Search:deep orange

2 x orange-marbled vinyl im Gatefold, 19 songs inkl. Live tracks & Remixen

Peletronic comes back on Fortunea Records with another great 4-tracker! After his successful Hazy Jane EP and the broken beat contribution ‚Goldfinch’ on the latest 10 year anniversary compilation, he delivers us four brand-new contemporary and intensive cuts on here. Restless, the title-track of this record, is a sub driven deep house work out with boasting swelling loops and an irresistible vocal sample. Afterwards dreamy acid lines and energetic drum patterns prepare you for several ‚Timeless Travels’. ‚Malibu Orange’ on the B-side captures the elusive late-hours in the morning. And the record ends with the minimal flamboyant beats of ‚1160 Dub'. A lovely homage to his favorite district in the Austrian capitol. The Restless EP will come out on the 23rd of may. This record is limited to 200 copies. There will be no repress!

D R E A M S I C L E marks the highly anticipated 4th studio album from Grammy-winning singer-songwriter Maren Morris, via Columbia Records. Featuring songs written by Morris with Julia Michaels and Tobias Jesso Jr, plus production by Jack Antonoff and Greg Kurstin, this album is a deeply personal exploration of transformation, resilience, and self-discovery. As Morris describes it, “D R E A M S I C L E takes place in the aftermath of loosening my grip on my personal and professional life. Sweeping through the pits of grief, but never staying too long, and finding the joy in knowing that at my core, I’m still who I am – and that’s pretty f-ing great..." TRanslucent Orange LP Vinyl & standard CD. Promo & marketing activity.

To celebrate the 15th anniversary of DJ Hell's groundbreaking album Teufelswerk, this limited anniversary edition brings back the legendary release in a deluxe 3xLP set, pressed on transparent Neon Yellow, Orange, and Red vinyl. Included is an exclusive poster featuring the original vinyl front cover, along with a special hype sticker for collectors. Originally released in 2009, Teufelswerk remains a milestone in electronic music, seamlessly blending techno, ambient, and experimental elements. The album features collaborations with the likes of Bryan Ferry, exploring the duality of Day and Night-contrasting euphoric club tracks with deep, cinematic soundscapes.

Limited Edition to 200 copies incl. Remixes by DALO, Benedikt Frey and Nathan Dawidowicz

R.i.O. welcomes Brainwave Research Center, a NYC-based duo consisting of house/techno producer Chase Smith and documentary filmmaker Christa Majoras. In early 2023 they freed their debut album "figure 1" via their own label BRC. Two more albums followed. All documenting their love for experimental yet charming music of all kinds.

Their influences span a vast spectrum, from Steve Reich, Laurie Spiegel, and Edgar Froese to Martin Rev, John Carpenter, early Kraftwerk, or the ambient techno of Pete Namlook's Fax +49-69/45046 label. Yet, Brainwave Research Center forges a sound distinctly their own, seamlessly blending analog synthesis with electro-acoustic experimentation.

On "Psychic Antenna", the duo takes a gentle rawer approach. The tracks range from the manic verbal Die-Tödliche-Doris-like loops of "I Find Myself" to the meditative cosmic trance of "Open Your Mouth." "Orange Drop" and "Transmitter Park" toy with the dancefloor, channeling slow-motion acid trance and krautrock echoes.
The release is rounded out by three remixes: R.i.O.'s own Benedikt Frey delivers a deep, trippy groover full of inner musicality, while close companion DALO crafts a dark, echo-drenched pop rework, and Berlin's Nathan Dawidowicz injects psyched nu-disco rhythms, expanding "Psychic Antenna" into seven notions of intense neural oscillations.

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Neon Orange & Black Vinyl. With Information (2019), Cleveland-raised, New York-based producer and DJ Galcher Lustwerk marked his debut LP on Ghostly International, having already carved out a lane of low-key hip-house music with his instant classic 100% GALCHER mixtape: deep, smooth, psychedelic, equally cut for the club, after-hours, night drives, and headphones. Lustwerk leveled up for Information, experimenting with more live drums and jazz saxophone to create a new dynamic, what he considered a hookier, more bittersweet, Midwest mindset. Lustwerk emerged in 2013 with the game-changing 100% GALCHER for the beloved mix series Blowing Up The Workshop, later named a mix of the decade by Resident Advisor. The signature sound - a smoky stream-of-consciousness baritone shadow-boxing with beats, informed by funk, rap, rhythm, and blues - felt like an epiphany distinctly linked to the expanse of Midwest driving and the strobe-lit detachment of club culture. Now over a decade into his musical vision, Lustwerk remains an elusive nightlife narrator, embodied by the hooks and a growing catalog that's proven influential and singular.

Scowl is a band that sounds exactly like their name implies. Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves. Much of Are We All Angels grapples with Scowl’s newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single “Not Hell, Not Heaven” outright rejects the narratives cast onto them by outsiders. “It’s about feeling victimized and being a victim, but not wanting to identify with being a victim,” explains vocalist Kat Moss. “It’s trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain’t working for me.” The band breaks from a sense of disassociation to seek deeper connections on “Fantasy.” “It’s incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated,” Moss says. “‘Fantasy’ is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard.” The album ends in a philosophical place on the closing, titular track, “Are We All Angels,” asking questions like, “Is this all there is?” and ultimately putting it on the listener to decide. “It’s about the personal struggle between good and evil. It doesn’t matter how ‘good’ or ‘bad’ you are, there are systems that will try to rewrite your narrative no matter what you actually do,” explains Moss, noting that punctuation on “Are We All Angels” has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl’s debut, 2021’s How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record’s sonic outlier, a cleaner interlude called “Seeds to Sow,” that, true to its name, planted the seed for what was to come for the band. “It kind of laid out this destiny for us, and I feel like now we’re fulfilling that,” says drummer Cole Gilbert. The band continued to expand their sound on 2023’s widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next. Scowl’s growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band’s scope. “Will would say, ‘Everything you have here is correct, but it’s in the wrong place,’” says Gilbert. Moss adds: “Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses.” But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. They are deeply committed to carrying the ethos of punk and its sense of community. “Hardcore and punk have sculpted how we operate, what we want to do as a band, and how we participate,” says guitarist Malachi Greene. “At our core, we are a punk and a hardcore band, regardless of how the song shifts and changes.

