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Marc Richter aka Black To Comm released his debut record 20 years ago. In 2023 he is still busy releasing music under various disguises and is currently signed to the Thrill Jockey label. To celebrate this anniversary his own Cellule 75 label is re-releasing some classic out-of-print vinyl albums that originally came out on the defunct Type and De Stijl labels. The LP will feature a full-colour lyric sheet / poster exclusive to this edition.

After releasing the critically acclaimed Alphabet 1968 on the seminal Type label (Grouper, Jóhann Jóhannsson, Yellow Swans), Richter chose De Stijl for this 2012 album, an American label that had just put out future classics by the likes of Circuit Des Yeux, Hype Williams and Wolf Eyes.

EARTH is a 2009 silent film by Ho Tzu Nyen, one of Singapore's foremost visual artists. After hearing Black To Comm's Alphabet 1968 Ho Tzu Nyen invited Richter to accompany the film at Berlin's Asian Film Festival, Unsound in Krakow and several other art biennals and music festivals around the world.

In his own words: "Most of the music was composed under the influence of heavy pain killers while recovering from a broken leg (the recordings literally took place in bed). The music (like the film) is about slowness and decay, states of unconsciousness, sleeping and waking up, dying and being reborn. The film is a post-apocalyptic collage based on paintings by classical European painters (Caravaggio, Delacroix, Rembrandt, Gericault) -- the music translates this concept employing corresponding collage-based sampling techniques using loops made from vintage vinyl and shellac records combined with acoustic and electronic instrumentation and voice."

From the original De Stijl one-sheet:
"Richter’s already formidable expressive power stretches over all of EARTH. Reflecting the countless cyclical forces that make up, oh, more or less everything we know and are, the music on EARTH is bracing, lovely, bustling and still, and at times bittersweet, a commingling of sensations and emotions that can’t be neatly separated from one another. (EARTH is complex, as you know.) Guests on EARTH include David Aird, a.k.a Vindicatrix (on the Mordant Music label), contributing startling vocal work; Renate Nikolaus on an array of instruments and noise devices; Rutger Zuydervelt (singing bowls); and Christopher Kline (singing saw). EARTH is Black to Comm’s seventh album and his debut for De Stijl, following the acclaimed Alphabet 1968 (on Type) and last year’s vinyl-only collaboration with Mike Kelley of Destroy All Monsters (on the En/Of label)."

Alex Neilson in The Wire:
"The most marked aspect of Earth is the voice of David Aird, aka Vindicatrix. Imperious and dolorous, he has the gravity of post-Climate Of Hunter Scott Walker, David Sylvain or Klaus Nomi stripped of the pathetic ritz. This is something that's easy to do badly, but Aird pulls it off with aplomb. On "The Children" he breaks into a morose yodel, rolling the words around his palate and colouring each syllable black before gifting them to the air. The meaning isn't understood verbally as much as viscerally. Beneath Aird's ululations, Richter casts handfuls of angelic debris from keyboards and digital devices, generating a celestial electronic tapestry reminiscent of Japanese musician Nobukazu Takemura. Sounds vie and twist at frequencies you can't so much hear as feel in the bridge of your nose, and the variety and full-bloodedness of the accompaniment is what prevents Aird's vocal from occassionally lapsing into shtick."

These recordings weren't intended for release, they aren't even demos, but rather exercises – process tracks in an attempt to mirror the influences of an aspiring artist as they oriented their emerging work. Most of the tracks were constructed in single sittings and recorded to cassette at home in Glasgow through a Philips AW-7694 boombox. That they feel finished, even iconic amid the shortlived confluence between Detroit techno and intelligent dance music, is a testament to what was materialising, but also to our collective nostalgia, revisionism, and thirst to understand how we've arrived here and why. Übungen has that youthful and pre-internet utopian aura, without being tethered to the phony maxed-out optimism ricocheting across the Atlantic in a 4G pollution. That I first came to Dave Clark's earliest work in the anxiety-ripening stage of the pandemic while I was becoming chronically sick – a time when it was all too easy to glide through dystopian nightmares and realities alike – only speaks to the work's presence and its allowance to dream, ahistoricism or splice into the affect of histories, and to dismantle the contemporary, not in an arsy or nihilistic way, but to appreciate (questioningly) the passage of time.

Sitting somewhere between an EP and a full-length, these six pieces predate Dave's other archival release – Sparky's 94Archive2/8 Rubadub, 2015, which also features cassette transfers originally recorded in stereo without overdubs. As a sound archivist myself, it was a welcome experience first listening to Dave's transfers on headphones while walking around the canals of Maryhill rather than handling the digital captures in a studio. I've been enamored with the music ever since and despite the original utilitarian intention, shifting contexts and the chance to listen afresh decades on allows for clearance (dare I say recuperation). It is, for this reason, and the sardonic re-opening of archival material perverted into something on the ground, that's not merely dog shit, that I am very pleased to finally share this collection.

Each of the titles provides the recording year and is initialed by the respective influence: Carl Craig, Aphex Twin (you'll recognise the shimmering hi-hats), Yellow Magic Orchestra, Black Dog, Polygon Window, and Drexycia.

All music was produced by Dave Clark, except "1993CC" produced by Dave Clark & Graeme Slater, and "1992PW" produced by Dave Clark & Roger Elliott.

For more than a decade, Freak Heat Waves have been steadily amassing a cult following and earning acclaim from both critics and underground aficionados alike. Their music is a heady cocktail that defies easy categorization, blending elements of post-punk, psych, dub, ambient, house, and techno.

Their eclectic sound has served as the soundtrack to countless DIY punk shows, outsider galleries and sleazy discos, establishing the duo as iconoclasts with a reputation for ignoring expectations and subverting genre conventions. While at times, the term ‘acquired taste’ may have seemed fitting, their latest release offers their most alluring output to date.

Mondo Tempo, the duo's fifth LP, released through Vancouver's Mood Hut, was primarily recorded at their home studios in Montreal and Victoria. Building upon the electronic explorations of their previous record, Zap The Planet (Telephone Explosion), they inject their signature sound with a smoother and sweeter blend of dance music. The album’s tracks feature midi smoothness, trance mantras, dancehall grooves, ambient textures and vocal samples, creating a world that is both captivating and immersive.

Notably, the lead single “In A Moment Divine” features a collaboration with Cindy Lee, resulting in a dance floor number that boldly ventures beyond the familiar wheelhouses of both acts. With Mondo Tempo Freak Heat Waves solidify their reputation as one of the most exciting and unpredictable acts around.

Lost private press gem "The Swimmer" by Florida native Danny Morgan, is a cool and breezy, beguiling easy glide from 1987. It should've been huge. It still could be. It's a mellow marina masterpiece and quintessentially Balearic. Over the past few years, it's gathered a cult following yet the album from which it derives is virtually impossible to come by.

Finally available on a standalone, fully remastered 12", it's been backed by an instant classic "Seahawks Swimming Through Space Remix", courtesy of those beloved cats Jon Tye and Pete Fowler.

These won't be around for long, limited to just 500 copies for the world, so don't drown in procrastination.

One listen and you'll want to dive in.

Fans of the deeply entrancing, nautically and narcotically-enhanced cuts of Dennis Wilson or Michael Nesmith’s The Prison will be instantly mesmerised by the sheer beauty of "The Swimmer". After tracking Danny down, we wanted to know more. How does something so magical come about? The man himself answered thusly:

"At the time I was running many miles on the Sanibel Island beach and doing a bit of swimming in the Gulf Of Mexico. Keeping my mind busy on a long run, I imagined a “what if” movie scene. Almost every run or swim someone is sitting there on the beach watching what goes by. Back at my desk I started finger picking some chords and the picture in my head showed up. I punched in a rhythm loop and the song was on its way.

Adrian Belew and I had the same manager Stan Hertzman so I was listening to some of Adrian’s work. I was a huge fan of Joni Mitchel and the unusual chord changes and melodies in some of her songs. All of this influenced the sound on “The Swimmer”

I had a support band at the time living in my house on Sanibel Island so we practiced a lot. We came up with an arrangement of the song and we took across the bridge to John McLane’s Important Studios and recorded it. I played finger picking acoustic guitar and sang, Tim Miller played drums, Jeff Holck played fretless bass, Dave Dust played lead guitar and John McLane played keyboards and sang harmony."

Our deep thanks must go out to Jon Tye (MLO / Seahawks / Ocean Moon) for first hipping Be With to this stunner. We returned the favour by giving him the keys to the stems and requesting a strung out remix to go on the flip - he returned having conspired with Pete Fowler to conjure a cosmically copacetic rerub with the subtropical chug of the "Seahawks Swimming Through Space Remix".

Putting together the artwork for this 12" release was an enjoyable process. It was nice to be able to flip the original sleeve for the Beach Life album by using previously unseen photos, sent to us by Danny. We wanted to create something that looks like it would've gone with the LP sleeve. We think we've cracked it. Simon Francis remastered Danny's original audio and Cicely Balston's precise cut for Alchemy at AIR Studios ensures this 12" sounds appropriately outstanding. The immaculate Record Industry pressing will ensure this previously lost masterpiece stays forever found.

