The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" 'Via Negativa (in the doorway light)'. Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo’s enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering – these are technicolor widescreen anthems of the cybernetic age.
The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band’s fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music’s polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals."
From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don’t see directly."
The eighth and latest slate of refined retro-futuristic synth-pop by Liz Wendelbo and Sean McBride aka Xeno & Oaklander is named after and inspired by "the study of what not to do, a negative image of a positive, the other side, the other:" 'Via Negativa (in the doorway light)'. Recorded in the fall of 2023 at their modernist Connecticut home fashioned into a two-story synthesizer laboratory and mixing studio, the album is uniquely visionary in spirit yet precision in execution, a contrast central to the duo’s enduring chemistry. Embryonic piano sketches were translated to nuanced modular systems, which McBride weighted with "harmonic padding," tuned percussion, and a spectral transfer device capable of "rendering spasms of rhythmic overtonal filigree." Despite the technological complexity of their craft, emotively the songs require no deciphering – these are technicolor widescreen anthems of the cybernetic age.
The eponymous opening track sets the pace, soaring sleekly over glittering synths and call-and-response vocals about arias, shattered light, and faces in stereo. From there the record expands and contracts, cycling through a gallery of moods and masks, animated by the band’s fascination with drama, "the idea of personae," and theatrical characters. Track by track, a murky, tragic backstory reveals itself: forlorn figures navigating a treacherous mercury mine, alternately poisoned by fumes or buried in collapsing caverns. The tension between Teutonic, utopian synthetic pop and lyrical narratives of ghosts in silos, ruined mills, and the traumas of mineral excavation creates a compelling friction, alternately futurist and obsolete, elevated and subterranean. Wendelbo describes the music’s polarities perfectly: "The heavy machinic din of extraction in contrast with the enchantment of the mined precious gems and metals."
From bilingual odes to bloodstones ("O Vermillion") to cosmic chrome dance floor classics ("Lost & There" "The present tense can never feel real / So many pasts conspire in the burning sun") to strutting EBM sensualities ("Actor's Foil"), Xeno & Oaklander re-prove themselves masters of the axis of technology and poetry, snaking cables and synesthesia, mining melodies and myths across 15 years of focused artistry. Theirs is a muse still gilded and gleaming, burnished red and silver, attuned to "the unobservable, the unfamiliar, that which you don’t see directly."
VOLUME 3 of a series of 3 re-releases of the 80s underground solo cassette tapes by Menko Konings (aka EM / Menko / eM.)
This third re-release/remaster is the cassette tape album “To To New York” (1984) by EM
Remaster (2024) by Rude 66
Limited edition of 50 (hand numbered) green colored cassette tapes with original J-card
“When I went solo in 1983 I only had a guitar, a bass and a four track cassette tape recorder. Sometimes I borrowed a rithmebox or a synth for a couple of days. These solo cassette tapes were created in that period.” (MK)
Music journalist Oscar Smit described these tapes in the 80s - in his column Dolby of the legendary Dutch magazine Vinyl - s.a.: “Big city music, metropolis beat, drum composers, funking basses, nervous rhythm guitars, radio and TV sounds in the background and intonationless vocals.”
Menko Konings was also the founder s.a. of S.M. Nurse, Plastic Cocon, No Honey From These and Top Tape.
This re-issue faithfully replicates the original 1971 Island Records UK release in gatefold sleeve and is pressed onto high quality 180g vinyl. Released in June 1971, Angel Delight was the first of two albums of Fairport Convention as a four-piece, after the departure of founder member Richard Thompson that January. The band were living in a converted pub, The Angel, in Hertfordshire where they worked up the material for the album, another blend of the traditional and the original. The title track a pun on the time they were having at the pub, and a nod to the popular British dessert of the same name was a jolly catalogue of their life at the moment, referring to producer John Wood as 'John The Wood' and drummer Dave Mattacks as 'Dave The Drum.' It also mentions the day a lorry crashed into the pub, which, had Dave Swarbrick been in his room at the time could well have killed him. The album Fairport's only Top 10 album in the UK chart is also known for its traditional medley of jigs and reels, The Cuckoo's Nest, the beautiful ballad Wizard Of The Worldly Game and the group's version of the salty English song The Bonny Black Hare
This re-issue faithfully replicates the original 1970 Island Records UK release in gatefold sleeve and is pressed onto high quality 180g vinyl. After their 1969 album Liege and Leif paved the way, Fairport Convention pushed further into traditional music, led by charismatic and renown fiddle-player Dave Swarbrick, who had joined the group in 1969 after making his name with Martin Carthy earlier in the decade. Vocalist Sandy Denny and bassist Ashley Hutchings left after Liege and Leif, and for the first time since the group's inception in 1967, there would be no female voice on a Fairport album.Guitarists Richard Thompson and Simon Nicol took vocal leads with Swarbrick and, with new bassist Dave Pegg joining drummer Dave Mattacks, the group made Full House, released in July 1970. Picking up where its predecessor left off, and again recorded with Joe Boyd at London's Sound Techniques, the album continued the standards set by their previous four albums. Four of the seven songs on Full House were adapted from traditional folk melodies, such as Dirty Linen and Sir Patrick Spens, while of the originals, Thompson and Swarbrick's nine-minute opus Sloth gave the group one of their all-time anthems. The sleeve sent up their new role as ambassadors of the rustic by inventing a string of traditional British games that didn't really exist.
I want nothing more than to be a loner,” Emily Kempf sings early on Flower of Devotion, the new album by Chicago trio Dehd. It’s a startling admission coming from a songwriter who, just a year ago on Dehd’s critically acclaimed Water, wrote eloquently about the joys and pains — more than anything, the necessity — of love, compassion, and companionship. But then, “admission” isn’t really the right word here, given the stridency of Kempf’s tone. “Loner” is a declaration.