Scowl is a band that sounds exactly like their name implies. Venomous, fierce, antagonistic. A sneer not to be crossed. Over the last five years, the Santa Cruz, California, band has firmly planted their flag in the hardcore scene with their vicious sound and ripping live show, sharing stages around the world with Circle Jerks, Touché Amoré, and Limp Bizkit, and filling slots at prominent festivals like Coachella, Sick New World, and Reading and Leeds. But with their new album, Are We All Angels (Dead Oceans), Scowl is aiming to funnel all that aggression through a more expansive version of themselves. Much of Are We All Angels grapples with Scowl’s newfound place in the hardcore scene, a community which has both embraced the band and made them something of a lightning rod over the past few years. Standout single “Not Hell, Not Heaven” outright rejects the narratives cast onto them by outsiders. “It’s about feeling victimized and being a victim, but not wanting to identify with being a victim,” explains vocalist Kat Moss. “It’s trying to find grace in the fact that I have my power. I live in my reality. You have to deal with whatever you're dealing with, and it ain’t working for me.” The band breaks from a sense of disassociation to seek deeper connections on “Fantasy.” “It’s incredibly challenging to try to balance my love for the scene while also feeling, in some spaces, extremely alienated and hated,” Moss says. “‘Fantasy’ is about feeling like I don't know how to connect with these people anymore, because I have shelled myself away so hard.” The album ends in a philosophical place on the closing, titular track, “Are We All Angels,” asking questions like, “Is this all there is?” and ultimately putting it on the listener to decide. “It’s about the personal struggle between good and evil. It doesn’t matter how ‘good’ or ‘bad’ you are, there are systems that will try to rewrite your narrative no matter what you actually do,” explains Moss, noting that punctuation on “Are We All Angels” has been deliberately omitted in an attempt to leave the statement open-ended. Are We All Angels is the highly anticipated follow-up to Scowl’s debut, 2021’s How Flowers Grow, a 16-minute primal scream over punishing riffs. But amidst the pounding chaos, it was the record’s sonic outlier, a cleaner interlude called “Seeds to Sow,” that, true to its name, planted the seed for what was to come for the band. “It kind of laid out this destiny for us, and I feel like now we’re fulfilling that,” says drummer Cole Gilbert. The band continued to expand their sound on 2023’s widely acclaimed Psychic Dance Routine EP, incorporating more pop hooks and favoring gentler singing over heavy screaming, paving the way for what would come next. Scowl’s growth got a huge boost from producer Will Yip (Turnstile, Title Fight, Code Orange, Balance and Composure), who broadened the band’s scope. “Will would say, ‘Everything you have here is correct, but it’s in the wrong place,’” says Gilbert. Moss adds: “Will really helped restructure a lot of the material. Some songs he tore apart to make more space for the really good hooks and choruses.” But even through this more eclectic approach, Scowl loses none of their edge, and still manages to convey the anger and frustration that lies underneath. They are deeply committed to carrying the ethos of punk and its sense of community. “Hardcore and punk have sculpted how we operate, what we want to do as a band, and how we participate,” says guitarist Malachi Greene. “At our core, we are a punk and a hardcore band, regardless of how the song shifts and changes.

New Theo Parrish? Yes please. The Sound Signature boss remains in a class of one and continually finds new ground to explore in the studio, often taking a freeform jazz mindset to roughed-up house and techno that blends the mechanical with the soulful in otherworldly, hypotonic fashion. 'Orange Barrel Action (Yellow Flashing Light mix)' is very much in that mould with lumpy drums detuned and off-grid keys and hissing hi-hats all coalescing into something seductive and subversive. 'Pianamonn' is a deep house foundation topped with weird and wonky keys in inimitable Parrish style.

This anthology follows Now-Again's Loving On The Flipside, issued more than a decade ago. And that anthology itself got its start in a different time, a decade even earlier - the era in which Now-Again's Egon and his friends chased down funk 45s and the odd LP for their testosterone riddled, aggressive sound. Often times the funk song on one of their chosen is would be the throw-away b-side, the hasty afterthought the band cobbled together the night before hitting - or while in - the studio because they'd put all of their energies into writing the amazing ballad that would ensure their entry in soul's history books. Every once in a while, that funk song they coveted could have been - in an alternate universe - a ballad. The Third Guitar's "Baby Don't Cry," El Pooks* "I Could Do The Impossible" and Spider Harrison's "Beautiful Day" all fit into this category. That realization notwithstanding, more often than not they shined over the ballads to get to the tough stuff. Then they started flipping those funk records over to find some loving on the flip side. Some marvellous tunes were there to be found. This is the long awaited follow up. Contained within this anthology are some of the greatest soul ballads that go sweet with a beat - or, to follow our tagline, epitomize "sweet funk." Most of these songs have never been compiled. Some have never been issued in any form. Some, like the Ledgends entry here, were sampled to great success (in that case for Freddie Gibbs and Madlib's "Deeper"). Some haven't been sampled, but, like Herb Johnson's entry, are patiently awaiting their day. It should go without saying that we're proud to present this music in good conscience; with the full participation of everyone but the most obscure names contained within. And, for those who we've not yet been able to contact, this is our message: We've found your brethren, we've placed them beside you on an album that we hope you feel is befitting of your collective contributions to soul music and now we're just waiting for you. Though the music you recorded is from the years past, vour time is now.

