Buscar:dead years

2nd pressing on 2xLP Black Vinyl with Starlight Sparkle Vinyl 2nd pressing comes with a 2x7" EP on Transparent Yellow & Magenta Vinyl Please Note: "quality of sparkle vinyl comparable to vinyl with metallic effects" Sparkle / Starlight: Large silver particles Carefully designed, beautifully remastered and loaded with new ways to play - "Risk of Rain" is back and better than ever! Dive into the iconic roguelike full of unique loot combinations, enhanced with new Survivors, overhauled multiplayer, fan favourite content from Risk of Rain 2 and more! Ten years after "Risk of Rain" was released into the world to become a true classic, the game was revived in November 2023 as "Risk of Rain Returns" to reconnect with its fans and be discovered by those who didn't realise what they were missing. Time to give the iconic game soundtrack an update as well, isn't it? Creator Chris Christodoulou gives an insight on his work as well as the extensive and luxurious new vinyl release that comes with some remarkable extras: "Can you believe it's been ten years already? It seems like yesterday that I was sitting in my small bedroom/studio in front of an aching computer writing the music for `Risk of Rain'. And here we are, ten years later, returning to it to, adding to its musical compendium. What an unexcepted, magnificent journey! With this very special release we're celebrating both, the 10-year anniversary of `Risk of Rain' and the release of `Risk of Rain Returns'! This modular album contains the entire Risk of Rain soundtrack remastered and the four new tracks written for `Risk of Rain Returns' (with contributions from special guest musicians Damjan Mravunac & Maria Papageorgiou). Daniele (art), Kevin (Black Screen Records) and I worked very hard to make this complex release a reality and we are extremely proud of it! We hope you enjoy every aspect of it as it is a labour of pure love! Finally, a very special thanks to all of you who have carried this music across the past decade! You have my love, Chris

The intrepid composer and field recordist Jacob Kirkegaard is no stranger to perilous and hostile regions of the world. His 4 Rooms invoked the radioactive decay through the amplification of architectural resonance in Chernobyl, Ukraine; and he has ventured to the arctic environments of Greenland on a number of occasions to document that barren, icy territory. His recurrent use of shadow and mystery through his work both as metaphor and as extended sonic technique reflects the complex, existential conditions that cross-contaminate what we consider civilization and what we consider wilderness. Waste disposal, firearms, the decomposition of dead bodies, the eerie stillness of morgues. These have also been the source material in Kirkegaard's formidable work.

With Snowblind, Kirkegaard turns to history, and a poetic, failed attempt for a team of Swedish explorers to reach the North Pole by balloon in the late 19th Century. Perhaps driven by blind adventurism, perhaps consumed by his own delusions, S.A. Andrée launched this ill-fated flight in July 1897, registering only two days in the air before crashing into the ice and ultimately failing to navigate the frigid waters and ice floes. Yet documentation of their expedition - photographic, scientific, and diaristic - survived, to be discovered some thirty years after their deaths.

"I wanted to created a cold and hostile album, where there is no escape, no warmth and no happy ending," as Kirkegaard explains about Snowblind. "Yet, I wanted to leave out any immediate drama. It is the creeping shock, the icy feeling from realizing what has been lost and that there's no escape."

Yes, Snowblind is a very bleak album, but one that eschews the isolationist, long-form drone of conceptually similar works by Thomas Köner, Lustmord, Werkbund, and Lull with interconnected constellations of cryptic tone, thrumming reverberation, arctic bluster, and a plethora of harrowing sonic proclamations.

Pop/rock singer, songwriter, and guitarist Albert Hammond Jr. is the lead & rhythm guitarist and songwriting member of the GRAMMY® and BRIT Awards-winning band The Strokes. He has released 4 solo albums to date, most recently the acclaimed “Francis Trouble” in 2018 which spawned the radio single “Far Away Truths”. In the 4 years, since then, The Strokes released their US Top 10 charting GRAMMY® nominated rock record “The New Abnormal” and toured the world extensively. Albert also began the songwriting process for his 5th solo album “Melodies on Hiatus”, a 19-track album, crafted in a most experimental style. Albert teamed up with his writing partner, Canadian songwriter, and poet Simon Wilcox (whom he never met during the process) and had lengthy conversations via the telephone; Simon would jot down notes from Albert’s stream of consciousness, and draft the lyrics on her typewriter, and drop them into his letterbox! Albert then added the lyrics to the melodies he had already crafted. The songwriting process became a long distant “anonymous love affair of ideas & lyrics.” The album covers themes of childhood, surviving adolescence, adulthood, vulnerability, fame, relationship with self and others, and is Albert’s “deconstructed broken down ego reaction” to “Francis Trouble.” The album also features songs with GoldLink, Matt Helders (of the Arctic Monkeys), Steve Stevens and Rainsford, and was mixed by Tony Hoffer (known for his work with Beck, Air, M83, The Kooks, Fitz and the Tantrums, Metric, Chromeo, etc.) and mastered by Dave Cooley at Elysian Masters (Paramore, Spoon, Tame Impala, Jimmy Eat World, Peanut Butter Wolfe).

The Holiday Album That Turned Mariah Carey into the Queen of Christmas: Featuring the Standard “All I Want for Christmas Is You,” the Singer’s Blockbuster Merry Christmas Exudes Joy, Spirituality, and Conviction
Sourced from the Original Master Tapes, Presented in Audiophile Sound for the First Time, and Strictly Limited to 3,000 Numbered Copies:

Mobile Fidelity’s UltraDisc One-Step 180g 33RPM LP Set Plays with Superb Detail, Openness, and Definition
1/2" / 30 IPS / Dolby SR analogue master to DSD 256 to analogue console to lathe

Mariah Carey didn’t become the Queen of Christmas just because of her fervent love of the holiday. Or as the result of a brilliant marketing plan. The iconic singer earned her title by way of her blockbuster Merry Christmas, a 1994 album that quickly joined the likes of Bing Crosby’s White Christmas, A Jolly Christmas from Frank Sinatra, and Nat King Cole’s The Christmas Song as an all-time holiday vocal classic. Featuring a balanced mix of inspired originals and well-chosen covers, Carey’s fourth studio record has only grown in stature as new generations discover its magic. Mobile Fidelity’s 30th anniversary edition reissue of Merry Christmas makes her spellbinding performances and upper-tier register come alive like never before.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, the pioneering label’s UltraDisc One-Step 180g 33RPM LP set of Merry Christmas plays with superb detail, depth, and dimensionality. Available in audiophile quality for the first time since its original release three decades ago, and featuring the bonus track “God Rest Ye Merry, Gentlemen,” the nine-times-platinum set breathes with a newfound openness and transparency that enhance the spirituality, passion, and festive tenor of Carey’s singing.

Benefitting from superb groove definition, a nearly inaudible noise floor, and dead-quiet vinyl surfaces, the music takes on a heightened energy and anticipatory emotion synonymous with the holiday season. Carey’s signature vocals explode with liveliness and dynamics, the full scope of her acrobatic range presented in clear, transparent sound that practically places her on a small stage in your listening room. This collectible version also breathes with the kind of warmth, intimacy, and coziness you want from a landmark vocal album.