The record ups the ante on Dehd’s sound & filters in just enough polish to bring out the shining and melancholy undertones in Jason Balla and Emily Kempf’s songwriting, even as it captures them at their most strident. Balla’s guitar lines at times flirt with ticklish cosmic country, while at others they reflect the dark marble sounds of Broadcast. Kempf, meanwhile, establishes herself as a singer of incredible expressive range, pinching into a high lonesome wail, letting loose a chirping “ooh!,” pushing her voice below its breaking point and letting it swing down there. When she and Balla bounce descending counter-melodies off one another over McGrady’s one-two thumps, or skitter off over a programmed drum pad, they sound like The B-52s shaking off heartache.
"The Affectionate Punch is the debut studio album by the Scottish post-punk and new wave band the Associates. The album was released on 1 August 1980. From the album ""The Affectionate Punch"" and ""A"" were released as singles. Upon its release, The Affectionate Punch was declared ""a kind of masterpiece"" by Paul Morley of the NME, who described it as ""a passionate cabaret soul music, a fulfilment of the European white dance music Bowie was flirting with back then."" None other than Robert Smith (the Cure) can be heard doing backing vocals on ""The Affectionate Punch"" and ""Even Dogs in the Wild"". Nigel Glockler (Saxon) is the drummer on this album. The Affectionate Punch is available as a limited edition of 1000 individually numbered copies on turquoise coloured vinyl and includes an insert."
In the beginning, THERE WAS DOOM. The five piece gathers its forces together with the clear intention of celebrating in music one of the first raw appearances of metal: Doom! After a year or so of songwriting and the usual lineup setups, the 5-piece throws in what will become their first studio effort in 2005: a Heavy, Drunken, Doom, Metal demo (with their 700 sold-out copies, now fully downloadable due to popular demand), where the title "Heavy Drunken Doom" clearly and quickly reveals the attitude of the band. Cold Grave Marble, the 6th Doomraiser full doom length, is a frozen view in the darker side of life: Death, the Omega of our earthly dimension. The album is made up of raw riffing seasoned up in heavy, dark and gloomy dreaming atmospheres, and explores a plethora of styles with different sounds and solutions. The songwriting approach is rougher than before, experimental, suggestive, still preserving the classic Doomraiser characteristic sound.
Ltd. Marbled Vinyl. In the beginning, THERE WAS DOOM. The five piece gathers its forces together with the clear intention of celebrating in music one of the first raw appearances of metal: Doom! After a year or so of songwriting and the usual lineup setups, the 5-piece throws in what will become their first studio effort in 2005: a Heavy, Drunken, Doom, Metal demo (with their 700 sold-out copies, now fully downloadable due to popular demand), where the title "Heavy Drunken Doom" clearly and quickly reveals the attitude of the band. Cold Grave Marble, the 6th Doomraiser full doom length, is a frozen view in the darker side of life: Death, the Omega of our earthly dimension. The album is made up of raw riffing seasoned up in heavy, dark and gloomy dreaming atmospheres, and explores a plethora of styles with different sounds and solutions. The songwriting approach is rougher than before, experimental, suggestive, still preserving the classic Doomraiser characteristic sound.
Two acclaimed releases into their short career - a debut EP and a split 7" with Citizen - Virginia's Turnover have quickly grabbed the attention of a scene of angst filled teens and twenty-somethings who grew up on Drive-Thru records classics and 90's grunge radio. Turnover spent a month last November with producer Will Yip (Title Fight, Circa Survive) and emerged with Magnolia. Their debut LP fulfills the promise set forth in their prior releases - contemplative, brooding pop-punk songs written with a somber, yet undeniable catchiness.
Black Cherry. Fiddlehead's debut LP Springtime and Blind is an exploration of grief both introspective and through the insight of others. Following the release of their Out of the Bloom EP on Lockin Out Records, the Boston-based band have created a debut LP that shares an anguishing, relatable story of love and loss through the catharsis of spirited, loud indie rock. Consisting of guitarist Alex Henery (also of Basement), vocalist Patrick Flynn and drummer Shawn Costa (both of Have Heart), Fiddlehead explore musical styles different from their other projects while bringing a familiar energetic and emotional core to the collaboration. Springtime and Blind stemmed from Pat's loss of his father. Flynn looks at how his mother coped with the situation- losing her spouse, her center of gravity -writing the lyrics as an emotional catharsis for both of them. While the process of writing and recording helped Flynn cope with his personal loss there's no doubt it carries a universal message that can help ease others' loneliness. A contrast to itself, Springtime and Blind is a multidimensional and relatable journey through its cathartic message and spirited instrumentals.
Founded in the stillness of 2020 when a group of tight tight-knit up and coming musicians were robbed of their livelihood and greatest joy - live performance - the group came together in a graffiti smudged artist s space in an old industrial facility in Copenhagen s outskirts and created a space for themselves to improvise in a funky, groove based setting. A followup to their 2023 debut Moko Jumbie which explored the rich culture of West African music popularised by Mulatu Asastke and Fela Kuti, as the name suggests, Soul Piece leans further into the tropes, grooves and idioms of Western 60" s Soul and Funk. Recorded live over two days at the Royal Danish Academy of Music, the albums raw, warm production captures the energy, intimacy and excitement of a live performance, transporting the listener right in the centre of a pulsating dancefloor. Each song is rooted in groove and exemplary band musicianship, and made up of every stylistic feature one might crave from the genre: crunchy rhodes tones, percussive clavinets, thick organ textures, grooving tambourines, searing guitar solos, deep pocket drum grooves, infectious basslines, punchy horn backings and James Brown Brown-esque stabs. Self described as the young lions " of the Danish jazz scene, each member of the six piece is an active contributor to the country s diverse musical output; Norregaard, Langebæk & Besiakov can be heard performing regularly in the Fela Kuti saluting Black Money Orchestra and Bæst, Eskildsen with the Addis Ababa Band, and Thofte & Toftemark each leading their own projects in contemporary hard hard-hop to name but a few of their many ventures.