Die Berliner Künstlerin THALA findet auf ihrer neuen EP In Theory Depression Stärke in der Verletzlichkeit. Nachdem sie sich einen Weg durch unscharfen Lo-Fi-Indie auf ihrem Debutalbum 2021 gebahnt hat, ist diese kommende Veröffentlichung die Heimat ihres bisher schärfsten und kühnsten Songwritings, welches diese tief persönlichen Erkundungen des Selbst in lebhaftem, 90er-Jahre-beeinflusstem Indie-Rock und drohenden, Psych-inspirierten Klangwänden wiedergibt. Die Songs, die an den verworrenen Indie-Rock von Holly Humberstone, Soccer Mommy und Phoebe Bridgers erinnern und von stacheligen, wogenden Gitarren untermauert werden, zeigen Zärtlichkeit, auch wenn sie wütend sind. In Theory Depression ist das bisher introspektivste Werk der Künstlerin, aber so sehr die Texte auch aus verborgenen Tiefen schöpfen, so sehr sind sie doch oft gepaart mit Breitwand-Melodien, die nach Kino klingen. Das erinnert an die schillernden Klanglandschaften von Mazzy Star, den witzigen Biss von Liz Phair und die subtilen Punk-Einflüsse von Juliana Hatfield, die auch die unerbittlicheren Züge des Genres in knurrenden und bittersüßen Alternative Pop verwandelt. Fire Records sieht noch weitere Großtaten kommen und nachdem sie bereits die Unterstützung von Jack Saunders von BBC Radio 1, dem Wonderland Magazine und Clash gewonnen hat, wird der Aufstieg von THALA nur noch weitergehen. Limitiertes, weißes Vinyl mit DLC!

Die Berliner Künstlerin THALA findet auf ihrer neuen EP In Theory Depression Stärke in der Verletzlichkeit. Nachdem sie sich einen Weg durch unscharfen Lo-Fi-Indie auf ihrem Debutalbum 2021 gebahnt hat, ist diese kommende Veröffentlichung die Heimat ihres bisher schärfsten und kühnsten Songwritings, welches diese tief persönlichen Erkundungen des Selbst in lebhaftem, 90er-Jahre-beeinflusstem Indie-Rock und drohenden, Psych-inspirierten Klangwänden wiedergibt. Die Songs, die an den verworrenen Indie-Rock von Holly Humberstone, Soccer Mommy und Phoebe Bridgers erinnern und von stacheligen, wogenden Gitarren untermauert werden, zeigen Zärtlichkeit, auch wenn sie wütend sind. In Theory Depression ist das bisher introspektivste Werk der Künstlerin, aber so sehr die Texte auch aus verborgenen Tiefen schöpfen, so sehr sind sie doch oft gepaart mit Breitwand-Melodien, die nach Kino klingen. Das erinnert an die schillernden Klanglandschaften von Mazzy Star, den witzigen Biss von Liz Phair und die subtilen Punk-Einflüsse von Juliana Hatfield, die auch die unerbittlicheren Züge des Genres in knurrenden und bittersüßen Alternative Pop verwandelt. Fire Records sieht noch weitere Großtaten kommen und nachdem sie bereits die Unterstützung von Jack Saunders von BBC Radio 1, dem Wonderland Magazine und Clash gewonnen hat, wird der Aufstieg von THALA nur noch weitergehen. Limitiertes, weißes Vinyl mit DLC!

Fates Warning’s ninth studio album, “Disconnected,” contain recurring images of separation and incompleteness reflective of the album’s title. “To do something similar to earlier release would have been an easy way out,” says guitarist Jim Matheos of the set. “The best thing for me to do, and the biggest inspiration, is to say, ‘Let’s do something different now and stretch ourselves in the other direction.’ ” Disconnected,” sees Fates Warning collaborate with ex-Dream Theater keyboardist Kevin Moore, as well Armored Saint’s Joey Vera on bass and backing vocals. Vocalist Ray Alder takes a more active role in the writing process for this album. Matheos, who writes the group’s music, has served as Fates Warning’s primary lyricist for years, but on “Disconnected” Alder pens the words to two songs, including the first single, “One.” Another “Disconnected” track, “Pieces Of Me,” is the first lyrical collaboration between Alder and Matheos. Throughout the band's career, Fates Warning has always cut a clear path, remaining steadfast in their vision to create inspired progressive metal. A must have for fans!

A1 - Continuum

Teaming up once again the original Spatial production duo open their latest EP serving up a thumping onslaught of amen goodness with Continuum, a track which takes the classic Demon's Theme break and carves it to bits unreservedly with a myriad of chops, cuts & edits. We are treated to some delicious filter work later in the track over a shimmering backdrop of synthwork, glazed with a bunch of micro melodies, bleeps and FX.

A2 - Depth Perception

Meticulously constructed vintage breakbeats immediately set a brisk tone with Depth Perception before a blissful early interlude reminds us to sit back and take a breath, before our breaks return - blanketed with an introspective layer of serene synths & keys which somehow combine perfectly, resulting in a tonal mosaic only ASC & Aural Imbalance can conjure up with their combined skillset.

AA1 - Distant Orbit

Nest up an unsettling, melancholic intro tenuously launches classic atmospheric breaks delivered with that crisp, old school brand new punch we have come to love from the distinctive style of drum n bass Spatial is showcasingand developing with each release. Powered with a lively bassline, it's easy to lose yourself in this piece as the track lives up to its title and sends the listener far beyond the confines of their speaker.

AA2 - Cold Front

An intriguing, inquisitive energy opens Cold Front with an assortment of breakbeats woven together exquisitely in a collage format, DJ-friendly yet mellow at once . The dialed-back airy backdrops showcase a glorious intricacy to the breaks, so detailed with umatched clarity - they almost possess an ASMR-like quality, offering new discoveries to the ear each time on repeated listens.

In 2019, Snorkel Records had the pleasure of sharing their lost classic "Riders". And now, finally, all planets are aligned for what will become dibidim's future album classic "Superheaven". Soon it will be visible to the naked eye, starting on the western horizon and moving upward and eastward, in the form of a limited-edition 180-gram vinyl record.

Amsterdam based musician/producer Djosa (long time band member of Arp Frique & The Family) joins the Rush Hour Store Jams imprint with two uplifting songs. The legendary Ronald Snijders is featured on ''Vampiro" with whom he (together with Arp Frique) made the documentary Easy Man and the album The Nelson & Djosa Sessions. TIP!

Please note: Due to an unfortunate production mistake, the tracklisting on the labels and sleeve are in the wrong order. The correct order is: A. Botanica Obscura and B: Vampiro (feat. Ronald Snijders).

The fourth release in Fu Manchu's 30th Anniversary vinyl reissue series, No One Rides For Free, is a new vinyl specific remaster of the band's debut album. These songs are the only recordings of the band's line-up of Scott Hill (vocals/guitar), Mark Abshire (bass), Eddie Glass (guitar) and Ruben Romano (drums). The 8 song collection was recorded on April 16 and 17, 1993 at Sandbox Studios in LA, produced by the band along with Brant Bjork. This reissue was remastered by Carl Saff for optimum fidelity. This limited edition 2,000 unit LP run is pressed on red vinyl with white splatter and the newly designed gatefold package includes never before seen photos of the band and flyers from the shows of the era. The limited edition 1,000 unit CD run also features the updated art and a digital specific remaster.

Auf dem 19. Studioalbum von Marianne Faithfull, das von ihrem langjährigen Partner Hal Willner produziert wurde, greift die 60s Ikone und großartige Sängerin nach 'Easy Come Easy Go' aus dem Jahr 2009 auf ihrem zweiten Cover-Album in Folge acht klassische Songs auf. Zu den insgesamt 13 Titeln gehören Neubearbeitungen von 'Past, Present And Future' (Shangri-Las), 'Love Song' (Lesley Duncan), 'Goin' Back' (Dusty Springfield) sowie mehrere Neu-Kompositionen. Dazu Gastauftritte von Lou Reed, Dr. John und Wayne Kramer (ehemals MC5). Gatefold 180Gr. Doppel-LP (Yellow Vinyl)!

When Chet Baker lit up the West-Coast scene during the 1950s, he became a Jazz idol who
appealed to a younger generation and impressed even the most acerbic critics. He jammed
alongside Tenor Sax stars Vido Musso and Stan Getz, and joined Alto Sax legend Charlie
Parker on various West-Coast gigs. Hailed as the Prince of Cool, Chet caused a sensation
when his mellifluous Trumpet tones were first heard blending with Gerry Mulligan's deep
toned Baritone Saxophone in the famous Mulligan Quartet . It was in 1952 when they joined
forces on tunes like Walking Shoes and Line For Lyons. It wasn't long before they departed
ways with Chet establishing his own Quartet that launched a recording career blessed by
the plethora of performances gathered on this triple LP set. He plays his distinctive style of
trumpet along with presenting Chet the singer. Our collection opens with Let's Get Lost and
My Funny Valentine before advancing to include I Fall In Love Too Easy, The Thrill Is Gone,
That Old Feeling and Chetty's Lullaby. So, let's get lost in the eternally cool world of Chet
Baker.

Before there was Saturday Night Fever there was underground disco. DJs across America went out and found the music to play; dancers went out and found the clubs. At this point, in the early seventies, the disco was the venue and not a genre of music.

By the time Nik Cohn’s short story Tribal Rites of the New Saturday Night was published by New York magazine in June 1976, disco was the biggest genre of music on the charts and was about to get bigger still, becoming an all-enveloping cultural phenomenon. Cohn sold the film rights to Robert Stigwood, and his classic club yarn became Saturday Night Fever.

“Tribal Rites Of The New Saturday Night” is the soundtrack to Cohn’s story, where disco began; a 1975 score for the underground clubs of Brooklyn and Queens that played R&B, soul and Latin beats to people who lived for the weekend.

Bob Stanley has put this collection together, sourcing what was actually played in Brooklyn discos in 1974 and 1975. Only a few specific records were mentioned in Cohn’s feature, but two of them – Ben E King’s ‘Supernatural Thing Part 1’ and Harold Melvin’s ‘Wake Up Everybody’ - were cosmically great and both are included here, alongside underground favourites like Moment Of Truth’s Four Tops-like ‘Helplessly’ and Gloria Scott’s Barry White-produced modern soul classic ‘Just As Long As We’re Together’. Ivano Fossati’s incredible ‘Night Of The Wolf’ has fans in northern soul, disco and prog circles.