Mesmeric, confessional alt-folk with hints of americana - weaving beautiful stories with deep and poignant lyricism and relatable storytelling, creating a sense of familiarity even in the ambiguous, leaving no choice but to feel everything with her. Mann’s debut album,

- Clara Mann’s evocative debut album Rift navigates the fractured environment of the in-between—those liminal spaces exposed between light and dark, growth and remorse, loss and reclamation. It is a record that makes a strong case for hope, those luminescent silver linings in the dark. With Rift, Clara Mann acknowledges the cracks through which both despair and hope can seep. It is a deeply personal record, yet it is universally resonant, holding the mirror up to herself and to the world around her. It is a record that reflects on embracing our fault lines, navigating the ruptures that can erupt from them and moving forwards, in motion, with a renewed sense of self and aliveness. Mann’s debut album, Rift is all of her—her past, her present, her emotions, her experiences—and now, it is for you.

- Influenced by artists like Jacques Brel, Edith Piaf, Judee Sill, and Tom Waits, Mann has a deep love and care for songwriting

- The album was primarily recorded at the 4AD Studios in London, produced and mixed by Fabian Prynn (Martha Skye Murphy, Ex:Re, Fabiana Palladino) who carefully facilitated an imaginative space for Mann to express the playful, strange and real parts of herself

- She has previously toured and collaborated with the likes of Daniel Rossen (Grizzly Bear), Billie Marten, Skullcrusher, Bill Ryder-Jones, Youth Lagoon and Willie J Healey

Julek ploski’s ‘Give up Channel’ is on mappa. It’s the follow-up to the Poland-based FL Studio demon’s ‘Hotel *’, released via Orange Milk in 2023.

It’s an album that wrestles against a shadow self. It’s about shelter from the hailstorm of unwanted memories and guilt pangs and serrated blades of thought. It’s about clinging on to some semblance of hope, knuckles taut and teeth gritted.

The fragmented drift of opener ‘Naysayer’ flows forward like an anxious daydream, pad eddies and piano plinks anchored by Trapaholics drops and bursts of guaracha drums. It’s a mess of mind: the bleakness of ‘Truth’ is punctuated by gun cocking and bullet spray and sudden jester-like blasts of unhinged, schizo-whimsical melody. An internal war without a clear winner.

Shame snakes through this music like venom through an emaciated body. Blue screenlight in a dark bedroom, pulsating temples, lockjaw. ‘Titanic’ hits like the thrashing resistance of a being built for love grappling against the scalding vengefulness it’s forced to contend with, the song’s abstracted rave synths giving way to warped voices and spiralling derangement. ‘Hollywood’ is a scarred battleground, the martial bludgeoning of a tightly wound hardstyle stomp blistering and shredding a delicate piano-and-string arrangement.

This music is about deep solitude, a meditation on simmering, slow-marinating hatred. But it’s ultimately about prevailing. It doesn’t revel in negativity, it roils and twists and writhes against it. Dots of light in oppressive darkness. Clarity and purpose against chaos and filth. It’s a struggle worth waging.










h I Was #AllAlone Movements V - VIII
[i] Economy [Movements I - IV]

Jamwax Records proudly presents this historic reissue, featuring two timeless tracks from The Wailers’ legendary album The Best of The Wailers: "Can't You See" and "Back Out". While these songs have long been cherished as classics, this marks the first time they have ever been available on a 7-inch vinyl single. Even though some books about Bob Marley & The Wailers list them as having been released on 7-inch, I have never seen a copy for sale.

Produced by the visionary Leslie Kong with co-producer Warwick Lyn, the album captures The Wailers at their soulful, raw best. These songs predate the group’s later partnership with Lee Perry and Island Records, offering a purer, more unembellished sound. The harmonies are flawless, the arrangements simple yet deeply powerful, and the performances utterly timeless. "Back Out" highlights Bob Marley's unmistakable voice, brimming with the confidence and charisma that would later make him a global icon. Bunny Wailer and Peter Tosh's harmonies add depth to a track that perfectly embodies the spirit of early reggae. "Can't You See" showcases Peter Tosh on lead vocals, supported by the sublime harmonies of Bob Marley and Bunny Wailer.
These recordings, crafted with a four-track setup and featuring some of Jamaica’s finest musicians—including Mickey ‘Boo’ Richards on drums, Jackie Jackson on bass, and Winston Wright on organ—are testament to a moment in time when reggae was still raw, revolutionary, and evolving.

Recorded at Dynamic Sounds Studios (Kingston, Jamaica), from 29th April until 19th May 1970.
Originally released on August 9th of 1971 by Beverley's Records, 135 b Orange Street, Kingston, Jamaica, West Indies.

While she was waiting for her last album 'Pripyat' to be released, Catalan composer and producer Marina Herlop was restless. She was concerned about her (by then) uncertain music career, and felt emotionally unmoored. "Some days I used to sit on the balcony of my flat to catch some sun," she explains, "I would close my eyes and start visualizing myself as a gardener, pulling out purple weeds from the soil, every bad memory or emotion I wanted to expulse being one of the plants." As the days dragged on, the fantasy deepened, and Herlop discovered that parts of the garden was withering; the energy she had been putting into the non-musical side of her life had seeped into her creative pasture and poisoned it. She knew what she needed to do to overcome the blight: plant some seeds and tend to her art to help it blossom and bloom once again. 'Nekkuja' is a place for Herlop's warmest, sweetest sentiments to rise to the surface and crack through the topsoil. She describes the record as a way for her to seek and affirm inner light, and it's undoubtedly her brightest, poppiest statement to date. The forward-thinking, experimental touches that nourished 'Pripyat' are still present, but blessed with a level of positivity that's rare to find in a scene so entranced by darkness and melancholy. Skittering fragments of ornate acoustic instrumentation provide a serene welcome to 'Busa', punctuated by precise electronic processes that shuttle the sound towards abstraction and fantasy. Herlop's voice grows over the tangle of sounds from a childish giggle into a layered, matted mantra, sounding passionate, hopeful and full of energy. The vitality spills over into 'Cosset', where she wraps powerful motifs around ricocheting beats and dramatic piano rolls. Herlop's garden opens up dramatically on 'Karada' when bucolic field recordings crack like sunlight over harp plucks and willowy vocals. Her voice seems to bend around the whooshing streams and chittering of birds as if she's singing to the manicured land itself - a utopian paradise that Herlop employs as a metaphor for the creative process. In contrast to the view that an artist is an isolated genius or an idol to be worshipped, Herlop believes that the garden helps us see the process as closer to devotion or perseverance. A gardener brings order to the wild chaos of the outdoors, collaborating with nature to arrange something vibrant and enduring. Blending familiar sounds with fanciful concepts, Herlop traces an imaginary garden, imploring us to wander and wonder. And by the album's billowing final track 'Babel', it's flowered into a flush of pruned vocal phrases and delicately groomed orchestral rushes, painted in orange, green, blue and red.