180 Gram Vinyl Make the holiday season unforgettable with All Time Christmas Favourites! This festive collection is the perfect soundtrack, featuring the beloved voices of Johnny Cash, Paul Anka, Bobby Darin, Harry Belafonte, and many more. Whether for hosting a holiday gathering or enjoying a quiet evening by the fire, these timeless classics will fill your home with warmth and joy.
180 Gram, Red Vinyl Make the holiday season unforgettable with All Time Christmas Favourites! This festive collection is the perfect soundtrack, featuring the beloved voices of Johnny Cash, Paul Anka, Bobby Darin, Harry Belafonte, and many more. Whether for hosting a holiday gathering or enjoying a quiet evening by the fire, these timeless classics will fill your home with warmth and joy.
070 Shake kehrt am 15.11. mit ihrem neuen Alternative-Album „Petrichor“ zurück. Der Titel bezieht sich
auf den charakteristischen Duft des Sommerregens, den die 27-jährige Künstlerin mit ihrer Heimatstadt
New Jersey verbindet. Mit ihrer rauchigen Stimme und düsteren, persönlichen Texten hat sie sich als
einzigartige Künstlerin in der Musikszene etabiliert.
Die geborene Danielle Balbuena ist nicht nur Solo-Künstlerin, sondern auch Mitglied des Musikkollektivs 070, von dem sie ihren Künstlernamen übernommen hat. 2016 erlangte sie mit dem viralen Hit „Trust
Nobody“ erste Aufmerksamkeit und arbeitete seither mit namhaften Künstlern wie Kanye West und Lil
Yachty zusammen. Nach ihrem Debütalbum „Modus Vivendi“ im Jahr 2020, das auf zahlreichen BestOf-Listen landete, und dem darauffolgenden Album „You Can’t Kill Me“ von 2022, hebt sie sich nun mit
ihrem dritten Studioalbum “Petrichor” erneut auf ein neues musikalisches Level.
London based songwriter Louis Gardner offers his first mixtape, released via Goldsmiths University imprint NX Records. On For The Open Room, Gardner spirals artfully through outsider jazz, pop, folk and noise, landing sprawled in a territory all his own.
Tangled riffs and strange structures form the terrain for intimate, un-rugged vocals to float above. Starting life like brisk journal entries or misshapen doodles in digital fuzz, Gardner's stories bloom with stop-start tension, oscillating between tender and guttural, crude and complex.
For the open room captures a flow state of ideas, traces and associations - from the bubbling jazz congruence of "It's Hard", to plucked maximalist fragility on "Ten Zithers". Wrapping up with "Body Left in the Snow", Louis reveals mightily undulating piano chops - leaving us to wonder what else is withheld, and what might appear next.
Recommended for fans of Jandek, Mount Eerie, Arthur Russell.
‘Dyp Tid’, the fifth album from Norwegian psych-rock group Electric Eye, is a contemplation of the unknown and the ineffable. Crafted in a landscape where time and space collapse, the record is Electric Eye's most ambitious and experimental project to date. Originally commissioned by Sildajazz – the Haugesund International Jazz Festival – and premiering there in 2022, ‘Dyp Tid’ (Norwegian for ‘Deep Time’) is both a meditative journey and an exploration of what it means to exist in a universe where time stretches far beyond humanity’s grasp. First performed live in Skåre Kirke, an octagonal wooden church in Haugesund, Norway that was built in 1858, these six atmospheric compositions centre church organs, synths and choral vocals over any traditional ‘rock’ instrumentation. Gradually winding through ambient minimalism, kosmische improvisations and experimental psych-jazz, ‘Dyp Tid’ isn’t just an album but a space; a mental landscape where sound and time intersect. Talking about the album, Electric Eye’s Øystein Braut says: “We have always been drawn to the cinematic, to the sense that something feels larger than life, and in Dyp Tid we wove these elements together into something both deeply personal and utterly elusive.” Setting up in Bergen´s Duper Studio, the recording space became a laboratory to further develop these new ideas and transform the ‘Dyp Tid’ piece into a fully-fledged studio album: “We delved into analogue technology, explored vintage machines, and experimented with what lay at the edge of our control. We sought the sound of time’s depths, something that felt infinite and uncontrollable. In an age where everything seems algorithmic and predictable, we aimed to create something that refused to be boxed in – something that lives and breathes by its own rules. The album intricately weaves together live recordings from the wooden church and studio sessions, often oscillating between the two in the course of a single track.”
Dischi Fantom’s Sussurra Luce series, blurring the boundaries between text, music and voice, returns with their fifth instalment, an expanded version of Hanne Lippard’s “Talk Shop”. Sculpting a fascinating bridge between radically experimental sound practice, conceptual art, and sound poetry, across its two sides the Berlin based multidisciplinary artist taps an almost dada sensibility, delivering a suite of poems and texts where singular words and sentences are looped and repeated creating a sensory experience of the efficiency and stress found in our private as well as public life.
Roughly a year ago, we had the pleasure of exploring the first two releases from Dischi Fantom’s emerging Sussurra Luce series, Ginevra Bompiani, Caterina Barbieri, and Tomoko Sauvage’s “Il Calore Animale” and Francesco Cavaliere’s “Zoomachia Disc 1”. An extension of the Milan based cultural platform Fantom’s broad and diverse activities (exhibitions, installations, performances, etc.) across numerous artistic disciplines, the series, curated by Francesco Cavaliere and Massimo Torrigiani, delves into the “science of imagination”, working with contemporary authors to explore and blur the boundaries between text, music and voice. Now the brilliant series returns with its latest entry, the Berlin based multidisciplinary artist Hanne Lippard’s “Talk Shop”. Released in a limited edition of 200 copies and coming with an LP-sized booklet, it combines orality and textuality with the idea of loop and repetition to explore the notion of time, and it’s a stunning gesture of performative poetics that plums a startling range of subjects through its sonorous forms.