Without Cohn’s original story, it’s quite possible that disco would have remained an underground phenomenon – “Tribal Rites Of The New Saturday Night” paints a scene in full flower. Saturday Night Fever would eventually, if unintentionally, wreck the underground nature of this scene, and clubs like Studio 54 would destroy the democracy of the party, but for two or three years the scene was largely undocumented and magical. This album is the sound of disco before it was captured.

Glitching through pop music, cruising around the borders of the avant garde, passing by the edge of coldwave and tumbling into dance and club vibes: after her debut Bad Woman Céline Gillain is back with her second album: 'Mind is Mud'.

On Mind is Mud' Gillain let herself sink in the swamp of emotional confusion, the perpetual brain fog caused by a post Covid-world asking herself: do we have to get used to paradox as a way of life from now on?*

A musical dissection in nine songs of the mudflow, a flow which reveals its rich complexity the more Gillain dived into it: from the demanding intro 'Together' Céline opens up her highly personal and unique vision, shifting between high definition lost dimensions and emotionsthe mud slowly transfers in a crackling and sparkling stream of consciousness.

The mud is well alive in all its weirdness and unclarity. At times, it even glows in the dark.

The answer to that question is yes. The story of Mind is Mud by Céline Gillain: "Music is a place where intuiting is a work in itself. For me, it's the one place where I'm in charge, free to think and do what I want. Mind is Mud is the fruit of a collaborative practice with a DAW, a research around the palliative power of rhythm and the dancefloor, music as a space where emotions and ideas merge, storytelling, the comic potential and imaginative nature of sound. I don't really write, I copy paste and then I arrange and rearrange. Every sound I use comes from software, field recording, Instagram, movies and midi scores I collect here and there. In the hierarchy of sounds, you might call them cheap sounds. The lyrics are collages as well, made of pieces of texts from various contradictory sources. In addition to using the voice as a vehicle for ideas, I investigate its percussive and polyphonic potentialities, the possibility to have more than one voice/mouth."

Little Feat is the quintessential “cult” band. Started by Lowell George, 1972’s Sailin’ Shoes captures these musical rebels at one of their early peaks. The songs on Sailin’ Shoes are a masterful collage of inventive narrative, resplendent in countercultural irony and romance. Featuring the classic tracks “Willin’” (covered by Linda Rondstadt and many others), “Easy to Slip” (originally written for the Doobie Brothers) and the title track, it’s an album whose status has grown immeasurably, making it one of the most acclaimed releases of its era. With 1973’s Dixie Chicken, Little Feat found its signature sound as a band, producing a seductive, laid-back, funky record made up of what is arguably Lowell George's best-ever set of songs. With tracks that sound easy but are quite sophisticated, fans will enjoy hits like the rolling "Two Trains," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funkified title track (which was covered nearly as frequently as "Willin'"). These deluxe editions include the original albums remastered and recut from the original tapes, alongside previously unreleased studio outtakes and demos, and complete unreleased live shows. It’s a treasure trove of material for their feverish fan base, and the first ever deep dive into one of the most influential bands from the 70’s Warner catalog.

[a] A1. EASY TO SLIP (2023 REMASTER) [3:19]
[b] A2. COLD, COLD COLD (2023 REMASTER) [3:58]
[c] A3. TROUBLE (2023 REMASTER) [2:15]
[d] A4. TRIPE FACE BOOGIE (2023 REMASTER) [3:14]
[e] A5. WILLIN’ (2023 REMASTER) [2:54]
[f] A6. A APOLITICAL BLUES (2023 REMASTER) [3:25]
[g] B1. SAILIN’ SHOES (2023 REMASTER) [2:49]
[h] B2. TEENAGE NERVOUS BREAKDOWN (2023 REMASTER) [2:10]
[i] B3. GOT NO SHADOW (2023 REMASTER) [5:05]
[j] B4. CAT FEVER (2023 REMASTER) [4:35]
[k] B5. TEXAS ROSE CAFE (2023 REMASTER) [3:43]
[l] C1. SAILIN’ SHOES (DEMO)* [2:57]
[m] C2. EASY TO FALL (EASY TO SLIP) [DEMO FOR DOOBIE BROS.] [2:41]
[n] C3. TEXAS ROSE CAFÉ (DEMO FOR DOOBIE BROS.) [3:24]
[o] C4. COLD, COLD, COLD (ALTERNATE VERSION)* [4:17]
[p] C5. ROTO/TONE [4:07]
[q] D1. A APOLITICAL BLUES (ALTERNATE VERSION)* [3:46]
[r] D2. BOOGIE – TRIPE FACE BOOGIE [3:58]
[s] D3. TROUBLE (ALTERNATE VERSION)* [2:23]
[t] D4. DORIVILLE [2:44]
[u] D5. WILLIN’ (ALTERNATE VERSION)* [3:00]

[w] E1. TRIPE FACE BOOGIE (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:30]
[x] E2. HAMBURGER MIDNIGHT (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [3:41]
[y] E3. CAT FEVER (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)*[5:19]
[z] E4. WILLIN’ (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:06]
[xa] E5. STRAWBERRY FLATS (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [3:11]
[xb] F1. GOT NO SHADOW (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [5:08]
[xc] F2. TEXAS ROSE CAFÉ (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:05]
[xd] F3. SNAKES ON EVERYTHING (LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71)* [4:18]
[xe] F4. HOT ROD (ELDORADO SLIM) [LIVE AT THE PALLADIUM, LOS ANGELES, CA 8/28/71]* [5:08]

Little Feat is the quintessential “cult” band. Started by Lowell George, 1972’s Sailin’ Shoes captures these musical rebels at one of their early peaks. The songs on Sailin’ Shoes are a masterful collage of inventive narrative, resplendent in countercultural irony and romance. Featuring the classic tracks “Willin’” (covered by Linda Rondstadt and many others), “Easy to Slip” (originally written for the Doobie Brothers) and the title track, it’s an album whose status has grown immeasurably, making it one of the most acclaimed releases of its era. With 1973’s Dixie Chicken, Little Feat found its signature sound as a band, producing a seductive, laid-back, funky record made up of what is arguably Lowell George's best-ever set of songs. With tracks that sound easy but are quite sophisticated, fans will enjoy hits like the rolling "Two Trains," the deeply soulful and funny "Fat Man in the Bathtub" and the country-funkified title track (which was covered nearly as frequently as "Willin'"). These deluxe editions include the original albums remastered and recut from the original tapes, alongside previously unreleased studio outtakes and demos, and complete unreleased live shows. It’s a treasure trove of material for their feverish fan base, and the first ever deep dive into one of the most influential bands from the 70’s Warner catalog.

[a] A1. DIXIE CHICKEN (2023 REMASTER) [3:55]
[b] A2. TWO TRAINS (2023 REMASTER) [3:06]
[c] A3. ROLL UM EASY (2023 REMASTER) [2:30]
[d] A4. ON YOUR WAY DOWN (2023 REMASTER) [5:31]
[e] A5. KISS IT OFF (2023 REMASTER) [2:56]
[f] B1. FOOL YOURSELF (2023 REMASTER) [3:10]
[g] B2. WALKIN’ ALL NIGHT (2023 REMASTER) [3:35]
[h] B3. FAT MAN IN THE BATHTUB (2023 REMASTER) [4:29]
[i] B4. JULIETTE (2023 REMASTER) [3:20]
[j] B5. LAFAYETTE RAILROAD (2023 REMASTER) [3:40]
[k] C1. TWO TRAINS (DEMO) [3:19]
[l] C2. FAT MAN IN THE BATHTUB (DEMO) [3:56]
[m] C3. WALKIN’ ALL NIGHT (ALTERNATE VERSION)* [3:40]
[n] C4. ROLL UM EASY (ALTERNATE VERSION)* [2:36]
[o] C5. ON YOUR WAY DOWN (ALTERNATE VERSION)* [5:57]
[p] D1. ELDORADO SLIM [4:42]
[q] D2. JULIETTE (ALTERNATE VERSION)* [3:34]
[r] D3. HI ROLLER (ACE IN THE HOLE) [3:27]
[s] D4. DIXIE CHICKEN (ALTERNATE VERSION)* [4:06]
[t] E1. TWO TRAINS (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:23]
[u] E2. GOT NO SHADOW (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:35]
[v] E3. ON YOUR WAY DOWN (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [6:26]
[w] F1. WALKIN’ ALL NIGHT (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)*[3:34]
[x] F2. FAT MAN IN THE BATHTUB (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [5:31]
[y] F3. WILLIN’ (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [4:31]
[z] F4. A APOLITICAL BLUES (LIVE AT PAUL’S MALL, BOSTON, MA 4/1/73)* [3:33]

repress !

Striking back the way we like it.

With a primitive approach the duo Fractions initiates this ritualistic 12" with a hyper-disco trance induced big room smasher.

As it follows Lars Huismann burns it with a tune that could be directly extracted from a 2000's mighty label like Primate, danger funk alert.

Heavily influenced by the present music the hit of this record has a name, She Won't Make Me Sad. Jheal Bashta pushes once again the limits of the urban music transforming this trap track into a unique piece of dance floor techno music not easy to forget. Sang by his brother Metal Fence.

Closing the issue Kontain's Paradox, will melt the heart and the shoes of those who can still on the dance floor (one of the tracks that I've been playing in the last parts of my sets lately the most).

Discoteca Neanderthal for disc-jockeys and collectors.