Soul Jazz Records are issuing this album as a one-off pressing special orange coloured vinyl edition, fully remastered and with exact reproduction artwork especially for Black Friday 2024.
In similar vein to groups such as Mandrill, Jimmy Castor Bunch, The Blackbyrds, Pleasure and Kool and the Gang, Tribe blends together elements of funk, jazz, rock, latin and soul music into a unique sound (their first album was aptly named ‘Ethnic Stew’).
‘Dedication’ is a fantastic long-lost album of deep funk, soul and jazz from the group, originally released independently in 1977 and out-of-print for over 45 years.
Tribe was the brainchild of multi-instrumentalist Earl J Foster, who put together the band along with producer Big Dee Ervin in 1974. Aside from Earl Foster the band features Clyde Jardine Powell on bass, Billy Soto on guitar, Jimmie A. Clapper on sax, Benjamin Taylor and Harold Clayton on vocals and Harold Davis on drums.
The group made three albums, but ‘Dedication’ remains their tour de force, a fantastic slice of spaced-out funk, jazz and soul.

Arriving on a limited 200-copy translucent orange vinyl, 'Dark REM' on Cuddling Monsters’ second release on Mask Records is a hunched-over and direct dub techno cut with forceful drums and deft percussion, adding texture next to warm, sustained pads.

There's a real sense of urgency in this most frictionless groove, which means it cannot fail to cast a spell on the dance floor. The fantastic 'Event Horizon' is then infused with the aura of deep space - sustained chords with a cosmic edge add vast scale to the well-programmed deep techno drums. 'Monster Talk' is a mid-tempo dub track with underlapping drums and rattling, rusted chords that disappear to infinity. It's cavernous and evocative, with myriad little details occupying the mind. 'Temporal Aura' is another standout sound that blends deep techno, dub, and minimal into a serene soundtrack that encourages inward reflection while driving onwards through the cosmos.

Mask Records founder ZentaSkai and his creative partner Laura Merino Allue are Berlin mainstays helping shape the underground. Cuddling Monsters is a new project that debuted on the label in March. It is all about crafting music with analogue instruments, which they believe "offer distinctive sonic qualities, creative constraints, and genuine sound reproduction”. They explore Detroit-infused house, dub techno and minimal soundscapes with raw edges and a great sense of atmosphere. Cuddling Monsters'

Just as his basslines never stay within the limits of the obvious, so Joe Sanders" life as a bassist, composer, band-leader and educator has never followed the single, most discernible pathway. A Midwest native, he"s studied and played jazz on the opposite coasts of California and New York: a master of the acoustic bass, he"s equally at home producing in the digital realm; embedded deep in the living tradition of American jazz; and living, teaching and creating in Europe. All these separate strands come together on his third headline release, "Parallels". The album presents a set of live recordings from a dream line-up that matches the leader"s full-bodied acoustic bass presence with Seamus Blake, Logan Richardson and Gregory Hutchinson in performances that capture all the daring and drive of the East coast scene. Alongside them is a set of studio self-productions with guests Jure Pukl and Taylor Eigisti that capture the laid-back dreamy adventurousness of the West Coast.

13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.

13 tracks from the Rock and Roll Hall of Fame member—many making their vinyl debut. Pressed on opaque orange vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Little Richard's place in rock history has never been disputed. "The Architect" returned in 1970 on Reprise Records with The Rill Thing, and during his tenure there, recorded four albums with only three seeing actual release. (Southern Child would remain unreleased until the material appeared on a 2007 compilation, with Omnivore Recordings releasing it in its intended form in 2020.) Along with alternate takes, singles, and appearances on soundtracks including $ (starring Warren Beatty and Goldie Hawn) and composed by Quincy Jones, those tracks were included on expanded CD reissues of King Of Rock And Roll, The Second Coming, and Southern Child. Now, 13 of those performances are available on LP—some for the first time since their original release, and others making their vinyl debut. Settin' The Woods On Fire: The Reprise Rarities collects and showcases Little Richard's dynamic time on Reprise, and offers a deeper look into the man whose output was and is as engaging and original as it had ever been, as he crossed in the 1970s (and beyond). Mastered by Grammy-winner Michael Graves and cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Studio in Memphis, Settin' The Woods On Fire offers a look into a man whose musical boundaries were endless, and paves the way for a reissue campaign highlighting those classic albums' return to vinyl.

Dennis Bovells produktive und vielseitige Karriere umfasst ein riesiges Spektrum an Musik: von Dub Poetry über Lovers Rock und Post-Punk bis hin zu Disco, Pop und mehr. Seine Produktionsarbeit umfasst so unterschiedliche Persönlichkeiten wie The Slits, I Roy, Maximum Joy, Fela Kuti, The Pop Group, Janet Kay, Saada Bonaire, Orange Juice, Golden Teacher, Steel Pulse und mehr.