Working across the fields of text, vocal performance, sound installation, printed objects and sculpture, for more than a decade Hanne Lippard has deployed language as the raw material for her work. Working within a practice that rests at the juncture of the spoken and written word, drawing upon content appropriated from the public sphere (found text) intertwined with her own words, Lippard’s work investigates how the rise in digital communication and mediation reprograms our relationship to language, presenting the subsequent fragility of language - its flaws, oddities, and potential for misinterpretation - and its attempts to convey meaning and sense.
“Talk Shop”, the fifth instalment of Dischi Fantom’s Sussurra Luce series and Lippard’s third recorded release - building upon the ground of 2020's “Work”, issued by Collapsing Market, and 2021's “PigeonPostParis”, released by Boomkat Editions - began as a live performance. Combining orality and textuality with the idea of loop and repetition to explore the notion of time, its relationship with the world of work today, and its personification through the experience of the human body - anonymity as the spearhead of the digital economy - the conceptual underpinnings of the piece depart from the notion that the human voice has become commodified by the ubiquitous nature of contemporary productivity, and intertwined with the mechanics of capital - the voices of satnavs, smart speakers and voicemail systems - while the written word has become increasingly anonymous online.
Addressing vocal anonymity as a spearhead of the digital economy, Lippard’s “Talk Shop” - regarded by the artist as “a compilation of poems and texts where singular words and sentences are looped and repeated creating a sensory experience of the efficiency and stress found in our private as well as public life” - taps an almost dada sensibility through its unexpected layers of meanings drawn from a maximalized approach to the potential of the human voice, creating an engrossing and challenging listen from the first sounding to the last, that continues to reveal itself and unfold with every return.
Sculpting a fascinating bridge between radically experimental sound practice, conceptual art, and sound poetry, it culminates as one of the most strikingly singular creative gestures we’re likely to encounter this year. Highly recommended and not to be missed.
Hanne Lippard (Milton Keynes, 1984) explores the social forms that govern discourse. Her artistic practice, which mainly takes the form of reading and sound installations, investigates the voice as an instrument of emancipation and alienation in times of hyper-connectivity. By mixing personal thoughts and appropriating texts from advertising, slogans and newspaper articles, the text becomes a mix of private and public that regains inventiveness and authorship through the use of the voice, becoming a body of its own. Her recent artistic research has focused on the use of the female body as a container of sounds, on the conscious and unconscious automation of speech and language.
One of the Most Exhilarating Live Albums Ever Released: Santana’s Lotus Documents 1973 Performances Distinguished by Passionate Soulfulness, Chemistry, and Inventiveness
Mobile Fidelity’s 180g 33RPM 3LP Set Features Reference Sound and Deluxe Trifold Packaging Faithful to That of the Original Japanese Import: Strictly Limited to 5,000 Numbered Copies, Includes Four Photo Inserts and Two Fold-Out Posters
The bizarre legacy of Lotus transcends its status as both the definitive onstage document of Santana’s career and one of the most spectacular live albums ever released. Originally issued in 1974, the triple LP contains exhilarating performances of the band recorded at two shows in early July 1973 at the 2400-seat Osaka Kosei Nenkin Kaikan concert hall. It bears witness to the eight-piece collective playing with a chemistry, inventiveness, cohesiveness, and soulfulness no other Santana lineup would ever surpass. Featuring seven previously unreleased tracks as well as remarkable renditions of material from Santana’s first four albums and the Carlos SantanaJohn McLaughlin collaboration Love Devotion Surrender, Lotus simultaneously suggests and inspires, dreams and delivers.
Transferred by original engineer Tomoo Suzuki, strictly limited to 3,000 numbered copies, and housed in deluxe trifold packaging faithful to that of the original pressing, Lotus benefits from reference audiophile treatment on Mobile Fidelity’s 180g 3LP set. Featuring rich tones, smooth dynamics, excellent separation, deep soundstages, and involving presence, this reissue pays tribute to both the virtuosic lineup and the magnetic fusion of Latin- and Afro-Cuban-influenced jazz, rock, psychedelia, R&B, and blues. The complexity of the spiritual passages, demands of the crescendos, delicacy of the calm transitions, electricity of the solos: everything is rendered with superb balance and free of the harshness, compression, and fatiguing peaks that would otherwise distract from the presentations at hand. Black magic, indeed.
A Universe of Pop: Fleetwood Mac’s Tango in the Night Features Meticulous Production, Includes the Hits “Big Love,” “Everywhere,” “Seven Wonders,” and “Little Lies”
Experience the 1987 Album in Audiophile Sound for the First Time:
Mobile Fidelity’s Numbered-Edition 180g 45RPM 2LP Set Captures the Perfectionist Details
1/2" / 30 IPS analogue master to DSD 256 to analogue console to lathe
The perfectionism involved in crafting Fleetwood Mac’s Tango in the Night reached a level of intensity experienced by few artists before or since. Commercially and creatively, the painstaking efforts paid off. Recorded over the span of 18 months, the triple-platinum album spawned four hit singles and put Fleetwood Mac back at the center of mainstream conversation. Its demands also ultimately forced its primary architect, guitarist-singer Lindsey Buckingham, to leave the group shortly after its completion. Was it all worth it? A thousand times “yes.”
Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton jacket, Mobile Fidelity’s numbered-edition 180g 45RPM 2LP set of Tango in the Night presents the 1987 record in audiophile sound for the first time. Everything co-producers Buckingham and Richard Dashut sought to instill in the music — the exacting tones, gauzy textures, plush atmospherics, shifted harmonics, unique pitches, pristine acoustics, biting rhythms — can now be heard with elevated accuracy, range, depth, and detail.