The Search for God is a wake-up call for a troubled world that’s still worth saving, animated by a belief in the power of small connections to add up to big changes. At 10 songs delivered in a brief 15 minutes, Jimmy Whispers’ long-awaited sophomore album feels present in a way that feels brand new for the cult auteur. Like many of us, Jimmy has been affected by the pressure of the past few years. After embracing sobriety in 2019, and now as a filmmaker sharing the stories of lesser known Los Angeles community members, he’s brought his dreaming down to earth, while turning its direction even further out.

Recorded with his longtime friend Ziyad Asrar of the band Whitney (and re-recorded after a hard drive incident destroyed the original files), The Search for God was created in the wake of Jimmy’s COVID isolation, and returns to some teen influences that are out of step with the chill/lo-fi LA indie rock scene he’s found himself lumped in with. Created mostly with two vintage synths, a single Roland CR5000 drum machine, and a busted karaoke machine, it channels Midwestern emo, the Beach Boys’ Smile, subtle nods at hyper-pop production, and forgotten jewel-box era college radio of the early aughts into a pure pop sound that transcends easy categorization.

The album’s standout single—and its statement of purpose—is “Hellscape,” which packs more into a minute and 40 seconds than you’d think possible: multiple immediately-unforgettable hooks, kaleidoscopic keyboards, and a bracing reminder that even the most transcendent moments are rooted in a world full of suffering. “This is a fucking hellscape,” Jimmy sings. “This is real life / this is happening.”

That may sound like punk nihilism, but The Search for God is anything but. Every lyrical acknowledgment of how fucked things are right now comes with a promise that we can still make positive changes. Jimmy calls it “God”; you might call it Love or Peace or A Place In the Universe That Makes Some Kind of Sense.

Will The Search for God deliver whatever that is to you? Of course not. At its heart, it’s still just a really good pop album. But maybe that’s enough. For a minute or two at a time, Jimmy’s music cracks open a space where the divine can enter our lives. The utopia we’ve all been dreaming of is already here if we’re just willing to build it. Jimmy Whispers is there, ready to add his voice, whenever we want to reach out.

First single to be taken from Skinshape’s ‘Nostalgia’ album. For fans of Khruangbin, El Michels Affair, Tame Impala and Bonobo. Despite the drama insinuated on ‘High Tide, Storm Rising’, Skinshape aka Will Dorey takes it easy with one of his signature laid back lolls featuring tenderly strummed guitar. “The strings in unison, arranged by Jon Moody, almost have a 'Bollywood' feel” says Dorey, completing the contentment with brass melodies that truly set the track adrift on memory bliss. ‘Theme for Lazarus’ is the album’s opener expressing wide-eyed wonderment; expanding upon the delicate, folk-edged setting in which the track sits, his vocals echoing in the distance like somebody you used to know, Dorey offers that “you often get themes for characters in film soundtracks. For the music, I wanted to create something that had elements of classic Skinshape, but also to add some new ideas that I hadn't used before such as the pizzicato strings”.

Music follows strange paths, goes where it wants, always. This is how music created for use only as a background for adult films in the 70s today sounds so current, sophisticated, groovy and cool.

In this new chapter of Sexopolis "Beyond The Valley Of The Beats" ( Pornobeats ), we will in fact find songs "for adult listeners" who have made non-trivial musical research their final destination. 23 soul, funk, jazz, lounge and more songs that are not so easy to label with a musical genre, believe me.

18 of the songs in this selection have never been made on phonographic support before, a real "first time" that you can discover with all the taste, curiosity and kindness due, please.

The fourth chapter of the Sexopolis series is certainly the most alternative and ambitious, the result of an accurate and difficult musical research that will satisfy listeners at all times. The turquoise double vinyl is as always a limited edition. Then, all that remains is to add it to your collection and ... make your own mental private film.

Enjoy!

In collaboration with Croatian label Sareni Ducan, Discom proudly presents an official reissue of a very rare self-titled album of Yugoslavian 80’s funk band Boom Selekcija.

Boom Selekcija was a short-living group of musicians from Belgrade, active from 1979 to 1983. They recorded their debut and only album for the label Diskos in 1983 and after that disbanded. The line-up included musicians from Boban Petrovic’s backing band and Silva Delovska from Kim Band on vocals. The quality of recorded material and the complete lack of information about the band set them as a cult act among DJs and crate diggers. This is one of the albums which makes you ask ”What is this?” when you hear it, but nobody around could tell you an honest answer.

A side of the record begins with a track called Moje Cake (eng. My Tricks). It is a groovy theme with mellow vocals-a story of the poser who thinks he is very interesting. The same groove continues in the song Rokenrol Štipaljke (Rock And Roll Easy Girls) where friends are preparing for a crazy go out in a discotheque. It ends in a Balearic atmosphere in the songs Studentski San ( eng. A Student’s Dream)- a song about dreaming luxurious life on the Adriatic coastline) and Vladina Gitara (eng. Vlad’s guitar)-a nice dreamy guitar instrumental in the 70’s Yugoslavian style.

Equally groovy and interesting B side portrays naive and charming 80’s Belgrade: discotheques, parties, girls, tough guys, urban stories about real-common people and their destinies … all packed with such style and grace like you are in New York City suburbs in the late ’70s and enjoy perfect funk/soul musicianship. In this sense, you can hear: amazing slap bass by Vladan Mracic in the song Zuljas Me ( eng. You Are Going To My Nerves); cool funky guitar licks by Aleksandar Stefanovic in the song Bora Klej; authentic soul singing style of Mile Perisic and beautiful electric piano solo of Oliver Polak in song Frizerka Nada (eng. Nada, The Hairdresser) and convincing funk rhythm drumming by Zoran SImovski all way through.

This record will remain a significant point for investigating Yugoslavian funk history and it will be welcomed on every dance floor in the world that favors lesser-known grooves. We hope that we will manage to bring it closer to the younger audience and show how people used to live and have a good time in Belgrade and Yugoslavia.

Bruce Falkian is a world famous contemporary artist who exhibits at the world's most prestigious art galleries and fairs. Bruce Falkian moonlights as an agent of espionage against the Terrorism Industrial Complex. Wait... what?

To understand Bruce Falkian we first must understand the link between image and war. In the late 1800s the precursor to the video camera was invented. It was directly inspired by guns, specifically, Samuel Colt's Revolver. It borrowed not only its barrel mechanics, swapping bullets for exposures, but its terminology too. Load, point, scope, aim, shoot, flash. The camera and the gun, united by cordite, would go on to prove the most efficacious tools in shaping the modern world.

The 20th century was a laboratory when it comes to killing and image making, glorified through Hollywood and the Western genre. Propaganda would prove highly effective in creating and sustaining support for militaries fighting for ideological global control. Devised first in the aptly title 'Propaganda' (1928) by Edward Bernays, a nephew of Sigmund Freud, Advertising and Public Relations became the leading media industries, learning how to control the population through images, usually just to buy random crap they didn't need, but other times to overthrow democratically elected politicians in foreign countries. Eventually Western Liberal Democracy assumed domination, built of course on the enslavement of all peoples and nations who didn't fall in line with its specific ideas of living. The Red Scare inspired countless anti-leftist, anti-communist works of art throughout the Cold War, notably and most bizarre, funding the abstract expressionist movement as a non-ideological alternative to socialist realism art. When the Soviet Union fell, Western Liberal Democracy was able to promulgate its unhindered views around the world through its various media empires and actor states. Is it a coincidence that a third of the almost $85 billion dollar global camera equipment market is represented by the greatest propaganda beast the world has ever seen, the USA?

Guns are dangerous because of the obvious. Images are dangerous because we are bad at perceiving what is real (as any jump scare, deepfake, newsreel will attest to.) Videos aren't technically real, they are only a collection of rapidly changing static images which give the illusion of movement. It's easy for us to collectively decide that a video is real, because that's the way our brains perceive reality. People who lead the world of media understand this, which is how they are able to control us, make us invade foreign countries, vote for specific politicians, feel ugly or fat etc. However, ubiquitous as they are, it seems that the image is in crisis. It seems that we've run out of them. Or perhaps our understanding of an image is changing, with the aid of near instantaneous text-to-image AI technology. So what does this mean for guns? What does this mean for war? How will images be used as an aid to war in the 21st century? It remains to be seen, but Bruce Falkian will be a useful agent.

Stoned Part I was the first self-released album from lost soul phenomenon Lewis Taylor. His third album proper, it was initially released on his own label Slow Reality in 2002 and it's been licensed to Be With for this long-awaited double LP release, its first ever vinyl edition. The songs are varied, hook filled and outstanding. Beloved by his legions of diehard fans, it's nothing short of a masterpiece.

After parting ways with Island, and without a label deal, Lewis went back to his home studio and began to record Stoned Part I in 2001. Co-written and co-produced with longtime collaborator Sabina Smyth, Lewis sings and plays all the instruments on this beautiful, emotional and very human album. It represents Lewis at his most accessible and finds him in the middle ground between his two Island releases. In some ways, Stoned Part I distills the best of his musical sensibilities. The flawless production is dense, layered and very early-2000s slick. The bottom end is thick, funky and sexy.

The complex, proggy-soul of title track "Stoned" opens the album and instantly captivates. Deep swinging funk with truly sweet soulful vocals, complemented by wah-wah guitar and swelling acidic synths. As Lewis himself told us, the ad libs at the end of the track were a nod to Paul McCartney at the end of "Hey Jude". Fan favourite "Positively Beautiful" has shades of Curtis and Marvin; its richly layered harmonies propelled by a simple, metronomic click-track that gives way to a more fully fleshed beat for the magnificent coda.