Diese Zusammenstellung konzentriert sich auf die Zeit während und unmittelbar nach Bovells Engagement beim Jah Sufferer Sound System und gräbt tief, um deepe Cuts und weniger bekannte Versions zu finden, hauptsächlich aus den Jahren 1976-1980, samt eines umwerfenden und weniger bekannten Dub des ikonischen Tracks "Silly Games". Sorgfältig restauriert und remastered bei Dubplates & Mastering in Berlin, sodass diese Jahrzehnte alten Tracks makellos und dynamisch klingen und so angeordnet sind, dass sie den Hörer auf eine Reise durch Bovells Produktions- und Arrangement-Genie mitnehmen.

Die beiliegenden Sleevenotes sind das Ergebnis eines langen Gesprächs mit Dennis über diese Zeit seines Lebens, mit Erinnerungen an jeden einzelnen Track und faszinierenden biografischen Anmerkungen. Die Vinyl- und CD-Versionen weisen unterschiedliche Cover auf, wobei jedes Format ein einzigartiges Foto von Syd Shelton verwendet.

Quantum Baby is the second instalment of Tinashe’s BB/ANG3L trilogy following last fall’s first instalment, BB/ANG3L. The album includes the explosive single “Nasty” which is currently rising up the charts and has become the song of the summer amassing over 200M+ global streams. Billboard Hot 100 - #61, Top 5 Rhythm Radio, Spotify Viral US - #1, TikTok Billboard Top 50 - #2. The genre-blending album contains elements of R&B, Pop, Electronic and Hip-Hop. This album features production from Grammy Award Winning producer Ricky Reed, along with Nosaj Thing and more! Tickets are currently on sale for the North American leg of Tinashe’s Match My Freak World Tour, which kicks off October ‘24. The vinyl is housed in a gatefold jacket with printed sleeve and insert booklet. Available in standard black and a limited Indie Exclusive Edition pressed on Blue & Orange Swirl colored vinyl. Quantum Baby is the second instalment in Tinashe’s BB/ANG3L album trilogy. The first in the series, BB/ANG3L, was released Fall ‘23 and was followed by the BB/ANG3L tour and Tinashe’s first Tiny Desk performance. Tinashe began teasing the hit single “Nasty,” this past Spring, debuting the song at Coachella 2024. The song quickly went viral, to become the song of the summer. This led to everyone asking the most prevalent question of the summer: “Is somebody gonna match my freak?” “Quantum Baby is about getting to know me on a deeper level. It's about exploring who I am as a person and who I am as an artist. I’ve never been one to be put into a box, so the name Quantum Baby encompasses all the different parts that make up who I am as a creative,” says Tinashe, describing the album as “forward, hot and lots of bass

'We're excited to be able to bring you the latest wonderful album from Chester's boycalledcrow, after a series of superb releases for labels such as Mortality Tables, Waxing Crescent Records and Subexotic Records, including the wonderful Kullu from earlier this year.

Knott's music doesn't sit easily in any pre-existing genres, being at once strange and experimental, yet melodic and somehow comforting. His music is intimate and evocative, deeply personal, and manages to be both bucolic and yet totally 21st century, like Kraftwerk's robots dreaming of sheep.

The songs and sounds on “eyetrees” are inspired by a rich family life and the wonderful times spent with his wife and kids, both at home and out in nature.'

Knott said of the album and its inspirations:
“We enjoy spending time in the woods with our young children, creating stories about the "eye tree”. This tree, with thousands of eyes, watches over us and cares for us like family. We make fox medicine and cherish these blissful moments. The music reflects these times, seen through the colors of an old, fuzzy reel—orange, red, and yellow with blurred edges, like an old photo scorched by the sun.

I feel a deep spiritual connection to the countryside; the hands of Arcadia cradle me when I feel sad. Some of the album was created during times of sadness when I felt death was close and the lines between worlds were blurred. This feeling—that anything can happen and that life is delicate and can be taken away in a flash—permeates the music.

The song titles are stories and memories of my family, filled with hazy pinks, yellows, reds, and oranges.

Wonky acoustic guitar, broken electronics, and a warm, otherworldly space."

Geschrieben wurden die Hauptteile der Songs auf 'Fever Dreams' im Laufe von zwei Jahren, aufgenommen wurden sie in einer Reihe von Full-Band-Studio-Sessions Ende 2019 und Anfang 2020. Während der langen, entschleunigten Pandemie-Tage verfeinerte O'Brien sie in seinem winzigen Heimstudio in Dublin. Gemischt wurde das Album von David Wrench (Frank Ocean, The XX, FKA Twigs). Ursprünglich erschien das Album im August 2021.

Format: Orangene Vinyl inkl. Downloadkarte

The follow up album to 2019's Dusted Jazz Volume 3. Pressed on 180 gram, White & Orange Marbled Vinyl. Jenova 7 emerges once again as a beacon of auditory innovation with his latest opus, Lost Sci-Fi Movie Themes. Released under the banner of Cold Busted, this collection of 16 tracks serves as a time machine, whisking listeners away on a journey through dimensions both familiar and uncharted since his last foray with 2019's Dusted Jazz Vol. 3. Jenova 7 has meticulously crafted an album that resonates with the essence of ‘90s trip hop nostalgia while propelling us into the cosmos of futuristic soundscapes. The album's standout tracks—“The Future 1995,” “My Zero G Love,” and “Downtown Lost In The City Of Lizards”—are masterclasses in genre-blending and atmospheric storytelling. "The Future 1995" envelops one in a nebula of boom-bap beats, cosmic sound effects, and b-movie vibes, creating a sonic experience that feels like intercepting radio signals from a distant, funk-infused galaxy. Meanwhile, “My Zero G Love” floats the listener through the velvety darkness of space with its sexy lounge feel, portamento synth lines, and the undeniable funk that glimmers under starlight—evoking the sensation of grooving in weightlessness. Then, there's “Downtown Lost In The City Of Lizards,” a track that saunters through the urban jungle with sparkling keys, evocative guitar spurts, and strutting jazz bass, painting a picture as vivid and surreal as its title suggests. Jenova 7's skill lies in his ability to fuse moody, jazz-inflected samples with grooves that draw one into a distinctly atmospheric sound—a cinematic journey through time, space, and emotion. His tracks are experiences, wrapping the listener in a cocoon of vibrant soundscapes that are both introspective and expansive. Lost Sci-Fi Movie Themes is an invitation to explore the unknown, to lose oneself in the depths of imagination and emerge on the other side transformed. For DJs looking to transport their audience to another dimension and for music fans yearning for a taste of nostalgia wrapped in the allure of the future, Jenova 7's latest release is a must-discover treasure. Dive in and let the odyssey begin