Recorded when Carey helped put “diva” back into everyone’s vocabulary, Merry Christmas gave the New York native another smash right out of the box. What nobody knew at the time was the degree of the album’s staying power — and how, many years removed from its initial promotion cycle, its legend would still grow and even spark a 2010 sequel. Having re-entered the Top 200 charts every year since 2019, Merry Christmas ranks as one of the three most commercially successful holiday LPs ever made and, in due time, will likely earn the top distinction in that class. A global blockbuster, it seamlessly ties together Christian, gospel, and secular threads and speaks to a boundless audience, independent of denomination.

Most obviously, the record remains inescapably connected to “All I Want for Christmas Is You,” an uptempo anthem that towers as a holiday standard and one of the biggest-selling singles in history. Punctuated with celesta chimes, sleigh bells, springy keyboards, and joyous beats, the song echoes the simple albeit engaging melodies and doo-wop style of beloved holiday classics of yore — and blends such elements with contagious dance-pop rhythms to create an atmosphere rich in joy, wonder, and excitement. Radiant with golden soulfulness and sincere conviction, Carey’s exuberant singing and on-point phrasing put it all over the top. And how.

The song stands as the only effort in Billboard history to top the Hot 100 chart during at least three separate runs. Carey’s blockbuster has already hit No. 1 during five runs, spanning every year between 2019 and 2024. That’s just one of the many records the singer holds — and only one of the multiple highlights from Merry Christmas, which includes two other Carey-penned originals, “Miss You Most (At Christmas Time)” and “Jesus Born on This Day.”

Though slightly lesser known, Carey’s remarkable rendition of Darlene Love’s “Christmas (Baby Please Come Home)” further links her album with the big, lush, Wall of Sound heritage that helped inspire its production. Carey’s heartfelt take and transformation of the traditional “Santa Claus Is Coming to Town” into an animated tune that even adults can believe, as well as her clairon reading of “Joy to the World” — cleverly augmented with bits of Three Dog Night’s 1971 hit of the same name — further reinforce her status as Queen of Christmas.

At the peak of her powers, Carey finds equivalent success when tapping more spiritual veins. Witness the reverence she brings to the timeless carol “Silent Night,” the piousness she invests in “Jesus Oh What a Wonderful Child,” and the sacred feeling she conveys throughout “O Holy Night.” You’ll also never think of “Hark! The Herald Angels Sing” and “Gloria (In Excelsis Deo)” the same way again after hearing Mimi pour her heart and soul into them, and pair the songs together.

Indeed, it’s Carey’s pliable voice, melismatic technique, and five-octave range — on display here in definitive fashion — coupled with her undeniable love for Christmas and understanding of the religious significance of the season that make Merry Christmas a must-have holiday staple. And on Mobile Fidelity’s LP, something you better add to your wish list.

For Greg Mendez, reflection doesnüft mean a static image in a mirror, or even a face he recognizes. Itüfs more a kaleidoscopic mirage, where paths taken shapeshift with the prospect of paths untread, and the subconscious merges with the intentional. On his self-titled new album, the Philadelphia-based songwriter and multi-instrumentalist investigates the shaky camera of memory, striving to carve out a collage that points to a truth. But there isnüft a regimented actuality here; instead, Mendez highlights the merit in many truths, and many lives, and how even the hardest truths can still contain some humor. While this is technically Mendezüfs third full-length album, his back catalog boasts an extensive range of EPs and live recordings. Heüfs a prolific and thoughtful songwriter, understanding the joy in impulse, and shying away from the clinical sheen of overproduction. 2017üfs ügüP/ _(c)_ /üPüh and 2020üfs Cherry Hell garnered acclaim for their quiet, lo-fi urgency, exploring themes of addiction and heartbreak with an intentional, authentic haze, and itüfs this approach that has solidified Mendez as a staple in the DIY community for years. Greg Mendez was written in fragments, some stretching across more than a decade, with Mendez reworking old ideas and arrangements, and others blossoming much more recently. The weight of time..and perhaps the anxiety in running out of it..clouds the album, as Mendez prods at some painful experiences from his childhood and early adulthood. The common thread connecting the characters is their evident imperfections, and the various degrees of damage they cause, both knowingly and unknowingly. But where do we draw the line between a good person and a bad person? For Mendez, itüfs never been that easy. Greg Mendez is an intimate dialogue between the chapters weüfve experienced, and how they can inform the reality we perceive. Itüfs a reminder that we are constantly shifting, ever-changing selves and that if we ruminate too long, we may find ourselves stuck in the seriousness of it all. Here, Mendez allows us to take the time to notice what happens outside of the framework we may have built for ourselves, and the beauty that can occur when we finally do.

Lara Sarkissian’s long-awaited debut full-length, ‘Remnants’ is an ornate patchwork of ancient and modern sonic shapes that uses the vernacular of electronic music to reformulate Armenian traditions and memories. Taking digitally modeled instruments (such as the kanun, a large zither, and the duduk, an ancient double reed woodwind instrument), vocals, davul and dhol drums, tenor saxophone (from acclaimed Paris-based player Adrien Soleiman) and myriad electronic elements and techniques, Sarkissian tangles the old and the new, creating an immersive, narrative-driven experience that’s powered by history, mythology and her own familial connection to the West Asian landscape. It’s an album that’s best absorbed like a film; only multiple encounters can reveal its layered themes and references to industrial music, noise, various club styles, ambient and traditional folk.

Born and raised in San Francisco and currently based in Los Angeles, Sarkissian has developed her unique approach to composition over years of relentless experimentation across various disciplines. Her interest in music production initially stemmed from her filmmaking and video editing work, when she began to sculpt her own sound collages and scores to accompany the visuals. Since then, she’s constantly blurred the boundary between dance and experimental music, DJing around the world, producing AV installations and scoring film and video projects that have been exhibited in Berlin’s Gropius Bau, Montréal’s Musée d’art contemporain, the Music Center Los Angeles and other prestigious institutions, and releasing music with labels such as Tresor, Knekelhuis, All Centre, Silva Electronics and CLUB CHAI, the label and event series she co-founded. In recent years, she’s also been able to advance the theory behind her art, publishing a conversation with ethnomusicologist Sylvia Alajaji in the Journal of the Society of Armenian Studies in 2021, and unveiling her methodology in Norient’s ‘This Track Contains Politics – The Culture of Sampling in Experimental Electronica’ a year later.

‘Remnants’ is a new stage in Sarkissian’s evolution as an artist; not only is it her first proper album, but it’s the inaugural release on her new platform btwn Earth+Sky. She sees the label as a place to encourage collaborations between musicians and producers and prioritize sound in visual arts realms, and ‘Remnants’ is the ideal proof of concept. It opens with ‘Heaven, or Paradise; and Hell’, a track that’s inspired by the layout of the Armenian sharakan (or hymn) ‘Aravot Luso’. Sarkissian imagines the original piece’s harmonies and melodies as parts of a dreamy electronic opera, using digital kanun sounds to punctuate her woozy, evocative synths. Soleimen joins on tenor sax in the third act, while Sarkissian repeats the chant and Jace Akira adds ghostly traces of electric guitar and bass. And on the rousing ‘Our Dead Can’t Rest (Old Jugha Flute Dance)’, Sarkissian chops urgent davul and dhol drum rhythms with spine-chilling shvi woodwind sounds lifted from a documentary about Old Jugha. The title is a reference to the moving of graves by Armenian families; the area initially housed over 10,000 elaborately carved khachkars (cross stones), one of which is pictured on the album’s cover, provided by historian Argam Aivazian’s archive.