The slow, sweeping majesty of "Lewis IV" is all moody atmosphere, featuring dense, richly textured music and heavenly multi-tracked harmonies. The stop-you-in-your-tracks incredible "Send Me An Angel" could have been a huge AM radio hit, beautifully crafted sophisticated soul-pop songwriting in the vein of the very best Sade records. Yep! *That good* The smooth, psychedelia-lite "Til The Morning Light" is a gorgeous, sun-dappled love song, layered with Lewis' distinctive honey drenched vocals and, again, the type of record you could've easily heard all over the radio at the time of initial release.

The remarkable, wide-eyed "Shame" packs so many shifting styles into one song, it has to be heard to be believed. Opening in a laconic, breezy style, not unlike a Dallas Austin or Rodney Jerkins produced R&B hit of the day, it morphs into a heavy psych-soul Soulaquarians wig-out (the solo bearing an uncanny resemblance to Carlos Santana’s on "She’s Not There") before elegantly sliding into string-assisted symphonic soul and then back around again. And again. Sheer brilliance. The sublime, gentle head-nod funk-soul of "When Will I Ever Learn" (Part 1) is a strikingly well-turned-out tune, a neat, sweet bass-driven guitar-soul jam that ensures our jaw won't be leaving the floor anytime soon. "Lovin’ U More" sounds like a classic turn-of-the-century Neptunes production, the likes of which they'd lay on for JT BITD. A Latin-tinged groover with more than a little Nile Rodgers-driven slick funk stylings, it's yet another instant Lewis bomb with those gorgeous harmonies and chart-friendly irresistible key-changes to boot. Another indisputable (non-)HIT!

The funky seductive swagger of "From The Day We Met - Part II" opens the final side of wax, giving way to the gigantic buzzing synth-funk beast "Lovelight", a track so insouciantly mighty it should have been a massive hit for someone. Wait, what's that? Robbie Williams covered it? Ah, OK, well, I guess that says something about the effortless pop genius contained within. Containing a seemingly unnoticed nod to Kraftwerk’s "Computer World", it's Lewis's favourite song on the album. It's easy to hear why: "Sabina’s production totally nails it. I love the restraint and the subtlety, and that mixture of warmth and sweetness from the singing against the slightly cold, yet beautiful airy-ness of the backing track." To close this phenomenal album, the twisted electronic soul of "Sheneverdid" marries Lewis's beautiful falsetto to his virtuoso playing and an easy-cum-ominous musical backdrop. Stunning.

Simon Francis’s vinyl mastering, approved by Lewis himself, presents the eleven tracks over a double LP so, as ever, it sounds sensational. The records have been cut by Cicely Balston at Air Studios and pressed at Record Industry. Allow Lewis Taylor to get you Stoned.

The leader of the European Dancehall/Shatta scene is still as productive as ever after his latest project Mad Ting 2 and a Europe/Latin America tour in 2022. By delivering multiple hits and appearing at major festivals, Blaiz Fayah is starting 2023 the same way he ended the previous year. The hit maker confirms his notoriety through his appearance in mixes played in clubs by the best DJs of the moment. His exponential growth on social networks, especially Tiktok, is also noteworthy.

A few digits: Blaiz Fayah has 850k monthly listeners on Spotify, 36M Spotify listens and 56M views YouTube for his hit "Bad", more than 9 million TikTok videos under the #blaizfayah.

For his upcoming project "Mad Ting 3" scheduled for June 2, 2023, which concludes the "Mad Ting" series, Blaiz Fayah highlights the vast range of his musical references by bringing in Dancehall, Kompa, Moombahton, Reggae, Shatta and Zouk influences.

For the occasion, some of the most renowned artists of their genre have been invited, such as Busy Signal, Jahyanai King and Nesly.

More than a mere sensation, the artist has seduced Dancehall fans all over the world with hits powered by a dancing energy that only he knows the formula. A unique energy that he was able to spread on some of the best European stages in 2022 (Solidays, Garorock) and that he will be able to continue to broadcast during some fifteen European dates in 2023 (Dour Festival, Reggae Sunska, No Logo...).

By collaborating with international DJs for the production of the tracks on his album (Netherlands, United Kingdom, Mauritius, West Indies...), the artist from the Parisian suburbs extends his influence across different international music stages, as shown by the success of his tour in Latin America (Colombia, Costa Rica, Chile...) and in the Indian Ocean (Mauritius, Reunion, Seychelles...).

Roll Dann makes it a hat trick of releases on Soma with this, his 3rd for the label and first physical release, the Save The Energy EP. The prolific Spanish based Roll Dann once again treats us to his signature, deep and rolling techno sound that has seen him becoming a firm favourite of many a DJ throughout the scene.

Donovan Woods was curious: What if he re-recorded Both Ways, his acclaimed 2018 record that won him a Juno Award for contemporary roots album, and distilled its 12 songs to their bare essence? An “acoustic reimagining,” if you will. “We started from scratch,” he says, from the instrumentation to his vocals to a fresh understanding of the heartache and regret that underpinned those songs. “There are no recording elements carried over from that album. It’s all brand-new.” Woods ended up with The Other Way, his album that brims with inspired interpretations of Both Ways that are intimate yet startling in their urgency. Released on May 3, 2019 on Meant Well, this release is a reminder of why the Canadian artist has become such a sought-after songwriter whose work has been recorded by Tim McGraw (“Portland, Maine”) and Lady Antebellum’s Charles Kelley (“Leaving Nashville”), with Spotify streams approaching nearly 90 million. You’ve always been able to hear and connect with Woods’ words. But an odd sensation washes over you when the varnish is wiped off of Woods’ songs. Somehow the lyrics burrow with even greater resonance and then linger like little smoke rings. For a producer, Woods enlisted ace guitarist Todd Lombardo, who produced Woods’ song “Portland, Maine” in 2015 and wrote and played most of the guitar parts on Kacey Musgraves’ Grammy-winning Golden Hour. Woods gave Lombardo artistic license not only to change the chords and song structures but to overhaul the arrangements with acoustic instruments and Lombardo’s luminous guitar work as the centerpiece. “I think this album draws out the pain and the darkness of these songs,” Lombardo says. “The record is about loss and failure and feeling like you fucked it up, and there’s no mistaking that. You hear every single word – and feel it, too.” Coming on the heels of “Go to Her,” Woods’ first song of 2019, The Other Way is so revelatory that it makes you wonder why he didn’t try this approach sooner. “It’s always been an interesting idea to me, especially when you’re an artist like me who inherently disappoints some people anytime your sound gets bigger,” Woods says. “But a really good song is a good song in any arrangement. It’s like a beautiful hardwood floor. You can put any furniture in there, and it’s going to look good.”

Donovan Woods’ album is a study in contrasts, as one would expect from its name: Both Ways. That push-and-pull, especially in relationships, has long been Woods’ stock in trade. As the lead track of Both Ways, “Good Lover” unfolds with acoustic instruments and Woods’ quietly compelling delivery -- not what a listener might expect from the title alone. That masterful perspective has led to nominations for the Polaris Prize and the Juno Awards. In addition, his single “What Kind of Love Is That?” climbed to No. 1 on the CBC Top 20 Chart, while his catalog has accrued over 45 million streams. Woods is also a notable songwriter in Nashville with credits by Billy Currington, Charles Kelley, Tim McGraw and Charlie Worsham. NPR Music stated, "There are very few writers who can make you laugh and break your heart in the same song.” No Depression noted that Woods’ style is “as fresh and captivating as any out there.” Asked if he writes differently for himself than he does for other artists, Woods replies, “I used to think that there was a difference. I know now there's no difference. You just try to write the best thing. Everything I wrote where I said, ‘This is mine and I’m going to put it out’ – every song like that gets recorded by somebody else. I know now that I just try and write a song that I would want to do.”

The sun is shining, the heat is enveloping the body, something is still wrong. « L’Ete Suivant » (The Following Summer), the fourth album of the French quartet Limousine still maintains, as its predecessors, this mystery around indolent music difficult to circumscribe, between jazz, pop, easy-listening.

Limousine is a parallel project but essential for the musicians who participate. It is a recreation, a group without a singer, who over the years has become a ritual for these four boys trained in jazz, who have since drifted to many different shores, and who also follow varied careers - within well-known formations and with famous artists (Poni Hoax, Jeanne Added, Thomas de Pourquery, Joakim).

"The following summer ..." is today the fourth Limousine album after "Siam Roads" in 2014, already published at Ekleroshock. Where this previous project revolved around a trip to Thailand, an initiatory meeting with a traditional musician from the region of Isaan, this new record follows no path except that of fantasy and loitering. It is the result of a simple working method: the quartet met during the last three summers, between the end of July and the beginning of August, in the same studio of the 18th arrondissement of Paris.
In general, it is at this time of the season that Paris begins to empty and the atmosphere of the capital oscillates between lightness, spleen, impatience and serenity. It is among others what resonates in this disc: a form of graceful detachment, an exhilarating nonchalance.