Vinyl-Neuauflage zum 30-jährigen Jubiläum von 'Above The Rim (The Soundtrack)'. Dies ist das erste Mal, dass die komplette 21-Song-Trackliste auf Vinyl erhältlich sein wird. Alle bisherigen LP-Veröffentlichungen bestanden aus 18 Titeln. Sie wird auf doppeltem gelben Vinyl mit orangefarbenen und roten Spritzern erhältlich sein.

Bei seiner Erstveröffentlichung verkaufte sich 'Above The Rim (The Soundtrack)' über 2 Millionen Mal und hielt sich 10 Wochen in Folge auf Platz 1 der Billboard R&B Albums Chart. Der Soundtrack ist vollgepackt mit Songs von so namhaften Künstlern wie Tha Dogg Pound featuring Nate Dogg und Snoop Doggy Dogg, Dr. Dre, Warren G, DJ Quik und Al B. Sure! Zusätzlich enthält diese spezielle 30. Jubiläumsausgabe nun Tracks von 2Pac 'Pain' (feat. Stretch), Lord G 'Mi Monie Rite!' und 2Pac 'Loyal To The Game' (feat. Treach & Riddler).

- Ltd. Col. 2LP: (Yellow w. Red and Orange Splatter Vinyl)

Svart Records proudly present Winter’s most classic, gloomy and crust laden doom EP “Eternal Frost” for the first time as a vinyl version on its own ”Eternal Frost” is an EP by New York’s cult death doom band Winter. Never before released on vinyl as its own release and only included in the deluxe edition of ”Into Darkness” released by Svart Records in 2020, ”Eternal Frost” will finally be available on wax in August 2024. Formed in New York circa 1988, Winter played slow, deep and hard nuclear doom with a crust punk rawness, that came across like Hellhammer jamming with Amebix. Their penchant for mammoth sized and funeral-paced, wasteland droning has become a touchstone reference for bands across the whole spectrum of underground metal. Originally released only on CD by Nuclear Blast in 1994, ”Eternal Frost” is a reissue of the 1989 eponymously titled demo tape with an additional track “Manifestation I”. Winter’s pre-internet infamy led to their demos being tape- traded in hallowed adoration by fans and bands alike, gaining notable fans such as Fenriz from Darkthrone. “Eternal Frost” is available on Svart exclusive white/red/gold/orange marble vinyl, limited clear/green marble vinyl, and classic black vinyl. Release date August 2nd.

Svart Records proudly present Winter’s most classic, gloomy and crust laden doom EP “Eternal Frost” for the first time as a vinyl version on its own ”Eternal Frost” is an EP by New York’s cult death doom band Winter. Never before released on vinyl as its own release and only included in the deluxe edition of ”Into Darkness” released by Svart Records in 2020, ”Eternal Frost” will finally be available on wax in August 2024. Formed in New York circa 1988, Winter played slow, deep and hard nuclear doom with a crust punk rawness, that came across like Hellhammer jamming with Amebix. Their penchant for mammoth sized and funeral-paced, wasteland droning has become a touchstone reference for bands across the whole spectrum of underground metal. Originally released only on CD by Nuclear Blast in 1994, ”Eternal Frost” is a reissue of the 1989 eponymously titled demo tape with an additional track “Manifestation I”. Winter’s pre-internet infamy led to their demos being tape- traded in hallowed adoration by fans and bands alike, gaining notable fans such as Fenriz from Darkthrone. “Eternal Frost” is available on Svart exclusive white/red/gold/orange marble vinyl, limited clear/green marble vinyl, and classic black vinyl. Release date August 2nd.

Akio Niitsu's first album, "I/O(i?o)" released in 1978, was produced in a homemade studio that had been converted from a storeroom in his home, and he spent three years doing everything from composition to engineering by himself, using overdubbed guitar recordings. 's first analog re-release has been decided.

As a guitar multi-recording album, the idea was realized six years earlier than the album "E2-E4" released in 1984 by Manuel Göttsching, the central figure of "Ash La Tempel", but it was too early. A hidden experimental/ambient gem!

The paradoxical sound that makes you feel as if you are lost deep in a labyrinthine forest, combined with Tadanori Yokoo's artwork, is a piece that allows you to enjoy Akio Niitsu's worldview with your ears and eyes.

Absis returns to Hivern Discs with his Fenix EP. Six cuts that dive deep into Salva's more abstract and slow side keeping his signature reverberating drums and droning landscapes. Comes with poster that will be printed, together with the sleeve, at L'Anacronica in Barcelona, with letterpress on a shiny silver cardboard.