On ‘Miracle’, Sarkissian samples atmospheres from the post-Soviet Armenian comedy film ‘Կիսանդրի’ (Kisandri). She takes this opportunity to lighten the mood a little, powdering her smudged samples with tightly edited breaks and bass thumps. It’s not until the album’s middle section that the duduk, perhaps Armenia’s best-known instrument, makes its appearance. Its familiar reedy tones, popularized by Djivan Gasparyan on his many Hollywood soundtrack appearances, emerge on ‘Unraveling (Interlude)’, weaving through the acidic ‘Zephyr’ and ‘Far from the eye far from the Heart’, a post-punk inspired stomper. Sarkissian mutates the instrument almost beyond recognition, pitching and layering it into a voice-like wail that creeps between her woody, dancefloor-primed percussion on the former, and turning it into a gentle, ghostly moan on the latter. And she brings ‘Remnants’ to a close with two of her most cryptic tracks, marrying digital kanun strings with Soleiman’s resonant tenor hums on ‘What Solace Can I Give’, and looping the same saxophone sounds until they dissolve into the air on the beatless closer ‘…nothing matters more than touching you although i haven’t touched you yet’.

It’s an album that ties up Sarkissian’s various interests and experiences, finding a romantic, poetic glimmer of light in history’s darkness. But most of all, ‘Remnants’ is about the optimism of starting anew, and rebuilding a life from the pieces of everything that’s been left behind.

The last couple of years have seen a renaissance for West Coast singer-songwriters. LA-based youngsters such as Drugdealer and Sylvie have attracted considerable attention releasing warm and mellow records tonally reminiscent of the early 70s. Most fans of this new/old sound are unaware of Bart Davenport's early explorations in the same sonic territory. His now 20-year-old "Game Preserve"album should gain an appreciative new audience with its first ever vinyl release.

In the year 2000, Bay Area troubadour Bart Davenport and several other musicians were recruited by a major tech corporation in Seattle to work on an algorithm-based music matching/search engine. It was what looked like the beginning of a promising career. After a year, however, the project was shelved. Bart and his colleagues were laid off with a healthy severance package... on the 12th of September, 2001. Not only had the musician's life changed, so had the world. Rather than blow the money on a holiday or new car, Bart knew he had to make a record. A proper album that meant something.

Back in Oakland, he entered Wally Sound Studios with former Kinetics bandmate Jon Erickson at the controls, and a swathe of talented local musicians. "With Game Preserve," Bart explains, "Jon and I really wanted to knock it out of the park. I wanted to utilize people from my old bands like Loved Ones drummer John Kent. I also invited my newer indie-pop friends from Call & Response, and a young Nedelle Torrisi. Harmony singing by The Moore Brothers was an essential ingredient on Game Preserve as well."

Both Erickson and Davenport fondly recall growing up in households where the music of The Carpenters, Joni Mitchell and The Eagles soundtracked their young lives. By the early 00s they were ready to reconnect with what is often referred to as the "Laurel Canyon" sound. "I'd buy used tapes at garage sales and play them in the car. "Ladies Of The Canyon" by Joni and Jackson Browne's first album were both in heavy rotation. Jon Erickson was getting deeper into the Steely-Mac-Doobie yacht-rock sound in earnest. A certain amount of childhood nostalgia led a lot of us back to that part of the 70s. I'd flirted with classic soft-rock on my first album, but that record was pretty scattered esthetically. I wanted my next one to be more focused. Jon and I made some ground rules: no electric guitars (except on 'Bar-Code Trees'). No synths. Most importantly, all the songs have an air-tight, super dead, close mic'd drum sound. Putting these sorts of limitations on the sessions will give your record a specific quality. In the case of "Game Preserve"it's mostly about tight drums, acoustic instruments and analog production. We used a 24-track, two-inch tape machine for tracking, then ran the mixes through an analog board straight to a 1/4 inch master tape."

While the album's sonic palette may be firmly planted in 1970, Davenport's songwriting covers a sizable landscape of moods and reflections. From the quasi-flamenco intro of 'Sweetest Game' to the somber Wurlitzer of 'Nowhere Left To Go', to the 12-string shimmer of 'Intertwine', "Game Preserve" tells a story of young love, lost innocence and redemption, crossing borders and oceans along the way.

Released in 2003 on family-run Oakland label Antenna Farm, the ultra-analog sounding "Game Preserve" was only made available on digital formats, including CD. Copies were later pressed by labels in Germany and Spain; the latter being one country the album actually did well in, establishing Bart Davenport with a small but loyal fanbase he still enjoys today. Two European tours as support for Kings of Convenience also helped gain a foothold on the continent. Back in the US, however, Davenport and his sophomore album remained quite obscure.

Limited promotion meant it did little, but for the music lovers that heard it, the album undoubtedly remains a classic of the era, deserving far more. Twenty years on, it now finally receives its vinyl debut. "I personally think it holds up well," says Bart of the album two decades later. "The idea was to make something that could be an homage to late 60s/early 70s West Coast pop but hopefully timeless as well. Years on, I hear it as just that. It was a colorful and brief period of my life that felt at times like it could last forever. I discovered the joy of working in a proper studio with a perfect cast of characters. I'm still very close with all these people and still play music with many of them."

Red Brut’s third album, "On Bare Ground", is a sonic tapestry woven from the final threads of her Rotterdam existence. Entirely composed of soundscapes captured during her last two years in the city, the album evolves into a poignant farewell as its creation mirrors the passage of time, culminating in a profound departure from her life there.

A Coherent States, Dead Mind Records and Econore co-release. 200 copies on white vinyl, comes with obi-strip.

“On Bare Ground” is a sculptural work blending its lo-fi with haunting melodies, field recordings, and ethereal soundscapes. Uncompromising in its approach, the album evokes the echoes of experimental music from a spectrum that ranges from dark bedroom pop to rhythmic noise, crafting a cloudy and dreamlike atmosphere. With meticulous attention, it unfolds as a strong hypnotic journey, where intricate sounds emerge from a hidden center, while, in a parallel narrative, they gradually expose On Bare Ground’s underlying deep melancholic core.

Red Brut is the artistic alias of Dutch artist Marijn Verbiesen, who recently moved to Groningen and has been a vital force in Rotterdam's art scene. Her work reveals a particular sensitivity to everyday sounds, the soundscapes of cassette music, musique concrète, and spontaneous sound collage, combining these elements into a unique and truly personal avant-garde expression. This expression is present in various forms, in a wave of releases that began with limited-edition underground cassette releases in the mid-2010s and culminated in her two full-length albums, "Red Brut" (2018) on the Belgian label (K-RAA-K)³ and "Cloaked Travels" (2020) on the Finnish labels Lal Lal Lal and Ikuisuus. She has appeared at many important European festivals such as Rewire, KRAAK festival, Inversia, Colour Out Of Space and in numerous smaller venues worldwide. In addition to her career as Red Brut, Marijn is a member of the free improv/weirdo electronic pop duo Goldblum and before in the experimental no wave/noise trio Sweat Tongue.

“On bare Ground works as like an homage to self discovery amid urban malaise” The Wire

CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !

CARNIVORE is an American crossover / thrash metal band from Brooklyn, New York founded by singer and bassist Peter Steele, and was formed out of the breakup of the Brooklyn metal group FALLOUT in 1982. The first CARNIVORE album was heavily influenced by the contemporary New York metal scene. It also drew inspiration from BLACK SABBATH and early JUDAS PRIEST, whereas the second album had significant crossover influences. The "post-apocalyptic" theme that dominated the first album and was carried onto parts of the second album was apparently inspired by a dream Pete Steele had and which became the basis for the lyrics of "Predator", the first song from the original album. The lyrical theme was then expanded on to describe human society ( or the lack of one ) between imaginary World Wars III, IV and possibly V (as referenced in the song "World Wars III & IV"). Other lyrical themes included nihilism, anti-religious sentiment, cynicism, and explicit but tongue-in-cheek depictions of gore and despair. Song titles such as "Jesus Hitler", "Race War", "Thermonuclear Warrior" and "God is Dead" reflect these themes. In August 2017, it was announced that CARNIVORE would officially be reformed as CARNIVORE A.D., featuring original drummer Louie Beato and guitarist Marc Piovanetti along with secondary drummer Joe Branciforte sharing drum duties and also introducing new member Baron Misuraca as the bassist/vocalist. The band then made their live festival debut at the 2018 edition of Hellfest. CARNIVORE's "Retaliation" is a legendary and authentic metal/hc crossover album and an admittedly very heavy devastating wall of music with very much tongue in cheek lyrics. It became an absolute classic in the metal genre. It has remained unreleased for too many years and has now become very much in demand, now available again in Deluxe exclusive Limited edition 2LP vinyl and Digipack with no less than 3 bonus tracks ! ESSENTIAL CLASSIC !

Francoise Hardy's Vogue years have marked the history of French and international music. Even today, the five years between 1962-67 remain an exceptional moment in her career, the one when she exploded in the eyes of a generation that was born during or just after the Second World War, the generation that would be part of the May 1968 Paris protests. Hardy exploded not only in France alongside her fellow 'Yeyes', but also internationally where she became the symbol of French elegance, talent and charm: the United States, Japan, the United Kingdom, Germany, Italy, Spain... no one could resist Francoise, and she recorded most of her hits in English, Italian and German. 'Tous les garcons et les filles', 'Mon amie la rose', 'L'amitie', 'Le temps de l'amour', etc. are songs that have crossed generations and can be heard in recent movies (Wes Anderson loves Francoise Hardy and has included her songs several times in his films), international television series ('The Walking Dead', 'Industry', 'Week-end family') and advertising spots (Dior 2022 campaign). Available on x24 trk, double Black LP Vinyl & single CD formats. Marketing activity.

Marina and the Diamonds is an award winning platinum selling artist. She has three top 10 albums including Gold certified The Family Jewels and her second studio album Electra Heart which debuted at No.1 on the UK’s official charts. In celebration of 10 years since the original release of Electra Heart, Electra Heart (Platinum Blonde Edition) will be released on magenta vinyl on the 23rd September 2022. This special edition features additional tracks as previously heard on alternate releases of the album.

Featuring the hit single ‘Primadonna,’ as well as TikTok sensation ‘Bubblegum Bitch’ which had a massive revival with TikTok in 2021. The album will also include two tracks, ‘Electra Heart’ and ‘E.V.O.L’ that have never previously been released physically.

Lisa Gerrard, the renowned Australian vocalist and composer, presents the compilation "Come Tenderness". With the inspiration of the healing power of water at its core, the album has been personally curated by Lisa and features ten of her most exceptional works newly mastered alongside a brand-new song "Whispers". The hand-picked playlist forms a cohesive album showcasing each track in a new light alongside striking artwork by Nigel Grierson. In keeping with her collaborative nature, the album includes iconic pieces Lisa has created over the years with Daniel Johns, Astrid Williamson and Patrick Cassidy. At the forefront of every track is Lisa's ethereal and iconic vocals which, combined with her expressive and profound compositions, come together to form a truly emotional listening experience. With a vision and vocal style that is as unique as it is precise and all-embracing, Lisa Gerrard has established herself as one of the world's most highly acclaimed film composers and vocalists, including winning a Golden Globe for her work on the score for 'Gladiator' with Hans Zimmer. Her musical journey began in the early 1980s when she and fellow Australian Brendan Perry formed duo Dead Can Dance. With nine albums released between 1984 and 1995. Lisa's vocal performances continue to be heard across the world. She performed as part of 'Gladiator Live' at The Royal Albert Hall in London in 2018 and as part of 'The World of Hans Zimmer - A Symphonic Celebration' tour. In 2021 and 2024 she was a Featured Vocalist on the score for 'Dune' and 'Dune: Part Two', directed by Denis Villeneuve.

The "Great Escape Artist" is back! No, not THAT one - dude"s dead! We"re talking about Papa M. And HE"s talking "bout Harry Houdini - in the album title, anyway, not sure about anywhere else. So, six years since his last LP, the all-acoustic A Broke Moon Rises, Papa M rolls into the shred zone, buns glazing, with his fifth full length in 25 years of Papa M-itude! Six fat-assed songs - a couple ballads, yeah, but mostly real all-out groovers here.

7A Records is proud to present our deluxe reissue of Robert Gordon's Rock Billy Boogie album. It has been remastered and expanded with four bonus tracks, features extensive liner notes and is pressed on 180g Pink Vinyl. Robert Gordon entered New York City's Plaza Sound Studio in April 1977 to record his first album. Four months later, Elvis Presley was found dead in his Memphis mansion, Graceland, at the age of 42. The media was anxious to anoint a successor to the late King of Rock and Roll, and Gordon-twelve years Presley's junior-was high atop many lists. Gordon's vocal resemblance to Elvis Presley was hard to ignore, although the singer never crossed the line into impersonation. He retained his originality and an attitude honed in New York's vibrant punk scene. In late 1978, Gordon was signed to Presley's longtime home of RCA Records. He inaugurated his label tenure with the early 1979 release of his third and perhaps finest album, Rock Billy Boogie. The power-packed LP would become a cornerstone of the so-called rockabilly revival. Four additional recordings round out this deluxe, expanded edition of Rock Billy Boogie: Gordon's 1980 cover of John Beveridge and Peter Oakman's "A Picture of You," a # 1 U.K. hit for entertainer Joe Brown in 1962; and three tracks looking back to his seminal partnership with Link Wray from the Private Stock years: "Lonesome Train (On a Lonesome Track)," "Summertime Blues," and "Red Cadillac and a Black Moustache."