A pivotal record for contemporary times; bright, free, adamant, optimistic. Brain Worms is RVG's fullest, most pristine album yet. All throughout Brain Worms, it's apparent that this is a band in very fine form. Album opener 'Common Ground' sets the tone for what's to come; a shiny, thrilling, punch of an album, with all the beloved RVG hallmarks. Vager's voice is unfiltered and commanding as ever when delivering her clever, not-quite-ironic lyrics. Here, though, those lyrics feel so much less resigned to yearning, and so much more defiant and joyous. 'Tambourine' is the only Covid song Vager wrote when "trying not to write Covid songs", and it's a painfully honest portrait of grieving mid-isolation. 'Brain Worms' tells the all-too-familiar story of a person falling down the internet rabbit hole and finding comfort in conspiracies. 'Nothing Really Changes' is a keys-heavy new wave-ish thing, while closer 'Tropic of Cancer' sparkles with Vager's self-assured new manifesto: I know what I'm like, and I know how I get. If you think I'm strange, you ain't seen nothin' yet. Bloxham, Nolte, and Wallace are flawlessly adept in bringing Vager's songwriting to life. Recorded in London at Snap Studios with James Trevascus (Nick Cave & Warren Ellis, PJ Harvey), all ten tracks surge with lush sounds and clear intentions and the magic of an acoustic guitar once owned by Kate Bush, given to her by Tears for Fears (who, legend has it, wrote 'Everybody Wants to Rule the World' on it). Between the four bandmates lead singer and guitarist Vager, guitarist Reuben Bloxham, drummer Marc Nolte and bassist Isabele Wallace this is the most confident they've ever felt in RVG. They've moved past their influences, pushed themselves, and tried new things. And they have made a record they can, by all accounts, call their best. "Brain Worms feels like the antithesis to what a post-pandemic record could easily be. For a band who were already writing music about being reclusive "we were depressed and not going outside on our first two albums" the enforced isolation and time to think gave Vager space to write about anything she wanted. And, it turned out, she was ready to write about acceptance. "If we could only make one more album, it would be this one," says Vager. "Easily one of the most vital bands on the Aussie scene today" Rolling Stone "A calling card for outsiders... dynamic and vital post-punk" The Guardian

Such Ferocious Beauty is vintage Cowboy Junkies and another dimension from the lo-fi Canadian band comprised of, well, family. A tangle of sonic textures, Beauty is a rumination on aging, losing parents, facing mortality and creating space for one"s life in the midst of the ruin that comes from merely living. "Mike has never shied away from the darker, harder and sometimes uglier realities of our human condition," Margo Timmins explains of the band"s singular focus, "nor has he shied from its beauty. Thankfully, with one comes the other." Cowboy Junkies are an alternative country and folk rock band formed in Toronto, Ontario, Canada in 1985 by Alan Anton (bassist), Michael Timmins (songwriter, guitarist), Peter Timmins (drummer) and Margo Timmins (vocalist). The band gained wide recognition with their second studio album, The Trinity Session (1988), recorded in 1987 at Toronto"s Church of the Holy Trinity. Their sound, again using the ambisonic microphone, and their mix of blues, country, folk, rock and jazz earned them both critical attention and a strong fan base. Cowboy Junkies have gone on to record 16 studio albums and five live albums.

Ein zentrales Album für die heutige Zeit: hell, frei, unnachgiebig, optimistisch. Brain Worms ist das bisher vollste und makelloseste Album von RVG. Auf "Brain Worms" wird deutlich, dass die Band in bester Form ist. Der Album-Opener 'Common Ground' gibt den Ton an für das, was kommen wird; ein glänzendes, mitreißendes, schlagkräftiges Album mit allen geliebten RVG-Merkmalen. Vagers Stimme ist ungefiltert und souverän wie immer, wenn sie ihre cleveren, nicht ganz ironischen Texte vorträgt. Hier fühlen sich diese Texte jedoch viel weniger resigniert und sehnsüchtig an, sondern viel mehr trotzig und fröhlich. Tambourine" ist der einzige Covid-Song, den Vager schrieb, als sie "versuchte, keine Covid-Songs zu schreiben", und es ist ein schmerzhaft ehrliches Porträt der Trauer inmitten der Isolation. Brain Worms" erzählt die nur allzu bekannte Geschichte eines Menschen, der in den Kaninchenbau des Internets fällt und Trost in Verschwörungen findet. Nothing Really Changes" ist ein Keyboarder-lastiges New-Wave-Ding, während das abschließende "Tropic of Cancer" mit Vagers selbstbewusstem neuen Manifest glänzt: Ich weiß, wie ich bin, und ich weiß, wie ich werde. Wenn du denkst, ich bin seltsam, hast du noch nichts gesehen. Bloxham, Nolte und Wallace erwecken Vagers Songwriting mit Bravour zum Leben. Aufgenommen in den Londoner Snap Studios mit James Trevascus (Nick Cave & Warren Ellis, PJ Harvey), strotzen alle zehn Tracks vor üppigen Klängen, klaren Absichten und der Magie einer Akustikgitarre, die einst Kate Bush gehörte und die ihr von Tears for Fears geschenkt wurde (die, so die Legende, "Everybody Wants to Rule the World" darauf geschrieben hat). Die vier Bandmitglieder - Leadsänger und Gitarrist Vager, Gitarrist Reuben Bloxham, Schlagzeuger Marc Nolte und Bassist Isabele Wallace - sind so selbstbewusst wie noch nie bei RVG. Sie haben ihre Einflüsse hinter sich gelassen, sich selbst vorangetrieben und neue Dinge ausprobiert. Und sie haben ein Album gemacht, das sie nach allem, was sie sagen, als ihr bestes bezeichnen können. Brain Worms" fühlt sich an wie die Antithese zu dem, was eine Post-Pandemic-Platte leicht sein könnte. Für eine Band, die bereits Musik über das Zurückgezogensein schrieb, "wir waren deprimiert und gingen auf unseren ersten beiden Alben nicht nach draußen", gab die erzwungene Isolation und die Zeit zum Nachdenken Vager Raum, über alles zu schreiben, was sie wollte. Und es stellte sich heraus, dass sie bereit war, über Akzeptanz zu schreiben. "Wenn wir nur ein weiteres Album machen könnten, wäre es dieses", sagt Vager. Rolling Stone: "Eine Visitenkarte für Außenseiter... dynamischer und vitaler Post-Punk" The Guardian: "Eine der vitalsten Bands der australischen Szene von heute.

Vinyl is available in two versions - classic black or various color limited "Indie Shop Edition".

Both versions have 180g record and printed inner sleeve.

The idea for "PORTRETY" was simple - to invite esteemed drummers to record a song that will be signed with their name. There was no musical framework - they could invite guests or record everything themselves - no need to necessarily use drums. This is how the first PORTRAITS in 2019 were created, and now we present their next installment.


" 'Part two' seems to suggest a series, so just as with the bad joke from four years ago, I'll lead with the short, age old adage: "10 musicians and a drummer". Admittedly, it is rudimentary and unfunny, however, it is significant: It's easy to forget an instrumentalist's other specialities, but here, the drummers don't let themselves to be forgotten.

This series - the brainchild of Marcin "Groh" Grośkiewicz - is composed of up-close portraits. A task which not only shifts accents, but also changes the lives of those normally considered the unsung heroes of the background. One of the tracks from "Portraits" was picked for an advertising campaign for a well known smartphone producer, others topped industry charts and inspired new bands where drums were in the spotlight.

Part two brings us eight drummers who are among the most multifaceted musicians on the Polish music scene. What are they doing here? Teo Olter tells a complex story, asking in the very title, where he is going? Wiktoria Jakubowska, known for backing big stars, shines through with her own composition. Miłosz Pękala - an interpreter of avant-garde composers and an academic lecturer - thoroughly entertains. Famous from Immortal Onion, Wojtek Warmijak energetically explores high tempos, while Wojtek Sobura - those slower, patiently sculpting a club beat with sonoristic* abstraction. Macio Moretti surprises, as expected, stylistically moving towards his hero: Zappa. Tymoteusz Papior impresses, effortlessly juggling accents and chopping time signatures. And Inferno, despite being associated with the group Behemoth, shows he can do it… drum-less. Some invite other musicians, but they always remain - as their studies or professional experience taught them to be - the musician with the widest set (be it drums or skills) on the team.

So, how does the second part of the series compliment the first? It further completes the gallery of collector's cards with Polish Percussion's superheroes and heroines. Each a different personality and an individual set of features. But does it satisfy? Strikingly.

Enough, I won't drum it into you."

Vinyl is available in two versions - classic black or various color limited "Indie Shop Edition".

Both versions have 180g record and printed inner sleeve.

The idea for "PORTRETY" was simple - to invite esteemed drummers to record a song that will be signed with their name. There was no musical framework - they could invite guests or record everything themselves - no need to necessarily use drums. This is how the first PORTRAITS in 2019 were created, and now we present their next installment.


" 'Part two' seems to suggest a series, so just as with the bad joke from four years ago, I'll lead with the short, age old adage: "10 musicians and a drummer". Admittedly, it is rudimentary and unfunny, however, it is significant: It's easy to forget an instrumentalist's other specialities, but here, the drummers don't let themselves to be forgotten.

This series - the brainchild of Marcin "Groh" Grośkiewicz - is composed of up-close portraits. A task which not only shifts accents, but also changes the lives of those normally considered the unsung heroes of the background. One of the tracks from "Portraits" was picked for an advertising campaign for a well known smartphone producer, others topped industry charts and inspired new bands where drums were in the spotlight.

Part two brings us eight drummers who are among the most multifaceted musicians on the Polish music scene. What are they doing here? Teo Olter tells a complex story, asking in the very title, where he is going? Wiktoria Jakubowska, known for backing big stars, shines through with her own composition. Miłosz Pękala - an interpreter of avant-garde composers and an academic lecturer - thoroughly entertains. Famous from Immortal Onion, Wojtek Warmijak energetically explores high tempos, while Wojtek Sobura - those slower, patiently sculpting a club beat with sonoristic* abstraction. Macio Moretti surprises, as expected, stylistically moving towards his hero: Zappa. Tymoteusz Papior impresses, effortlessly juggling accents and chopping time signatures. And Inferno, despite being associated with the group Behemoth, shows he can do it… drum-less. Some invite other musicians, but they always remain - as their studies or professional experience taught them to be - the musician with the widest set (be it drums or skills) on the team.

So, how does the second part of the series compliment the first? It further completes the gallery of collector's cards with Polish Percussion's superheroes and heroines. Each a different personality and an individual set of features. But does it satisfy? Strikingly.