Made under challenging circumstances, Tango in the Night is as much a universe of sound as it is an album. This reissue conveys that sonic spectrum in exhaustive manners that go beyond prior editions by playing with a combination of transparency, imaging, openness, and dynamics that provides uncanny insight into the meticulously layered vocal and instrumental tracks. Equally important, it also amplifies your connection to the elaborate melodies, contagious hooks, and airy highs that account for the album’s ageless pop brilliance.
As for the wondrous array of percussive accents, synthesizer elements, interlaced guitars, and lush choruses — all seemingly occupying the exact right place amid the soundstages and taking on shapes and forms that lend them a living, breathing quality? If your audio system is up to the task, the realism, presence, and warmth of Mobile Fidelity’s collectible edition will have you considering Tango in the Night from a new perspective — one that puts its lavish, gorgeous creations on a par with those from Rumours and Tusk.
Unlike those records, Tango in the Night began from a more individualistic perspective in that it sprang from what originally was intended to become a Buckingham solo effort. Instead, it remains the final album credited to the peak Fleetwood Mac lineup involving Buckingham, Stevie Nicks, Christine McVie, Mick Fleetwood, and John McVie. Though the participation of all the members varies from track to track, the cohesive arrangements and alchemic production on Tango in the Night suggest a unity that remains on a par with the band’s other landmark works.
Largely constructed from laborious methods that involved recording at half speed to achieve the desired sonics and tonal nuances, piecing together verses and choruses to attain seamless synchronicity, and Buckingham using a Fairlight CMI synthesizer/workstation in visionary ways, the songs pair electronic and acoustic elements to radiant effect. Tango in the Night also possesses light dance structures that resulted in several tunes being recast as dance mixes on extended-play singles. Above all, however, this is music that appears to float and cast dreamy spells.
Surrender to the frisky interplay of the opening “Big Love,” big pop punctuated with Buckingham’s back-and-forth “oh-ah” sighs that ping the Top 5 smash with innocuous sensuality and toe-tapping momentum. Delight amid the shimmering lights of “Seven Wonders,” whose shades and shadows shift amid Nicks’ raspy vocals and a large group chorus. Wrap yourself in the warmth of the weightless “Everywhere,” a flawless slice of hummable pop that topped with Adult Contemporary charts for three weeks and towers as an ode to the love everyone desires. Stare into the mysterious landscape of the title track (and dig the synthesized harp) just before it explodes, briefly ceding to a terse riff and locked-in grooves.
Tango in the Night teems with delightful surprises and well-honed specifics, especially when Buckingham and Christine McVie team together. In addition to the aforementioned “Everywhere,” the singer born Christine Anne Perfect plays a major role on four more cuts — all highlights — from the breathy, head-over-heels emotionalism of “Mystified” to the sweet, sweeping escapism of “Little Lies,” a cover-up of romantic despair aided by Nicks’ irreplaceable background vocals.
“If I see you again/Will it be the same,” asks Buckingham on “When I See You Again,” finishing up a song a longing-sounding Nicks had started while voicing words that many likely knew would resonate far beyond the confines of the heartfelt song — a goodbye wearing a faint disguise. Though Fleetwood Mac would never again reach the heights maintained throughout Tango in the Night, and members would go their own way, the album towers as a paean to what’s possible in the fields of pop, rock, and studio wizardry.
Just when you thought it was safe to go back in the water, THE ROUTES are back with their unique blend of beat-you-to-death surf music (IGGY POP). Their latest target: the music of JOY DIVISION!
Having previously surfy-fied the songs of KRAFTWERK and BUZZCOCKS, Surfin' Pleasures sees THE ROUTES take on the music of JOY DIVISION. As with their previous tributes, this is not an album of note for note cover versions. THE ROUTES have only taken subtle melodic and rhythmic hints from the original songs; rearranging them into songs of their own, respectfully and lovingly translating the music of JOY DIVSION into a different musical language.
Surfin' Pleasures sees twelve classic JOY DIVISION songs reimagined and rearranged as banging 60s surf guitar instrumentals (a la THE VENTURES, DICK DALE, SHADOWS, TRASHMEN, TERAUCHI TAKESHI, LINK WRAY, THE SURFARIS and THE ASTRONAUTS and more).
Prepare to be taken on a wild musical trip where A Means To An End and Ice Age are transformed into the background music of a 60s drag race movie, Transmission hints at the classic ASTRONAUTS sound, and Digital gets the beach party treatment... You don't have to be a fan of JOY DIVISION to enjoy these tunes, and likewise if you're a JOY DIVISION fan you don't need to be a fan of surf music to enjoy them.
The record cover comes courtesy of British design icons Peter Saville and Malcolm Garrett. It is a reworking of Peter Saville's design for JOY DIVISION's Unknown Pleasures. Reminiscent of the op art of Bridget Riley, the lines are no longer that of a pulsar, but that of the sound wave of a reverb tank. Its cover design is provided with calender embossing as well as a printed inner sleeve, just like the hit-album Unknown Pleasures.
Blasphemy or alchemy? You decide!
One thing is for sure is that THE ROUTES have provided the world with yet another future cult classic, destined to irk or jerk for eons to come.
In 2019 the debut album “Attitude” by Lonerider was released, a band that not only features Steve Overland (FM, Solo, Shadowman), Steve Morris (Heartland, Shadowman) and Chris Childs (Thunder) but legendary drummer Simon Kirke of Free and Bad Company fame. The band come across like Bad Company mixed with Shadowman and their debut “Attitude” was loved by many. Lonerider have the feel of that classic Bad Company that we know and love, yet the songs are modern, fresh and vibrant. In 2022, the follow up album titled “Sundown” was released boasting 12 new tracks of classic rock in the same vein as “Attitude”, well why change a winning formula? The band have continued to attract new fans and they have all been eagerly awaiting a third outing and it’s due for release in November, 2024. The album “Down in the Dust is released on 15th November in both CD and limited edition (500 all numbered) double vinyl. The Vinyl will have 3 bonus tracks. This is an extension of what this exciting band have already given us, and it just keeps getting better. The addition of Steve Mann (Lionheart / MSG) adds so much with that Hammond organ vibe, giving it an “old school” feel and yet the band continues to expand on fresh ideas and melodies. There are no fillers here. Once again, the Lonerider lineup excel themselves in giving us another fine release.