There are few hidden gems that we can find on the different streaming channels, and it is precisely our job to have them for you. This Saturday we want to bring you a Chilean band that is born from transversal rock and its variants. We talk about The Cruel Visions. The Cruel Visions is the name that Pablo Giadach (founder) proposes to imagine a luminous and nostalgic interior landscape, expressed in songs of subtle composition and evocative beauty. The guitarist and musician in the bands Casino, Trancemission and The Ganjas, brings with him an album weathered by the passage of time in nightly improvisations and his recording studio, influenced mainly by the sounds of the early 80's, new wave, paisley underground, post punk and dark wave. The Cruel Visions was born from the idea of grouping together different recordings that Pablo made in parallel to his work with The Ganjas between 2015 and 2017 at different times and formats. Most of the album is a collection of demos and improvisations with a Rickenbacker 12-string guitar, an echo chamber and a drum machine, which were then worked on for almost 3 years in the free time at Estudio Lautaro, where he also performs. as an engineer and producer. His authorial present discovers the ethereal and light sounds that bands like The Cure or The Jesus and Mary Chain decanted, who left the initial rawness to give way to a more atmospheric and personal repertoire, which, although luminous, maintains traces of the darkest noise of the post-punk era. This time the path taken in other formations where Pablo provides precise sounds, completed with effects such as reverb and distortion, gives shape to a more personal list of songs that sails with the wind in its favor through foggy waters, already known to listeners of English 80's alternative music. Vocals and some arrangements were done at Woodbine St Recording by John A. Rivers, who has produced records by Love and Rockets, The Specials, Nikki Sudden, Close Lobsters and Dead Can Dance, among many others

The ‘20 Years Of Shogun Audio’ LP consists of 10 remixes of Shogun’s most legendary tracks and 10 groundbreaking new cuts from a selection of drum and bass’ most exciting talent. Featuring new music from Friction, DJ Marky, Break, Pola & Bryson, Monrroe, Emily Makis, Technimatic, Icicle, S.P.Y, Lens, GLXY, Sustance, Duskee, Javeon, Flowdan, SP:MC, Document One, Deadline, GEST, Watch The Ride, Total Science, Lenzman, Particle, Levela, Emperor, Subwave, Dynamite MC, IYAMAH, Note and many more, this is the ultimate collector's piece for any drum and bass fan. 

For any Shogun Audio fan, this is the ultimate collector's piece, featuring our ‘20 Years Of Shogun Audio’ LP across 4LP vinyl, as well as our ‘20 Years Of Shogun Audio’ coffee table book beautifully housed in a bespoke presentation box embossed with gold foil and a magnetic clasp.

The perfect-bound 80-page coffee table book delves into our two decades of history through in-depth interviews with our founders Friction & K-Tee, as well as a range of artists past and present. Accompanied by beautiful full-colour photography from the archives throughout, this book is an essential for Shogun fans and D&B enthusiasts worldwide.

Robert Gordon entered New York City’s Plaza Sound Studio in April 1977 to record his first album. Four months later, Elvis Presley was found dead in his Memphis mansion, Graceland, at the age of 42. The media was anxious to anoint a successor to the late King of Rock and Roll, and Gordon–twelve years Presley’s junior–was high atop many lists. Gordon’s vocal resemblance to Elvis Presley was hard to ignore, although the singer never crossed the line into impersonation. He retained his originality and an attitude honed in New York’s vibrant punk scene. In late 1978, Gordon was signed to Presley’s longtime home of RCA Records. He inaugurated his label tenure with the early 1979 release of his third and perhaps finest album, Rock Billy Boogie. The power-packed LP would become a cornerstone of the so-called rockabilly revival. Four additional recordings round out this deluxe, expanded edition of Rock Billy Boogie: Gordon’s 1980 cover of John Beveridge and Peter Oakman’s “A Picture of You,” a # 1 U.K. hit for entertainer Joe Brown in 1962; and three tracks looking back to his seminal partnership with Link Wray from the Private Stock years: “Lonesome Train (On a Lonesome Track),” “Summertime Blues,” and “Red Cadillac and a Black Moustache.

LINKIN PARK—Mike Shinoda, Brad Delson, Phoenix, Joe Hahn, alongside new members Emily Armstrong of critically acclaimed band Dead Sara as co-vocalist and Colin Brittain songwriter/producer for G Flip, Illenium, One OK Rock as drummer—share their first brand new music in seven years.

The iconic band shared a new single “The Emptiness Machine,” which is also the herald for the arrival of LINKIN PARK’s first album since 2017, FROM ZERO, on November 15.

About the new era, Shinoda stated, “Before LINKIN PARK, our first band name was Xero. This album title refers to both this humble beginning and the journey we’re currently undertaking. Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life. It was made with a deep appreciation for our new and longtime bandmates, our friends, our family, and our fans. We are proud of what LINKIN PARK has become over the years, and excited about the journey ahead.”

Right out of the gate, “The Emptiness Machine” channels the DNA of LINKIN PARK, harnessing the band’s explosive energy and retaining the hallmarks of their instantly identifiable and inimitable sound. A chameleonic and catchy anthem, Shinoda’s hypnotic melodies hand off to Armstrong’s blistering chorus, over distorted riffs and head-nodding drums.

Ultimately, with FROM ZERO, the band is looking to harness the purest energy of their past, present, and future. The new era has officially begun.

LINKIN PARK—Mike Shinoda, Brad Delson, Phoenix, Joe Hahn, alongside new members Emily Armstrong of critically acclaimed band Dead Sara as co-vocalist and Colin Brittain songwriter/producer for G Flip, Illenium, One OK Rock as drummer—share their first brand new music in seven years.

The iconic band shared a new single “The Emptiness Machine,” which is also the herald for the arrival of LINKIN PARK’s first album since 2017, FROM ZERO, on November 15.

About the new era, Shinoda stated, “Before LINKIN PARK, our first band name was Xero. This album title refers to both this humble beginning and the journey we’re currently undertaking. Sonically and emotionally, it is about past, present, and future—embracing our signature sound, but new and full of life. It was made with a deep appreciation for our new and longtime bandmates, our friends, our family, and our fans. We are proud of what LINKIN PARK has become over the years, and excited about the journey ahead.”

Right out of the gate, “The Emptiness Machine” channels the DNA of LINKIN PARK, harnessing the band’s explosive energy and retaining the hallmarks of their instantly identifiable and inimitable sound. A chameleonic and catchy anthem, Shinoda’s hypnotic melodies hand off to Armstrong’s blistering chorus, over distorted riffs and head-nodding drums.

Ultimately, with FROM ZERO, the band is looking to harness the purest energy of their past, present, and future. The new era has officially begun.

Souls Of Mischief, the Oakland, CA quartet and members of the mighty Hieroglyphics Crew, are proud to announce the first-ever vinyl release of their fifth album "Montezuma's Revenge." Notably, the album’s striking cover featured a fifth member of the group: the legendarily innovative producer Prince Paul, who executive produced the LP, handling most of the beats and overseeing the musical direction of the album from start to finish.

Emcees A-Plus, Opio, Phesto, and Tajai take turns showing off the multisyllabic flows, witty similes, and smooth lyrics that have made the crew a household name in rap for over 30 years. Souls' trademark juxtaposition of complex, multi-syllabic lyricism against laid-back Cali flow remained as strong as it was in 1993 on “Montezuma’s Revenge,” and Paul’s magic touch on production took the Souls’ sound to a new level.

While the aforementioned and unmistakable SOM sound remains very much intact, Paul's vision and risk-taking come through on the finished product. Tajai was comfortable from the start in working with the visionary producer: ”Paul is a perfectionist and so are we so we took time with the beats and subject matter. This album to me is a great insight into who we are as people and how important it is to progress stylistically, yet it retains a classic, timeless feel."