Enough, I won't drum it into you."

Bound To Rise is the quietly impressive debut album from Yorkshireman Chris Brain. His songs have a gentleness and ethereality, enhanced by his softly husky, smoky vocals coupled with delicate finger-picked guitar patterns based around his alternate tunings.

The self-composed songs draw on the pastoral and the traditional, heavily centred in natural imagery featuring both as itself and as allegory. A misty ambiguity, suggestions of layered meaning and hints of multiple interpretations permeate the lyrics. And darker moods throw long shadows across this landscape.

A pre-dawn longing for the sun in title track ‘Bound To Rise’ seems to obliquely evoke springtime, primitive beliefs and lifting mood. ‘Bird Count’ is another daybreak song hinting at other, more intimate, preoccupations, “calling out your name / never to be tame”.

‘Chance To See’ celebrates the emotional significance of a relationship, and it’s easy to interpret ‘Golden Eagle’ as its flipside partner, “but you can’t choose her, she chooses you” – or maybe it’s simply a song about birdwatching. ‘Flying On Time’ continues with rare sightings paired with impressions of human air travel and distance, “she’s due tonight / just for one night / to visit our skies”.

Non-specific doubt and uncertainty edgily patrol ‘If I Could’, whilst the cheerfully pattering guitar motif of ‘Peace And Quiet’ belies an inner melancholy, and ‘Rare Find’ charmingly bookends Mary Jane Walker’s plangent violin and Simeon Walker’s subtle piano.

‘Sunday Morn’ “lays the week to rest” amongst other things but, despite the laid-back vibe, all is not sunny and “melancholy calls to greet us once more”. Brain’s songs are intriguing shifts of light and shade, and the details improve with each listen.

Coming full circle thematically, the joyous simplicity of expression in ‘Sun Song’ makes it close kin to the mighty Bright Phoebus, “the sun was born and she’s beautiful / the sun was born from the ground”. It’s an optimistic ending to an emotionally ambiguous album.

Influenced by, among others, Nick Drake, John Martyn and Joni Mitchell, it’s not hard to see where Chris Brain is coming from. More interesting is where he’s going to. Bound To Rise makes a very promising start.

Dire Straits' arresting self-titled debut arrived in the midst of punk's reign but couldn't have been further removed from the era's slash-and-burn style. Recorded in West London in February 1978, the band's tasteful, jazz-inflected set embraces folk, blues, and pub rock while also tracing a direct line back to the beat-oriented sound of early rock n' roll. Country and roots accents further distinguish the British quartet's stripped-down music from any 1970s peers, as does the transparent production, which has remained revered among audiophiles the world over – and which has never been better than on this meticulous pressing.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Dire Straits features natural tonalities, superb balances, you-are-there imaging, deep-black backgrounds, and pristine clarity. Even if you've heard this album hundreds of times before, you've never experienced it with such lifelike sonics and premium richness. This numbered-edition collector's set immerses you within the smoky, laidback atmospherics of every song. This is how all vinyl should sound.

Crucial to every arrangement, Mark Knopfler's winding guitar lines emerge with supreme transparency and multi-hued textural detail. His intricate playing comes across as if it's being transmitted via his 60s-era Fender Vibrolux amplifier placed right before you. The cleanliness, dimensions, and live feel are that good. His bandmates, too, benefit from the extra groove space afforded by this 45RPM edition. Rhythms skate and swirl; percussive effects resonate with crispness and attack; the leading edges of notes naturally decay.

Dire Straits' strong, well-edited batch of original material further enhances the overall enjoyment and makes the record one whose pleasures go far beyond the organic sonics. Just as Knopfler's narratives pour forth with poetic and surrealist texts, the musical settings – an intoxicating combination of easygoing shuffles, back-hall boogies, and pop-honed ballads – mirror the old-fashioned soulfulness inherent in the classic recordings of the late 50s and early 60s. The lyrics are equally captivating.

Drawing from his time as a youth in Newcastle, Leeds, and London, Knopfler invests tunes with an autobiographical slant and emotional connectivity that become obvious the moment he opens his mouth to sing. "Down to the Waterline," "Wild West End," and "Lions" all feature colloquial touches that add to their reach. By extension, "In the Gallery" functions as a tribute to Leeds sculptor Harry Phillips (father of future Knoplfer collaborator, Steve Phillips) while the record's breakout smash, "Sultans of Swing," pays homage to struggling bar bands.


Through it all, Dire Straits performs with a subtle cool and clever poise that no band ever matched. Just how good is the chemistry? Bob Dylan heard the quartet and invited Knopfler and drummer Pick Withers to play on Slow Train Coming. But even Dylan himself didn't hear Dire Straits sound this magnetic back in its original heyday. Now, everyone can.

Fuzz is Ty Segall (drums/vocals), Charlie Moothart (guitar/vocals)
and Roland Cosio (bass). They’re heavy rock lifers—three Californiabred dudes who have been refining their riffs and getting weird together since high school (which wasn’t that long ago, actually). If you are not already aware of Segall, well, what’s up? He’s one of garage rock’s most prolific sons. He said he was going to take it easy this year, but by the time you finish reading this, the onesheet for his next record will have already arrived in your inbox. Moothart
plays guitar in The Ty Segall Band and was also a member of The Moonhearts, which included Cosio on guitar.

Way back in the early ’00s, all three played in the Epsilons. Fuzz was formed a couple years ago as a collaboration between Segall and Moothart, but only recently did the pair have sufficient time to guide
the band out of side-project limbo and into a recording studio. Since then, they have released two singles, “This Time I Got a Reason” (Trouble In Mind) and “Sleigh Ride” (In The Red). Around the time of the latter, Cosio joined on bass.

They are not dabblers or dilettantes. Fuzz flipped through used bins,
hard drives and record collections of the world, seeking out the finest
weirdo cuts. The band’s self-titled debut LP, which was recorded by Chris Woodhouse (Thee Oh Sees, The Intelligence), dives deep, drawing inspiration from the more esoteric reaches of heavy metal pre-history. There are Sabbath and Hendrix nods, obviously, but on “Sleigh Bells” you might also catch a whiff of UK progressive blues business like The Groundhogs, particularly when the song quits its 10/4-time intro and reboots into fullbore choogle.

Maybe you’ll even glimpse the ghost of Australian guitar legend/sharpie guru Lobby Lloyde sniffing around “Raise.”

The mood is not light. The songs project a state of perpetual paranoia
and eroding mental health. And as it should be, you know? It’s a record for the burners.

DIE LEGENDÄREN ALBEN DER INTERNATIONALEN POP-IKONE BRITNEY SPEARS AUF FARBIGEM VINYL ERHÄLTLICH! Zusammengenommen stellen diese Alben einen beeindruckenden Wandel in der Popmusik dar, vom Ende eines Jahrtausends zum Beginn eines neuen. Britneys avantgardistische Pop-Kollaborationen und ihr sich ständig weiterentwickelnder Musikstil haben sie zu einer kulturellen Ikone gemacht, die Generationen beeinflusst hat. Insgesamt erreichten alle ihre Alben die Top 5 der Billboard 200 - fünf davon den ersten Platz. Mit weltweit fast 150 Millionen verkauften Tonträgern ist Britney Spears eine der erfolgreichsten Künstlerinnen in der Geschichte der Popmusik und hat mehrere Platinauszeichnungen und Grammy Awards gewonnen

First release of this label featuring Gehlektek, Pozek and SPK

A1 "Gruntler" from Gehlektek with a long 9 minutes track at 45rpm, mega bomb at 150 bpm! Super HQ sound, stompy kick, melodic themes and delicious ear candy. Proper crowd control tool !

B1 "MR.Kubickeh" is a track from the super talented Pozek 33rpm this side with a very easy but super effective Acidcore tune at 150 bpm! Clean mix and driving atmosphere with a very important kick! The track was composed to support the victims of Redon party in 2021, parts of the revenues will go to the crews involved in that party. Massive support to Pozek for this pearl track!

B2 "We Are The Resistance" is a driving nu school Tribecore banger! It starts with a long monologue with a very well done crescendo bringing to a massive sentimental and impressing drop. Synths arrangements drive you dancing crazy with a very persistent, solid distorted kick. 165 bpm. Amazing production from the notoriously skilled SPK.

Upon its release, Maximum Rock N Roll called it, "Psychedelic pop without the acid flashbacks. . . remarkable." AllMusic wrote, "their cover of the Easybeats' 'Sorry' is worth the price of admission alone."
This is the release that put The Three O'Clock on the map in L.A., where the band quickly became a signature part of the Paisley Underground scene, a term coined by Three O'Clock vocalist/bassist and chief songwriter Michael Quercio.

This 40th Anniversary Expanded Edition, contains the five original songs from the LP with four additional recording from the era added to make it album length. One of the additional songs is a cover of Pink Floyd's "Lucifer Sam"

Hania Rani announces "On Giacometti" a tender meditation on the life and art of Alberto Giacometti and family. "On Giacometti" is a collection of beautiful recordings inspired by the renowned artist and family and features some of Rani's most profoundly delicate compositions to date. Invited by film director Susanna Fanzun, to score her forthcoming documentary on the legendary artist Alberto Giacometti, Hania Rani took herself to the Swiss mountains to compose in blissful isolation. As Rani explains eloquently below the compositions are based on improvised melodies, simple harmonies and structures and inspired by the silence of the mountains as Rani returns to her main instrument, the piano. The results are beguilingly reminiscent of her beloved debut album Esja, but with subtle extra layers of synthesiser, and on two tracks cello from friend and long-running collaborator Dobrawa Czocher.