Ava Mendoza has never made an album quite as personal as her second solo full-length, The Circular Train. Through her decades of collaborations with Nels Cline, Carla Bozulich, William Parker, Fred Frith, Matana Roberts, and Mick Barr—plus years leading her power trio Unnatural Ways and playing in Bill Orcutt’s quartet—the guitarist’s name has become synonymous with virtuoso technique, raw passion, and visceral resonance, a player pushing the edges of the guitar’s possibilities. Along the way, from 2007 to 2023, Mendoza was writing these slow-burning, incandescent songs. The Circular Train is comprised solely of her single-tracked guitar playing and, on two songs, her corporeal singing. Her first solo LP of original material since relocating from California to New York City a decade ago, much of The Circular Train was honed amid pandemic years that clarified the virtues of slowing down. This expressive avant-rock is a definitive introduction to one of the most uncompromising and inquisitive visions in creative music. Mendoza’s thrilling melange of free jazz, blues, noise, classical training, and blazing experimental rock’n’roll all coheres with ecstatic feedback, with picking and solos that crest with shimmer. Sometimes she sounds like a one-woman Sonic Youth with guttural and poised vocals that equally evoke Patti Smith and blues greats like Jessie Mae Hemphill. Conceptually, The Circular Train is presented as a psychogeographical train ride through certain of Mendoza’s musical homelands. The songs draw on ancestral and recent familial memories, notably of her parents’ roots in mining towns—in her father’s home country of Bolivia and mother’s hometown of Butte, Montana, each country with its own history of colonialism, racism, forced labor, the eradication of culture and the subsequent excavation of it. These adventurous songs were composed in cars and planes, in the heart of the Mississippi Delta, in Los Angeles and upstate New York—which is to say in motion. “Ride to Cerro Rico,” named for the mountain and silver mine at the center of Potosi, Bolivia, was inspired by Mendoza’s great grandmother’s life there in a Quechua mining family. “Dust From the Mines” drew from that history as well as Mendoza’s familial lineage of miners in Montana, building up to stunning swaths of shredded iridescence. “Pink River Dolphins” was inspired by a visit to the Amazon rainforest, swimming with dolphins alongside her father—the pink bufeos that inhabit both Bolivia and Columbia—and the song is dedicated to the memory of Mendoza’s late friend, the Colombian-American trumpeter jaimie branch. They shared a fascination with those intelligent and agile creatures who often communicate by echolocation. “Make a sound, it comes back around,” Mendoza sings, and later, “Echo, echo/The answer in a sound,” evoking what branch knew well: through music we navigate life. The Circular Train contains one cover, “Irene, Goodnight,” composed by Gussie Lord Davis and popularized by Leadbelly; Mendoza has been performing it for over 20 years. Almost as deeply embedded in her repertoire is the penultimate track, “The Shadow Song.” “Treat your shadow kind and it might treat you good,” Mendoza sings on this song that she’s been reworking for over a decade, an emblem of devotion. “Treat your shadow kind and it might treat you right,” she repeats, becoming a blues mantra. What is a shadow self if not one’s secret world, which, once laid bare, awaits an echo, a return?
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.
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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.
Night On Earth records
is an independent structure/label created 20 years ago which deals with
the invisible and the deviant,
the void and the love,
the parallax and the unknown …
we release vinyls and tapes
we organise events
we are you and us
we are nothing and everything
we are oblivion and memory
we are your egotrip’s nightmare
we are your deviancy catharsis
meet us through this double LP which is one cartography of the night on earth vortex across 3 continents and several generations of music freaks and braincrackers
Some Artists missing there (there are too much : RINUS VAN ALEBEEK, SS MYLITTA, SOLAR SKELETONS, THE RADAR THREAT, ÂME DE BOUE, and.. RIPIT !
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For the fifth release of Forever Now, Dave Saved presents:
“Versions Vol. 1”, a 45-minute freeform-morphing drifters mixtape.
The mixtape is crafted from original materials and a mix of found, stolen, and accidental samples, creating a fantasy broadcast that shifts between themes and moods. It seeks to explore and expose a range of influences, acting as a sonic diary that spans years of archival inspiration. Past and present morphing in a kaleidoscopic now.
Dusty, rusty textures blend with silky moments and rhythmic interludes, interspersed with fragments from unknown old cassette mixtapes, field recordings, and obscure YouTube clips.
Recital presents a newly unearthed recording of an interview between Sun Ra and composer Charlie Morrow recorded at his New York studio in 1989. This voice-only recording develops more like a kaleidoscopic sermon than any standard interview.
Charlie Morrow recalls:
My 1989 Summer Solstice Celebration featured Sun Ra and his Arkestra. On March 29, 1989, ahead of this historical performance, Sun Ra came to New York to plan the performance and do an interview with me in the Charles Morrow Associates studio. There were members of the Sun Ra Arkestra, some of my team, and a photographer present. Once in the sound studio, Sun Ra wanted to record the discussion. What he says is so much more than anyone expected. I pushed record on the tape recorder, which quietly took it all in.
What Sun Ra recorded is a breathtaking expression of his feelings and strong convictions, illustrated with personal memories and stories. My few questions to him about the upcoming Solstice and about the sun and his thoughts about a dawn event triggered his mind. He launched into a nonstop journey of ricocheting stories and concepts, climaxing when I started jamming with Sun Ra on conch horn. Our duo drives to a climactic peak with explosive conch breath sounds giving line-by-line affirmations to Sun Ra’s points.