José James - the forward-looking, genre-defying Jazz singer for the hip-hop generation - has done it again. “1978” (his 12th studio album since 2008’s “The Dreamer'') announces an instant classic, combining James’ deep love of jazz and hip-hop with songwriting and production nods to R&B heroes Quincy Jones, Michael Jackson and Leon Ware. Produced by James and featuring an all-star ensemble including Grammy nominees Pedrito Martinez (Camilla Cabello, Eric Clapton), Marcus Machado (Daniel Ceasar, Pharoahe Monch), Jharis Yokley (Sleigh Bells, My Brightest Diamond) Chad Selph (Bilal, FREELANCE) and David Ginyard (Solange, Blood Orange), “1978” pulsates with the socially conscious feel-good vibes of Marvin Gaye, Prince and Stevie Wonder. James also skillfully explores the boundaries of Black music, featuring Brazilian rising star and recent Latin Grammy nominee Xênia França as well as Congolese-Belgian rapper/filmmaker Baloji.

This collaboration is full of synchronicities that go all the way back to 2020, when The Galaxy Electric (Jacqueline Caruso & Augustus Green) started conjuring the melodies and arrangements for this project - without knowing what it would be for. Their obsession with Retro Sci-Fi films & TV shows was thoroughly indulged during the COVID lockdown: "It was our “escape” out of reality. Shows like The X-Files, Dr. Who, and movies like Forbidden Planet and Clockwork Orange were our strange bedfellows guiding us to create music like we’d never made before." The result was a mix of electronica, psych pop and retro-futurism blending together to form music fit for the Korova Milkbar. As they emerged from this cocoon of sci-fi isolation, Jacqueline & Augustus began reaching out, connecting online with other obsessives: "Through our shared love of BBC Radiophonic Workshop Sound FX Records, we connected instantly and deeply with Drew Mulholland. Across time zones and land masses, our connection sparked creative collaboration like we’ve never known, and this new project was re-born. We knew in an instant that those forgotten ideas were meant for this moment. And thus began the files flying back and forth - until the synchronicities became fully manifest into what is now Muzak for the Korova Milkbar..Drew may tell it differently, but the sense of nostalgia, deja vu & mystical connection remains the same. A project we could have never set out to produce on our own, and that was always meant to be created with Drew. A dream fulfilled."

SCART records begins its journey with music from the mind of TRONTSEPHORE !
–
Hailing from the wild side of Dublin, Trontsephore cites influences such as Skee Mask, Om Unit, and Al Wooton as inspiration,
and his music is certainly crafted with the kind originality and quality those artists are known for.
The Elephant EP, on gorgeous transparent Orange vinyl, exudes breakbeats of finesse and sonic electro experiments, as we journey
deep into the realms of the subconscious.

On the B-side, ‘Elephant’ is twisted into a heavy techno mammoth, with remix from the mysterious INVNTR.



c b1 Elephant INVNTR remix



INVNTR remix

Skylax Records Is Proud to Introduce You to the Sound of RotorMotor With Their Astounding "Dream Beams" Ep That Encapsulates the Essence of Early '90s Trance, Italo Disco, and Ebm, While Evoking the Nostalgic Sound of Kompakt From 2004 to 2007. Hailing From Ljubljana, Slovenia, RotorMotor Is a Dynamic Duo Whose Tracks Have Gained Popularity Through Their Association With Lesyeuxorange, Feinstoff, Sexy Dinosaur From Outer Space, and Esteemed Remix Luminaries Like Neurotiker. Prepare to Be Transported Into an Audio Realm Where Pulsating Beats and Infectious Melodies Collide. the Ep Kicks Off With "Size of a Photon," a Track That Encapsulates the Signature Sound of Kompakt in Its Purest Form. "Feel My Pulse" Follows Suit, Immersing Listeners in a Rhythmic Journey That Resonates Deep Within. One of the Ep's Standout Moments Is the Remarkable Remix by Italian Producer Amarcord, Recently Acclaimed for His Releases on Ombra International, Eskimo Recordings, and Curses' Excellent Compilation "Next Wave Acid Punx". Amarcord's Remix of "Flashblinded" Flawlessly Blends Breakbeat and Trance Elements, Resulting in an Elegantly Treated Sonic Masterpiece. on the Flipside, RotorMotor Collaborates With Pholia on "Flashblinded," Delivering Both an Instrumental and a Vocal Version. the Vocal Rendition Adds a Post-Apocalyptic Touch as Pholia's Robotic Voice Sings in Slovenian, Creating an Atmospheric and Haunting Experience. "Dream Beams" Is a Demonstration to RotorMotor's Ability to Fuse Influences From the Past With a Contemporary Twist, Creating a Sonic Landscape That Captivates the Senses. With Their Relentless Energy and Creative Vision, RotorMotor Never Ceases to Amaze. This Vinyl Release Is a Must-Have for Any Enthusiast of Electronic Music Seeking an Extraordinary Sonic Adventure. Grab Your Copy and Experience the Hypnotic Power of RotorMotor....

Welcome back to Demon’s ‘Disco Discharge’ series, originally issued in a series of 2CD collections between 2009 and 2012. The themed compilations of full-length, extended Disco originals, lovingly curated by the mysterious “MrPinks” and with detailed sleeve notes by author and Disco aficionado Alan Jones, have remained in-demand among collectors and the club cognoscenti. This time around, the series kicks off with ‘Classic Disco’ and ‘Disco Fever USA’. Doing exactly what it says on the tin, ‘Classic Disco’ mixes 12 undeniable dancefloor landmarks on 140g orange vinyl, from recognizable names like Change, Manhattan Transfer and Cheryl Lynn, with deeper cuts from exotic names like Dr. Buzzard's Original Savannah Band (an early incarnation of Kid Creole!), The Peter Jacques Band and Double Discovery. And as if to prove a cool Disco track could come from anywhere or anybody, ‘Classic Disco’ also features an essential re-edit by The Glitter Band!

RFXN kicks off life with a new single from David Agrella that comes with a bunch of great remixes. First off he offers up his own Acid Mix of 'Perro Balearico' and it's a supple, deep and dubby track with liquid synths and prog chords that sound both retro and future all at once. The orange is a more dreamy and spaced-out sound for 5 am sessions. On the flip is a more punch but still silky and warmly melodic remix from Mario Liberti before last of all, Gabriel Rai gets darker. His drums hit harder and the synths are moodier as he takes dancers down a late-night path of mystery and intrigue.

