons of Trouble, the band, comprised of childhood friends Alex Savoth and Dan King, continued their fruitful partnership with the synth & soul record label and production crew Eraserhood Sound. Following the success of the group’s 2021 EP Endless Mirage, the band, again under the guidance of EHS, have created two more timeless, soulful songs, each with their own unique personality. The A side “Operator, Please” is a swampy, seductive throwback to 70s soul and funk, evoking the indelible Southern sound from classic labels like Hi and Cat. The flip side “Seasons of Trouble” puts a bowtie on the funk, taking its cues from the classic Philly soul of The Delfonics, The O’Jays, and more. Stereo League, who have been named Artist to Watch by NPR station WXPN, believe this release to be the clearest and best representation of their vision to date, delivering the classic, yet thrilling sound they have been searching for. Tracks: 1. Operator, Please 2. Seasons of Trouble (Explicit)

On March 5, 2020, Ukrainian modern metal juggernauts JINJER played one of their last shows before the world went on a global lockdown due to the Covid-19 pandemic, making it a historical event in the band’s successful career, just as they intended to take the world by storm by supporting their critically acclaimed new album, Macro, on their extensive world tour, starting in Australia. “It was a time when we all thought things will be alright. Plans were set! Heads full of hopes! Just a few days before everything came crumbling down and to a screeching halt... It was one of the last metal shows on the planet. It was one of the first and sadly one the last shows of the Macro World Tour - so we were extremely lucky to have this on record and film alike”, comments the band. Having recently been streamed in its entirety as part of the Slipknot founded Knotfest weekly concert streaming series, the ferocious live performance screamed for an audio release as well, documenting what club culture had been just a few months ago, aching to come back as soon as possible. Including hits such as “Teacher, Teacher!”, “On the Top” and “Pisces”, Live In Melbourne will be available digitally as well as on CD, various Vinyl colors and as a deluxe edition. 1. SINGLE - EN “A powerful socio-political statement kicks off a thrilling live experience - “Teacher, Teacher!” is as violent as educating!” 2. SINGLE - EN “With it’s ten ton groove and message, “Sit Stay Roll Over” from JINJER’s pummeling debut album is a song like an earthquake - especially in this brutal live version!” 3. SINGLE - EN “JINJER’s most personal song performed in the most intense way - heavier and more captivating than ever!”

“A rather gorgeous and engrossing collection, that borrows stealthily from a rich history of sound effect and soundtrack to build a tender poem to the night time.” - CLASH
“The plan was to make twenty 90-second tracks designed as TV themes,” says Arab Strap’s Aidan Moffat, of the initial thought behind his new instrumental album as Nyx Nótt “But it wasn't a satisfying listen, it was too gimmicky and silly.”
So instead, Moffat decided to stretch the idea out, plunge deeper, and expand the music into full tracks, “making some of them quite long and dramatic, with the odd swift turn here and there.” In fleshing these tracks out into more fully realised songs he began sourcing samples from professional TV and film music libraries. “The focus then turned to making a proper album out of these modern library sounds,” he says. “I decided to stick with the Themes From title and named the tracks after the sorts of shows they made me think of when I listened back.”
The result is a record that explores genre themes such as: ‘Thriller, ‘Porno’, ‘Caper’ and Swashbuckler’, and acts as an audio equivalent of channel hopping through a unique TV station programmed by Moffat. “I still wasn't sure about all this until I did the album cover, which brought it all together,” he says, of the artwork that places an old smashed TV unit front and centre with a woman perched on top. “It has echoes of old TV compilations but is pretty cheeky and slightly sexy in that old 70s compilation style. I wanted this one to look a bit more fun than the last one, as well as hopefully sound a bit more fun too.”
Aside from being a fun experience, it is also a stirring and immersive listen, one that allows the listener to imagine their own accompanying visual scenarios to each musical theme. The opening ‘Docudrama’ marries a gently creeping beat with strings that glide from tense to sweeping, while ‘Porno’ is all seedy smoky jazz that feels plucked right out of Travis Bickle’s late night trips to porn cinemas in Taxi Driver.
Touches of jazz pop up in other places too, on ‘Hardboiled’ this merges with subtle pulses and gargles of electronics that build to a rousing crescendo of horns and bleeps, and on ‘Caper’ there’s a vivacious full jazz band skip to the lively swinging rhythms. “There's a few more jazzy elements here,” Moffat says. “Although I'm not quite sure where that came from. Although, like everyone else, I've had plenty of time to be introspective recently, so I decided the next Nyx Nótt album should be more upbeat and encourage some occasional foot-tapping.”
However, what becomes apparent, the longer you spend in the world of Themes From, is how singular and unique the tone of each composition is. “Each track has its own individual feel,” says Moffat. “The idea was to sound like a different composer and band throughout.” It’s a stylistic leap that continues Nyx Nótt’s trajectory as one that shares no direct link to Moffat’s other projects. “I approach them in completely different ways and with a different purpose in mind,” says Moffat. “I don't think Nyx has ever heard of Arab Strap, and certainly doesn't own any of their albums.” It’s also a notable shift from the debut album under this moniker, and suitably given the theme, Moffat has created a visual comparison between these two sonic worlds. “If the first Nyx Nótt album was like looking out on dark prairies before dawn, this is more like a walk through a neon Soho after a few cocktails.”

Manasyt vs Sam Lowry. A clash, mashup and/ or battle between two minds yet one and the same face. Hailing from the twilight zone, Bulgaria. The currently Xiamen, China, based Petar Tassev has joined the forces of his alter ego's on this 9 tracker. A side 4 celestial and daring Electro tracks followed by the more eerie B side. An experimental, future horror movie-like sound. Thrilling in all the right ways!