The 1989 Summer Solstice event brought together Sun Ra and his constellation of musicians and fans with my large-scale gatherings and work with the New Wilderness Foundation. Here in 2023 and beyond, the events live again. Sean McCann of Recital was drawn to Sun Ra’s words, which inspired the production of this edition. Sun Ra’s words seem to have an even greater resonance in present time. Ra is calling out the turbulence of the bad actions of the righteous and the good actions that an evil man, as he dubs himself, can perform, all the time believing that music has the possibility to bring all humans to a better place.
Charlie Morrow, 2023 / Helsinki, Finland
One-time pressing of 425 copies, includes 12-page booklet with rare photos and full transcription of interview, 24”x18” poster of Sun Ra 1989 Solstice performance photograph
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The Second House Crew Box Set contains a full set of absolute classics. Including the enormous hits "Euphoria (Ninos Dream) and "Super Hero" alongside epic remixes from The Criminal Minds, Nookie, Isotonik and three brand new House Crew tracks, this box set is an essential for every old skool and jungle vinyl addict!
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Section 25 release their 10th studio album ‘Move On’ via Nine X Nine records. Originally formed in Lancashire in 1977 they are best known for their work with iconic Manchester label Factory Records. Fusing elements of post-punk, electro and synth-pop their sound is unmistakable and influential. ‘Move On’ has optimism at its core. It is a reflection of the past and a meditation on the present. Emotionally engaging with the here and now by understanding what has passed. Section 25 have built a lasting legacy as one of Britain’s most important bands in electronic music. Younger audiences may be familiar with their work through it being extensively sampled, including by Kanye West. The band were also namechecked in LCD Soundsystem’s breakout single ‘Losing My Edge’.
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180 Gram, Red Vinyl `Christmas With Ol' Blue Eyes' is an extension of Sinatra's most beloved holiday album `A Jolly Christmas from Frank Sinatra'. It includes the bonus tracks `Christmas Dreaming', `Let It Snow, Let It Snow, Let It Snow' and `Santa Claus Is Coming To Town'. His deep blue eyes earned him the popular nickname "Ol' Blue Eyes" which gave the record its title. Sinatra is regarded as one of the most popular entertainers of the mid-20th century. He is among the world's best-selling music artists, with an estimated 150 million record sales globally. Over the course of his career Sinatra received eleven Grammy Awards, including the Grammy Trustees Award, Grammy Legend Award, and the Grammy Lifetime Achievement Award. He was included in Time magazine's compilation of the 20th century's 100 most influential people. American music critic Robert Christgau called him "the greatest singer of the 20th century" and he continues to be regarded as an iconic figure.
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Last delivered 22 months ago available to reorder, subject to availability
Did you know there are horses on the cover of Earth 2: Special Low Frequency Version? There are at least three in the right hand corner, gathered inexplicably near a white canvas tent, a human possibly perched among its folds. As widescreen and vast as the cover may seem, those little details-the horses, the possible human, the faint wisp of white clouds-give it depth and wonder, something to which the imagination can return. Did you know that the music on Earth 2-repressed now for its 30th anniversary, back in its original artwork, and accompanied by a riveting set of remixes that demonstrate the reach of what Dylan Carlson long ago called "ambient metal"-works much the same way? The surface is massive and obvious, the meatpaw riffs of Carlson and bassist Dave Harwell pounding and swiping and pawing at the speakers, a true bludgeon in three-dimensional sound. Listen, though, for the details in the corners, for the finesse beneath the force, and Earth 2 reveals new levels of depth and wonder. The widespread impact of Earth 2 suggests that others have indeed been leaning in, listening to these minutiae and making something new of them. A masterpiece without many genre precedents, Earth 2 surely helped send doom metal down its more modern drone, ambient, and avant-garde avenues. Those descendants are obvious. Perhaps more surprising and gratifying are the ways it has influenced electronic music, modern composition, and even hip-hop by realigning our senses of tempo, time, and texture. Earth 2 engendered a rearrangement of expectations, regardless of preferred form.
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Last delivered 7 months ago available to reorder, subject to availability
When Bob Vylan won the first MOBO award for Best Alternative Music Act in 2022, the punk-grime duo took to the stage and used the platform to speak about how they managed to achieve the impossible as independent artists in a genre-defying space. “We released an album this year that we produced entirely, mixed entirely, recorded entirely, all from my bedroom…so everybody that’s here, bigging up Atlantic and bigging up Warner, fuck that, us man did it ourselves”.
It was an acceptance speech that rattled the room and built anticipation for their next projects.
Humble as the Sun, the forthcoming album from Bob Vylan continues with much of the rage and urgency that they have come to be known and loved for, but this latest project shows that they are now stronger and wiser, bolstered by the wins and learnings that they have fought hard for along the way. The resulting tracklist aims to leave the listener feeling power alongside their anger, and brings a fresh and compelling blend of punk, rock, grime and rap together in an experimental way.
Following on from the last album, Bob Vylan Presents the Price of Life, the message woven throughout Humble as the Sun remains dark in places but is high-energy, defiant and unapologetic in its critique of a broken social and political system that so many have fallen victim to, but feel powerless against.
This album is for the underdogs, the ones who come out swinging and those who refuse to be defeated in the face of injustice, and aims to remind listeners that anger is a fire that can be harnessed and put to use. The album creation started from a conversation with the sun, which is, after all, a big ball of fire that sustains life.
From masculinity to myths about the G Spot, the themes and topics explored on Humble As The Sun make for an often humorously empowering celebration of the peoples ability to endure, overcome and bring about change.