The debut album by much-loved Yorkshire band, Shed Seven, Change Giver released on vinyl for the first time since 1994, this reissue faithfully replicates the original Polydor UK pressing and is pressed on high-quality 180gm vinyl. Change Giver was released on Polydor Records in September 1994, on the leading edge of the Britpop movement and established the group as one of the most successful and cherished of the era. Although not garnering the headlines and controversy of other acts of the time, Shed Seven vocalist Rick Witter, guitarist Paul Banks, bassist Tom Gladwin and drummer Alan Leach - established a trademark sound and a fervent fanbase, resulting in a lengthy career and a string of hit albums. Formed in 1990 (and named after a railway shed) after making a name for themselves in their hometown of York, Shed Seven played London, gaining a reputation for their fearsome live shows an came to the attention of influential BBC Radio One DJ Steve Lamacq. After a bidding war, the group signed to Polydor in 1993, and group recorded what was to become Change Giver with producer Jessica Corcoran. First single, Mark/Casino Girl was released in March 1994 ahead of the album, and with each subsequent single release, the group pushed higher into the UK charts. Released as Britpop was accelerating, Change Giver was described by Melody Maker as "a chipper, cocky collection of brassy Northern pop songs." The album reached the UK Top 20,and established the band to be one of the most popular acts of the final years of the 20th Century. Listening to the album today, the bravado of youth combined with strong melody and powerful lyrics put the album on a par with early works of The Jam and Blur.

Mysterious, multifaceted collective i Häxa have unveiled their epic self-titled, full length debut; a ground-breaking conceptual double album shaped by a collision of ancient gods and bleeding-edge technology_ Released as four distinct Parts over the course of the year, `i Häxa' now comes together as a singular vision that weaves together genre-defiant soundscapes, abstract cinema and ancient meteorological mythologies from singer-songwriter and visual artist Rebecca Need-Menear (also of electronic alt-rock duo Anavae) and forward-thinking producer Peter Miles (Architects, Dodie, Fizz). i Häxa is a ritualistic dissection of the world as we know it, a forceful separation of the monotony of modernity from the rites and rituals that for centuries formed the foundations for who we are, how we came to be and where we claim to belong. Disjointed fragments of time collide. Two sides, one of logic and one of chaos, seeking unity and balance through an expression of freedom. This is i Häxa. Whilst the album is composed of four distinct movements, each consisting of four distinct tracks themselves; pulling them apart into easily digestible, standalone singles isn't an easy feat and, as is now clear from the project's sprawling cyclic nature, was never the intention. In an age of fast fun and instant gratification, the ties that bind these works together are intended to transcend tracklisting. With aural, visual and lyrical themes freely intertwining, i Häxa is something to be consumed whole; just as it will, in time, consume you. Charting an existential journey to the very depths of what makes us who we are, with every dark corner illuminated in glitched out, discordant glory; i Häxa is a project years in the making that draws simultaneously from rituals for old gods and the modern day deification of data. i Häxa is both heartwarming and horrifying; i Häxa is ancient history and hyper-real; i Häxa is everybody and no one at all. Check out if you like Radiohead, Julie Christmas, Agnes Obel, Bjork, Fever Ray, Massive Attack, Dead Can Dance, Emma Ruth Rundle, Jenny Hval, Cult of Luna, Eivor, Zola Jesus, Marissa Nadler, Soft Moon

- Limited Edition RSD 2018 Release
- Numbered sleeve of 2,000
- Pressed on 180g Heavy Weight Vinyl
- Printed Inner Sleeve and Heavy Weight Outer

Originally reached no.13 in the UK charts in 1996 - taken from the top 30 album DEAD CITIES loosely based on "Rachael's song" from BLADERUNNER by Vangelis, now 22 years later the group have recreated the track in 8 new compositions, seamlessly flowing together the journey travels from ambient rock to a land of electronica.

Releases for Record Store Day 2018 is this stunningly presented heavy weight 12' Album, all numbered of 2,000 units.

The debut recording from the duo of multi-award-winning Scottish author David Keenan and Bruce Russell, the guitarist from the greatest underground rock band of the late 20th century, New Zealand’s The Dead C, was recorded live in Christchurch, NZ, as part of the WORD festival in August 2023. A series of live improvised settings that pair readings from Keenan’s monolithic and critically-acclaimed modernist masterpiece, Monument Maker (White Rabbit 2021), with guitar and electronics from Russell, the music takes off on the kind of post-VU fantasy of punk-primitive free music posited by Russell in projects like A Handful of Dust while expanding on Russell’s no-technique blues w/scalpel sharp riffs and aformal blats of pure electricity that match the religious eroto-mania of the text. Keenan reads w/shamanistic intensity and with a sonorous, incantatory rhythm, while Russell conjures the very ghost of the book straight out of the air. Think the early Patti Smith/Lenny Kaye spoken word/guitar jams informed by religious painting, Bach cantatas, Pierre Reverdy, Goya, Charles Olson, Arthur Doyle and Rudolph Grey. Features full colour photography by musician and artist Heather Leigh taken in-situ during the writing of Monument Maker in France in 2018. Bruce Russell is a practitioner in sound, who for forty years has been a member of The Dead C and A Handful of Dust. He mixes rock, electro-acoustics, noise and improvisation in equal measures. Also directed two of New Zealand’s vanguard independent labels, Xpressway and Corpus Hermeticum. His solo guitar practice reconfigures the blues as a form of improvisational auto-destruction. He is also a writer and his next book is titled ‘Rock’n’roll: my part in its downfall’. David Keenan is the author of six novels; This is Memorial Device (Faber & Faber) which won the London Magazine Prize for Debut Fiction and was shortlisted for the Gordon Burn Prize; For the Good Times (Faber & Faber), which won the Gordon Burn Prize and was shortlisted for the Encore Award for Second Novels; Xstabeth (White Rabbit), which was shortlisted for the Dublin Literary Prize; The Towers The Fields The Transmitters (White Rabbit); Monument Maker (White Rabbit), which was a Rough Trade Book of the Year; and Industry of Magic & Light (White Rabbit). Edna O’Brien has said of him “I sometimes think David Keenan dreams aloud. His prose has the effortless, enigmatic, unsettling quality of dreams… reading him feels like being cut open to the accompanying sound of ecstatic music.”

After working within various collectives, rapper Davodka is celebrating his ten-year solo career with the album "Heritage." With a myriad of concerts in France and Europe, 6 solo albums, and features with the entire French independent rap scene (Demi Portion, Melan, Dooz Kawa, 3ème Œil, Swift Guad...), Davodka is known for his incisive words and the speed of his flow, making him one of the leading lyricists.

This new album is the heritage of the past ten years, where the artist takes a step back and captures the universe in which he has evolved, paying homage to it through music. The rapper's lyrics have never been more personal. He addresses rarely discussed topics in rap, such as his depression in the track "Arc en ciel," his relationship with his autistic child in "Enfant bulle," and his awareness of the difficulty in having completely selfless relationships as an artist in "On naît seul, on meurt seul."

"Heritage" attests to Davodka's undeniable place in conscious rap, notably with the track "Avec des mots," where he shares the mic with Sinik, an emblematic artist of the golden age of French rap. Although Sinik, a French artist with countless certifications, had announced the end of his career two years earlier, he makes an exception for Davodka and records a powerful track in homage to all those who come from the bottom.

Davodka, true to himself and his audience, primarily raps over boom bap and trap beats; however, he ventures into unknown territories, notably in "On naît seul, on meurt seul," where he adopts a ragga flow, and "Feuille froissée," with its auto-tuned chorus. He also takes the time to pay homage to the beginning of his career, when he was part of the MSD collective, by reprising a verse written at the time in the track "Les minots dorment – Remix."