The End is the Three 6 Mafia album that took them to the next level and eventual Grammy and Academy Awards. Available for the first time on vinyl. This newly remastered limited edition double LP will be on translucent Orange vinyl.

ORANGE VINYL

Daniel Boeckner understands the grit and gravel that accumulates in the heart and that it takes an unwavering courage to crack through that clutter and burrow to the other side. And in Boeckner's hands, that quest comes via post-apocalyptic synth and guitar heroism, a rallying cry for those always coming home through the scorched clouds. Throughout his work with Wolf Parade, Handsome Furs, Divine Fits, Operators, Atlas Strategic, and more, the iconic Canadian indie rocker recognizes that few feelings are more gratifying-more memorable, more generative, more abundant-than hope. But it takes getting the hell out of your own way. A culmination of that deep library of musical reference, Boeckner is set to release his first album under his own name: Boeckner! No matter where his genre exploration has taken him, there's something about growing up in punk and DIY spaces that puts collaboration in Boeckner's blood. Composed of a collection of intimately familiar elements, Boeckner! elicits the same thrill of young passion and discovery. It's a jet-powered chase through a tech-noir cityscape-fueled by a dream and that special someone in the passenger seat. That urgency and passion have always been a trademark of Boeckner's, and writing on his own pushes those feelings further into the center of the scope. But while Boeckner may be the clear driving force behind the album, he's not without collaborators for his solo debut. After meeting producer Randall Dunn while contributing to the soundtrack to the Nicolas Cage-starring psychedelic horror film Mandy, Boeckner knew he'd found the perfect counterpart for his solo debut. "I'd been a fan of his forever, especially the Sunn0))) records he produced," Boeckner says. "Working with Randall really unlocked some suppressed musical urges, things that I enjoy in my private life but don't normally weave into what I'm releasing-like occult synth, pseudo-metal, krautrock, and heavy psych influences." That base allows Boeckner to thoughtfully weave between emotional imagism and more grounded storytelling. Throughout the record, his imagery delves into science fiction, but it's charged first and foremost by experience. The trio of Boeckner, Dunn, and drummer Matt Chamberlain (Pearl Jam, David Bowie, Fiona Apple) formed a sort of dark engine for the album, and Chamberlain's ingenious approach of triggering a vintage Arp synthesizer simultaneously with each drum track helped Boeckner shape the record's atmosphere. That tense futurism was influenced by Boeckner's time staying in Dunn's Circular Ruin studio, a dusky, electronic aura burned into every track. By the end of the album, Boeckner! eases from sci-fi epic into something more akin to a torched VHS copy of a John Cassevetes film, the chemtrails and nuclear fallout fading long in the distance. Like all good sci-fi, the emotion and pain hits home for the author and listener alike, and the genre flourishes bolster the human experience. In revealing more than ever before, Boeckner! ratchets up the musical intensity to unforeseen levels and hopes to find some peace at the end of the journey.

Hotlanta Orange Marble Color Vinyl.
Atlanta's original Eccentric Soul labels, Jesse Jones' Tragar & N ote concerns captured critical regional R&B, soul, and funk from 1968-1976. Compiling 34 tracks and sprawled across two LPs, this 15 year anniversary deluxe edition appears on vinyl for the first time. Featuring rareas- hens-teeth 45s by Eula Cooper, Tee Fletcher, Richard Cook, Frankie & Robert, Tokay Lewis, Nathan Wilkes, Chuck Wilder, Bill Wright, Sonia Ross, Sandy Gaye, Four Tracks, Young Divines, and several others we can't fit on a h ype sticker.

The first release on Hogart features 4 hot re-edits by talanted swedish producer who prefers to be anonymous.

A1 is a fiery Detroit techno track with that Chic acapella mixed to devestating effect.
A2 takes the ol AGCG Voodoo track to a diffrent planet ! Live bass, rhodes and enough compression to kill a horse.
B1 goes all in on the classic 303 machine, deep as the trench ! also got that huge BM acapella mixed on top.
B2 is that 90s piano anthem in a totally new version ! also got pieces of the festival killer "Coma" in there.
This release is limited to 300 orange vinyls only.

orange marbled vinyl

A1 - The Construct
Opening the EP in style with a slew of darkly FX, The Construct sets a suspenseful tone before a thorough atmospheric amen on slaught takes center stage - solid, weighted breaks are chopped and edited to the standards fans have come to expect from ASC with a morose, anxious energy to the vocal samples and synthy backdrops punctuating the track in style. A banger for the club as well as the phones.
A2 - Tidal Lock
Distinctive thumping quadruple kicks thunder like a furious heartbeat as Tidal Lock mixes up the vibe and experiments with off-key tones and delivers a neurotic energy to the breaks. Rapid hats and snares accelerate the mix with deep undertone sub bass, as ASC crafts a cacophony of detail and delirium to a track that somehow fuses both calm and a tenacious ferocity in one. Unique, stylish and a joy to listen to.
AA1 - Centurion
A DJ-friendly intro opens Centurion with initially simple breaks which are soon joined with detail and a forceful finesse. Curious, inquisitive FX and melodies bristle melancholically as a stunning deep bassline seizes the attention and the atmosphere elevates. Familiar classic atmospheric signatures add to the complexity later in the track, with all layers continuing to breathe throughout.
AA2 - Nexus
ASC concludes the EP with a deep, rapid fire workout in Nexus -a track which quickly exudes a moody, tense vibe driven by a nervous vigor - inviting you to explore its immersive tapestry of quality modern atmospheric breaks. Persistent hi-hats and snares dominate the mix with vocal samples and otherworldly
effects, and parallel high horn notes complement the composition perfectly.