The lyricism on this album is even more layered than their previous projects, still darkly humorous, anti-establishment and unforgiving but at times pauses to deliver much-needed words of afrmation to listeners, “You are loved. You are not alone. You are going through hell but keep going.” Bobby assures the listener, ofering an antidote to the state of the world, aiming to give some power and agency to those who hear it. At a time when so little trust or faith exists between the people and the powers that be, Bob Vylan ofers out a hand in the despondent darkness that has overwhelmed so many in the shadow of a burning planet. They guides the listener to a place where they can see some light and feel empowered to do something, to fight back, to continue pushing forwards despite the challenges faced along the way.
Mixing all of the best quintessentially British - and Jamaican - musical elements from punk to drum and bass, grime and rock, Bob Vylan creates a sound that reflects the state of the nation, at once voicing the frustrations that normal people have, while also highlighting one’s ability to persevere, overcome hardship and to change.
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~~~From Mississippi and Olvido Records~~~~~~ Steel-string guitar and vocals by the great Giorgos Katsaros, a mythic figure of Greek rembetiko. Our obsession with underground Greek music continues with 10 ultra-rare recordings of heartbreak and vice from rembetiko legend Giorgos Katsaros. Katsaros, who by some accounts lived to be over 100 years old, carried the old songs of Greece to the Diaspora in the United States, bridging centuries of music in one storied lifetime. Born in 1901 on the Greek island of Amorgos, Katsaros' was enchanted with the songs he picked up as a kid in the streets of Piraeus and Athens. Encouraged by his grandfather, an amateur singer, Katsaros developed a style that mirrored his upbringing - centuries-old Asia Minor songs, island rhythms of his homeland, well-known Athenian songs of the time, and anonymous `rebetiko' songs. Katsaros' songbook was vast, but he was most drawn to the street life and music of the manges of early 20th-century Greece: outcasts who dealt with the indignities of an unstable economy and an inauspicious future with the old standbys: wine, hash, and dancing. These ten tracks are remastered from Katsaros's 64 surviving early recordings, many rarely heard since their original release. Hypnotic melodies plucked over repeating thumbed basslines back his deep, mournful voice. Katsaros brought this nostalgic late-night music to smoke-filled rooms of Greek exiles in Chicago, Philly, and New York, where he emigrated in 1917. He continued to travel the country and play until his music was supplanted by more modern styles in the 1950s. He retired to the town of Tarpon Springs, FL, famous for its Greek sponge fishers, til a late-in-life revival brought him back to Greece for a few massive concerts and national accolades in the 1990s. Like many great artists, Katsaros carefully curated his own mythic backstory over the decades. He sometimes claimed he was born in 1888, making him 109 on his passing, and conflicting accounts of his birth and travels circulate to this day. Greek researchers Stavros Kourousis and Konstantinos Kopanitsanos, who also compiled these tracks, contribute groundbreaking new historical research on Katsaros' life. Lyrics, poetically translated by Tony Klein, further fill in the picture. Clean and rare 78s were remastered by Stereophonic. Katsaros has never sounded better than on this LP, pressed on heavy black vinyl, with extensive notes and lyrics.
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Set for release at the height of the season it’s dedicated to, ‘Music For Autumn Lovers’ by Adam Scrimshire is an eight track album of lush, mostly acoustic based, minimal instrumentals eliciting a mixture of feelings for this special time of year.
Four tracks originally released on an EP in 2022 are joined by new compositions ‘Hawthorn’, ‘Hazel’, ‘Willow’ and ‘Blackthorn’. Gently finger-picked acoustic guitars cosy up alongside pianos, synthesisers, strings and horns; filtered through an autumnal hue of susurrous production and effects. In turns comforting, melancholic and evolutionary; it feels like an album that can be kept being made and remade forever, like a season in itself.
Both a relentless creator and inspiring champion of new music; South London based Scrimshire has been recording, producing and DJing since the mid 2000s. Amongst his credits, he was featured by the Guardian as one of three producers behind the new wave of UK soul, alongside Inflo (Michael Kiwanuka, Sault, Lil Simz) and Swindle (Joel Culpepper, Greentea Peng, Kojey Radical). His bold 2023 album ‘Paroxysm’ was a response to the absurdity of the breakdown in the UK government, picking up an Album of the Week award on Huey Morgan’s BBC 6 Music show, and 2021’s beautiful ‘Nothing Feels Like Everything’ received an Album of the Year nomination at the Gilles Peterson Worldwide Awards. Scrimshire also somehow finds the time to support a wealth of talent on his label Albert’s Favourites, formed with Dave Koor and Jonny Drop, where they have recently released albums by And Is Phi, Huw Marc Bennet, Inês Loubet, Irini Arabatzi, Jonny Drop & Andrew Ashong, and Qwalia.
Radio Support: Gilles Peterson (BBC Radio 6 Music), Tom Ravenscroft/Deb Grant – New Music Fix (BBC Radio 6 Music), Huey Morgan (BBC Radio 6 Music) Guy Garvey (BBC Radio 6 Music)
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Many happy returns to Detroit's Rocksteady Disco, an undeniably consistent label that has reached the ripe old age of ten years old. To celebrate, they're releasing a series of anniversary EPs containing fresh jams from the label's roster of artists. Mainstays Sol Power All Stars get things going with off-kilter Afro-house scorcher 'Solsibisa' - all heavy horns, hot-stepping drum machine beats, squelchy synth-bass and heady vocal snippets - before Eddie Logix combines lightly pitched-down First Choice vocal samples with Balearic guitar bursts and plenty of deep house nous on '2nd Choice (It's Still Not Over)'. Over on the reverse, Blair French gets summery on the Latin-tinged deep house joy of 'Whispers of You', while Topher Horn reaches for dense drums (acoustic and electronic), sparse melodic motifs and heavy bass on 'Gratiot Dub'.
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Last delivered 23 months ago available to reorder, subject to availability