Join him on October 25, 2024, to discover "Heritage," Davodka's 7th album. He will be touring throughout France, Switzerland, and Belgium, and in Paris at the Cabaret Sauvage on December 5, 2024, for the release party.

In 2007 an Italian film festival invites Mouse on Mars to score a film of their choice. The organizers claim to be able to clear the rights for any movie the band chooses. Werner Herzog’s fictional documentary Fata Morgana, which merges footage of several desert explorations by Herzog and his team into one continuous association, has long been a band’s favorite. The film comes with a soundtrack by Mozart, Leonard Cohen, Third Ear Band and field recordings. Andi Toma and Jan St. Werner are sent a DVD to Düsseldorf and start working. The idea is to score the film in real time so instrumentation has to be readily at hand: guitar, percussion, electronics, mouth harp, pedals, software, tapes, samplers. Once the arrangement for the three-part film is sorted Mouse on Mars bring their score to stage. Herzog Sessions is performed twice: first when the band still thought the rights had been cleared, and a second time at London’s Southbank Center knowing that Herzog would have never approved a new score.

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Mouse On Mars – London Queen Elizabeth Hall soundtracking Werner Herzog.
By Mike Diver, 24.04.2009

Filmed in 1971, Fata Morgana is perhaps not one of Herzog’s best-known works (think Grizzly Man, Rescue Dawn, et cetera…), but then Mouse on Mars have never been ones to embrace the mainstream, quietly letting their modern, experimental take on krautrock do the talking over the years, thus producing some quietly brilliant electronica that far outweighs their modest profile.

The film itself is not altogether dissimilar to the wonderful, Phillip Glass-scored Koyaanisqatsi, with sweeping landscape shots and no obvious plot or narrative, though Fata is concentrated purely in one place – in and around the Sahara Desert, switching from images of barren wasteland to desert tribes and dead, skeletal cattle.

The obvious thing to do when soundtracking such powerful imagery is to vie for dreamy electronic soundscapes which can be sustained for a long period, and whilst this ambient shoegaze approach was present and correct (also carefully constructed and highly effective), Mouse on Mars added a human element to the performance, incorporating a live dimension by using and looping guitars, harmonicas, processed vocals and even a live horn player (quite possibly a flugelhorn. Look it up if you don’t believe me) for the final section of the film.

Some of the most interesting points arose when the duo suddenly switched from solemn, ambient tones to glitchy, bouncing electro (reminiscent of their more upbeat work) whilst on the same film shot – causing the audience mood to flick from tripped-out bliss to attentive semi-wired, utterly subverting any idea of a narrative the film may have possessed. Clever stuff.

Ranging from sinister to surreal to humorous, all the moods portrayed in Fata Morgana were successfully matched by Mouse on Mars’ live rescore – no mean feat. The duo also went above and beyond the call of duty with their own soundtrack, adding a fascinating personal signature to an already unique film.

Chuck's first album in 4 years is inspired by the cumbia bands he saw at San Francisco clubs in the pandemic's aftermath, while undergoing cancer treatment. The music was a source of joy, during a dark time. He started playing with ¿Qiensave? a cumbia band based in Salinas, CA. The result is 11 new Chuck Prophet songs wrapped in a cumbia shell. The latin rhythms & chord progressions merge with Chuck's signature song styles to create something new that defies genre, but is undeniably joyful.

"“Head Off” was originally released in 2008 and for 14 years was the last release by Swedish rock 'n' rollers THE HELLACOPTERS until their triumphant comeback with 2022’s “Eyes Of Oblivion”. “Head Off” pays tribute to influential yet often overlooked groups such as Dead Moon, New Bomb Turks, Demons, The Robots, The Turpentines and many more resulting in a selection of powerful cover versions of bands THE HELLACOPTERS thought everyone should know about.

The debut album from the London-based band, it is home to their biggest hit ‘She’s So Lovely (191m+ streams) and well as some of their other most popular tracks Elvis Ain’t Dead (55m+ streams) and Heartbeat (45m + streams). This has not been available of vinyl for many years and this release will be the first time it has been available on (Orange & Black Marble) Colour LP Vinyl.

This isn't the only press release we're putting out for Keeley's second album, Beautiful Mysterious, but this one's from an entirely subjective position. Around the release of Keeley's debut, Floating Above Everything Else, there was a flurry of press which seemingly continued unabated for months and - to our mystification - seemed to offer no clues as to what, exactly, was going on with this artist or how or why any of it mattered. That album's label, Dimple Discs, has a roster of predominately Irish (and generally excellent) artists; I suppose in some unconscious way we wrote it off as "I suppose you've got to be Irish to get it". And then we were solicited Keeley's next album. Well, boy were we wrong! KEELEY is a band led by Keeley Moss, with musicians Lukey Foxtrot and Andrew Paresi, although it's a tight-knight group who propel the project and it makes no sense not to mention manager Nick Clift and studio genius Alan Maguire, who are also intrinsic members of this outfit. There's a conceit behind the band's work. Every song in the band's full repertoire shares a single subject - Inga Maria Hauser, a teenaged German backpacker found brutally assaulted and dead in a remote part of Ireland's Ballypatrick Forest in 1988. Moss's personal interest in the case caused her to create a blog, The Keeley Chronicles, which has reported on the case so doggedly that it's now viewed as the crucial source of public information on the case. And there's more to that story, of course. But our point is this: Beautiful Mysterious is that rarest of all jewels, the instant classic. Imagine going back in time to when you heard Fear Of Music, Colossal Youth or Forever Changes for the very first time, knowing what each would mean to you many years later. Don’t miss that chance with Keeley’s incredible Beautiful Mysterious. Well, here's your chance

Erste Vinylreissue eines Klassikers aus der On-U Sound-Frühphase: Das 1982er Solodebütalbum der jamaikanischen Saxofonlegende "Deadly" Headley Bennett, der seit den 1960ern Stars wie Bob Marley und Alton Ellis begleitete, mit Produzenten wie Coxsone Dodd und Bunny Lee arbeitete und eine Schlüsselrolle in Bands wie Sound Dimension, Aggrovators, Revolutionaries und Soul Syndicate spielte. Aufgenommen mit Musikern von Creation Rebel und Roots Radics, Adrian Sherwood am Mischpult und Bim Sherman on vocals auf 3 Tracks. Die CD erschien erstmals 1999 und enthält hier zwei unveröffentlichte Bonustracks. Das Vinyl wurde komplett neu geschnitten. Beide Formate kommen mit ausführlichen Linernotes und rarem Fotomaterial.

The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. Free Jazz, was also the name of the 1965 recording Tusques made along with and other Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz.

Wondering if free jazz wasn’t a bit of a dead end together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).French Popular Music, ndlt

As with L’Inter Communal a few years earlier, Le Musichien follows on from the group of varying musicians that Tusques had conceived as a “people’s jazz workshop”. In 1981, at the famous Paris address, 28 rue Dunois, the pianist sang with his partner Carlos Andreu “Le Musichien”, an Afro-Catalan tale over an exceptional bass line from Jean-Jacques Avenel backed by percussion from Kilikus, saxophones from Sylvain Kassap and Yebga Likoba and trombone from Ramadolf which presented a myriad of constellations. The sky has no limits, let’s make the most of it.

“Les Amis d’Afrique” is recorded the following year, at the ‘Tombées de la Nuit’ festival in Rennes, bassist Tanguy Le Doré would weave with Tusques the fabric on which would evolve an explosive “brotherhood of breath”: Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on... bombards. With hints of modal jazz inspired by Coltrane or Pharoah Sanders, the Intercommunal Free Dance Music Orchestra is an ecumenical project which speaks to the whole world.

Chita, the third album proper by Japanese guitar pop trio Usurabi, is their most elegant, stylish confection yet. Over the past four years, Toshimitsu Akiko (vocals, guitar), Kawaguchi Masami (bass) and Morohashi Shigeki (drums) have been recording, playing live, and releasing songs of rare melodic warmth, centring Toshimitsu’s unique musical vision, where melancholy and joy can co-exist, a split-second flick of her wrist switchblading the guitar from languorous sweetness to overloaded rock action.

Chita expands on the smartly sculpted pop and rock songs found on their previous albums, Remains Of The Light (2021) and Outside Of The World (2023), while infusing the music with more of the rough- housing energy that also coursed through the live CD, Once In A Red Room, they self-released in January 2024. There’s still a through-line, of course, that connects the music here to Toshimitsu’s earlier groups, Doodles and Animone, but Chita feels more deeply like a sussed, sharp take on the crumbling edges of sixties psychedelic folk and rock: the harmonica that blasts through the opener, “Bansho”, is pure Dylan in effect.

One of the many smart things about Usurabi, though, is that they never feel beholden to the historical moment. Soon after “Bansho”, we encounter “TurnOff”, a lush pop song that turns on a dime, with Toshimitsu tearing fuzztone notes from six strings that are like a more folk-reverent Kaneko Jutok. And there’s something about the guitar and bass riff that doubles through the thrilling two-and-a-half minutes of “Hakanonaka” that’s a dead ringer for the Only Ones. Flip the record, and things get more expansive, the spindly jangling of the title song spiralling ever inwards, before the sweet, sugary rush of “Kanata” resolves to the martial rhythms that pulse through “Aseranai”, winding the album down to its poetic, becalmed resolution.

2024 Reissue

After 16 years this album will be released the first time on vinyl at Gusstaff Records in limited edition of 500 copies.

It was the 9th album of Hugo Race & The True Spirit, one of the most important in his very long history of solo activity.

Hugo Race, formerly of The Wreckery and Nick Cave and the Bad Seeds and now an internationally based producer, composer, performer and author, delivers intense sonic soundscapes that merge folk, experimentalism, electronica and rock. Originally from the 1980's Melbourne post-punk music scene, Hugo's ever-expanding network of collaborations, bands and multimedia projects are spread over several continents.

First time on vinyl for David Sylvian’s 29-track career-spanning compilation from 2000.
Features key songs from Japan and Rain Tree Crow, as well as David’s Virgin Records solo years.
Also includes key collaborations with Ryuichi Sakamoto, Robert Fripp and Alesini & Andreoni.
Alongside the remixes of “Ghosts” and “Bamboo Houses”, the album features tracks such as the beautiful ‘Ride’ from the ‘Secrets of the Beehive’ sessions, two dobro pieces written with Bill Frizell and “Cover Me with Flowers” from the ‘Dead Bees On A Cake’ sessions, plus the classic “Some Kind of Fool’ taken from Japan’s sessions for ‘Gentleman Take Polaroids’.

LTD BLOOD-SPLATTER VINYL W/ LYRIC BOOKLET & CUT OUT MASK JEWEL CASE CD W/ LYRIC BOOKLET Just in time for Halloween. Zombina and the Skeletones are returning from the dead to bring you their first full-length album in ten years ‘The Call of Zombina’. The Band Under Your BedTM returned to the studio (or in this case a creepy old church in Liverpool) to make their first album in ten years, with Stephen Cole from the avant garde “post-music” act a.P.At.T producing. ‘The Call Of Zombina’ is Hammer Horror melodrama as art-therapy, the pank roots of goth-rock meets the strings and harpsichords of baroque. ‘The Call Of Zombina’ seeks to mirror the clamic portmantean horror of ‘The House That Dripped Blood’ or ‘Asylum’, with each track telling its own self-contained story. Musically it’s death rock/ baroque, Joe Meek and James Bernard meets The Damned uptown. Lyrically, the schlocky Americanistas of old have been eschewed in favour of the no less pulpy vernacu lar of Pan Classics paperbacks... and of course the whole thing was recorded in an old spooky church, to captare some of that creaky atmosphere and gigantic reverb.

"Justin Townes Earle released Kids In The Street, his first record on New West Records, in May of 2017. The album received critical acclaim and further cemented Justin’s legacy as one of the best active songwriters in music. Songs like, “Champagne Corolla” showcased his wry sense of humor as well as his deft ability to build upon the music that came before him while at the same time creating something unique and new. Familiar, inventive, creative, and clever.

Justin would release his second album with New West Records in May of 2019. The Saint of Lost Causes was hailed as one of the best albums of 2019 by Rolling Stone Magazine with “half a dozen or so career classics.” “I was trying to look through the eyes of America,” Earle says. “Because I believe in the idea of America - that everybody’s welcome here and has a right to be here.” Earle tells these American stories in detail and without judgement. While some songs cite historic events like “Flint City Shake It,” and “Don’t Drink The Water,"" other tracks present fictionalized narratives that are no less harrowing, or true-to-life , as heard in ""Appalachian Nightmare,” “The Saint Of Lost Causes,” and “Over Alameda.""

Justin Townes Earle was always a champion of the underdog and All In features in depth looks at the hopeful, and the hopeless. Fueled by empathy, baked in the blues, Justin was never without something poignant or humorous to say. Sadly, Justin passed away in 2020 at the age of 38. ALL IN: Unreleased & Rarities (The New West Years) is a fitting tribute to Justin’s legacy. The collection features many never heard before songs, demos, and cover tunes, spanning his time as a New West Records recording artist."

"Here is what 2014 felt like: The cold, rushed walk from the Montrose Avenue L to the downstairs entrance of 20 Meadow Street, an address you could never quite remember. The careful steep climb to the top of the nondescript building, where Titus Andronicus’s Patrick Stickles was waiting to take your balled-up cash and stamp the inside of your wrist. Standing beneath that jagged cardboard punk bunting, draped with tangled twinkle lights, while Joe Galarraga, frontman of Big Ups, slowly, menacingly, wound a microphone cable around his fist. Then a barbed F-sharp sprang forward from Amar Lal’s guitar, shaking the entirety of Shea Stadium to life.

For much of that time period, ten years now behind us, it would be easy to say, man, you just had to be there. You had to be there when Death By Audio closed. You had to be there when the Apple store opened on Bedford Ave. If you weren’t there when a small, specific subculture of New York City took over its abandoned lofts and grimy basements and squatted itself into community, that’s okay — it might be too clunky and myopic to explain now. Released in January 2014 to Dead Labour in the US and Tough Love Records in the UK, Eighteen Hours of Static stands even now as a triumphant representation of what Big Ups did so well over the course of their nine-year run as a band. Now, with the re-release of Big Ups’ killer debut full-length, those who didn’t get to experience all this the first time around will get a shot at living as if it’s the glory days again."

Our third album is finally available again on vinyl! Originally released in 2012 and out of print for a long time since, we now finally have the reissue and we've made them on hot pink vinyl. Only 500 copies made.