'On Giacometti' is presented as a limited edition LP with bespoke packaging featuring Les Naturals - Chocolat (Gmund) sustainable recycled paperboard made from 100 % recovered paper with Foil Artwork by Łukasz Pałczyński. Plus Double sided printed insert and download code inside.

Hania Rani "On Giacometti":
‘When I was asked to compose a soundtrack for a movie about the family of Giacometti I didn't think twice.

Alberto Giacometti, a Swiss artist, who worked mainly as painter and sculptor has been one of my favourite artists for a long time. His individual style, aesthetics and the character of his creative process is still fascinating to me on many levels, so being able to dive even deeper into his universe, getting to know not only him but also his family was an opportunity that I couldn't miss. Little did I know how far this "yes" will take me - not only mentally and on a creative level but also physically. Thanks to the director of the documentary - Susanna Fanzun and by a stroke of luck and a couple of extra questions I decided to move for a couple of months to the Swiss mountains, not far away from the place where Giacometti was born and where the place he called home was, although he didn't live there. Susanna showed me a place close to her hometown where I could rent a studio and work on the soundtrack but also for my other projects. It was the middle of a winter, the area was full of ice and snow, just like only it can happen still in the mountains. The residency house was located in a valley surrounded by high mountains and the sun in the winter season was not coming up for too long during the day. I remember she told me about it and added "that not everyone is feeling well there, but I hope you will". I did.

Being almost separated from reality, the city and its entertainments, people rushing and everything that usually takes my attention I could fully concentrate on the music and soundtrack, spending most of the day with my own thoughts and having enough space to experiment and be free in a creative process. This soundtrack would probably be a very different thing if composed in a place that I am usually living in. I took this a chance to explore something new about myself as a composer and human being, taking the opposite direction that I would usually choose for myself.

The album "On Giacometti" includes the excerpts from the soundtrack, the most representative tracks and those which became a strong voice itself. Based a lot on improvised melodies, simple harmonies, structures and silence it reminds me of my debut album "Esja" which was partly composed and recorded in another chilly place - Iceland. All these components, both mental and physical, guided me back to my main instrument - piano, which I tried to redefine again with a language of the space that I was working in. The space is usually the key element that gives me the answer about the arrangement or character of the project. Space seems to be the first to appear and music is the invisible power which is changing its angels.’ Living surrounded by mountains makes you change the perspective and understanding of scale as Alberto Giacometti once famously wrote in a letter: It gives an impression that things that are actually far away, like mountains, are close and the other ones that are not so far away, like people, seem small, watched from a distance. You feel like touching the mountain top with your finger could be as easy as touching the tip of your nose. The snow additionally protects the whole area from the noise, each sound lands softly on the ground accompanied by echoes of immeasurable space. Each scratch or whisper is becoming an autonomic entity, opening the gate to the world of ghosts and lost spirits. It's easy to think that time stands still there, while nothing is moving and changing at the first sight. But the ubiquitous ice and snow reveal the passage of time, transforming frozen paysage into the wild stream of water - each day, hour and second. Melting and vanishing, clearing the space from white powder and noise consuming surface. Invisible process for a one night traveller, becomes painfully real for longer time settlers. Time flows with each new wave of sound coming through the river, reminding us that we are part of the cycle, which endlessly repeats itself.

Top-Kollektion mit 16 Klassikern des unsterblichen Frank Sinatra aus den 4 Alben, die er Mitte der 1950er Jahre mit dem Arrangeur Nelson Riddle aufnahm und die den Höhepunkt seiner Karriere darstellen: Songs For Young Lovers, Swing Easy!, In the Wee Small Hours, Songs For Swingin' Lovers. Erhältlich als illustrierter Bildband.

Manchester's Avant-Jazzy-Funk outfit Swamp Children were enviably eclectic and Taste What's Rhythm is their mini masterpiece. Flitting gracefully through a feast of genres with consummate ease, the band were almost indefinable and, accordingly, nigh-on impossible to market. So whilst this cult EP, originally out in 1982 on Factory Benelux, remains in demand for those in the know, it has also glided under the radar of many otherwise clued-up heads for over 40 years. If you don't know, get to know...

The Taste Whats Rhythm EP was originally released in 1982 on Factory Benelux (an informal partnership between the legendary Manchester-based Factory Records and Belgium-based Les Disques du Crépuscule). With it's kaleidoscopic brightness, silky panache and superb execution, it remains one of the most startling documents of a remarkable time and place.

The EP opens with the oh-so-Balearic title track. "Taste Whats Rhythm" gently unfolds with a Spanish guitar, hazy, drifting vocals and sun-bleached Latin percussion. After this most sumptuous of intros, the tempo is raised, the rhythms grow in complexity as horns jostle amidst the restrained chaos quite wonderfully. And then it winds down again. Proper fluctuating rhythms and tempos throughout. I guess that was the point - taste the variety!

“You’ve Got Me Beat” is a *perfect* piece of post-punk pop-jazz. A mysterious, after dark jazz-dancer, the aching vocals serve as a touching, tender resignation to love. A guitar hook which seems to elegantly reference The Blackbyrds' "Rock Creek Park" and a flowing pulse from New York's No Wave scene. It still sounds so fresh all the years later.

Closing out this most perfect of EPs, the twisted synths and nimble rhythms of bass-heavy roller "Softly Saying Goodbye" combine to create a super-slinky gem; Brit-Funk of the highest order.

Swamp Children formed in Manchester in 1980, around core members Ann Quigley (vocals), Tony Quigley (bass, metalaphone, percussion), John Kirkham (electric & acoustic guitars, metalaphone, percussion), Ceri Evans (keyboards, bass, percussion, background vocals), Cliff Saffer (saxaphone, clarine) and Martin Moscrop (drums, percussion, trumpet). They initially practised at a rehearsal space shared with fellow post-punk funkers A Certain Ratio and Joy Division/New Order. Young and relatively inexperienced upon getting together, the ages of Swamp Children's members ranged from just 16 to 19. Talk about the brilliance of youth.

From the outset, Swamp Children shared DNA with A Certain Ratio. Martin Moscrop was a founder member of Ratio, while Ann provided artwork for them. Although the close association with ACR led some to assume that Swamp Children were simply a splinter group, the new band pursued a more overt latin and jazz tinged direction, at the same time adopting a post-punk attitude towards making music, influenced by the records they were listening to at the time: Miles Davis, Brazilian jazz fusion and heavy funk dancefloor sides.

The band made their live debut at Manchester's infamous Beach Club in May 1980. Thanks to a double-booking blunder another support band turned up and were turned away, having travelled all the way from Dublin for a string of British dates. The name of the unlucky band was U2...

With arrangements that emphasised Tony Quigley’s darkly-coloured basslines (and Ann Quigley’s impressionistic vocals as another instrument in the mix) Swamp Children possessed an easygoing grace and a bubbling energy which indicated that the band's true strength was as an ensemble. The band’s musical sophistication (a fusion of funk, jazz, and bossa nova) would prove to be a strong influence on later UK acts like Sade. Indeed, Swamp Children themselves later mutated into the more known and acclaimed latin jazz outfit Kalima.

Working directly with James Nice, custodian of Factory Benelux, means that the audio for this re-issue of the classic EP comes from the original tapes. Cut at 45 RPM and released in the house Be With disco sleeve, we’ve made sure this record is well up to the job of having a permanent place in every DJ’s bag. As far as we’re concerned, this is essential stuff.

Sarah Vaughan gilt neben Ella Fitzgerald und Billie Holiday als eine bedeutendsten Jazzvokalistinnen des 20. Jahrhunderts. Sie verstand es perfekt, eine unvergleichliche Technik mit höchster Sensibilität zu verbinden, nie hat eine Stimme den Geist der Worte so perfekt materialisiert. Dieser illustrierte Bildband enthält ihren unsterblichen 1954er Jazzklassiker 'Swingin' Easy' auf Vinyl, einem Essential der Jazzgeschichte, aufgenommen mit ihrem Trio.

One day, you wake up with a cloud in your head. You feel out of place and uninspired, and juggle so many worries the balance is skewed. That was Armin van Buuren three years ago. He put so much love and passion into his work and found it hard to cope with the fact that not everyone can be pleased. Something needed to change. So, he reformed his life routines, took up meditation to calm the storm and did everything he could to negate the numbness. And what he ended up with was a newfound love for music and an incredible three-part album: Feel Again.

From "No Fun" and "Computers Take Over The World" to "One More Time", "Come Around Again" and "Roll The Dice", the Feel Again album sonically represents the journey of an artist extraordinaire radically looking for harmony within himself. Its 34 tracks may be different in terms of sound, but together, they reflect an equilibrium that could only come from a man in balance.

From reconnecting to friends, family, and fans to finding inner peace, Feel Again means acknowledging harsh truths, finding out what really matters and letting that power a new step forward. Because in the evergreen words of Armin van Buuren himself, “we're still learning and will never stop learning till the day we die”.

Feel Again is available as a deluxe limited edition box set, including 3 LP's, which are housed in printed innersleeves. The set also includes 5 exclusive Armin van Buuren lithos. This deluxe boxset is limited to 3000 individually numbered copies on turquoise marbled (LP1), white marbled (LP2), and orange marbled (LP3) vinyl.

ABBA feiern das 50-jährige Jubiläum ihres Debütalbums Ring Ring mit einer neuen Kollektion von Vinylprodukten. Das 2LP-Format besteht aus 180g schwerem schwarzem Vinyl in einer Klapphülle mit Obi-Streifen und Echtheitszertifikat. Das Album ist in hochwertiger Half-Speed-Audioqualität erhältlich, gemastert von Miles Showell in Abbey Road. Die 7ff Picture Discs ”He Is Your Brother / Santa Rosa”, ”People Need Love / Merry-Go-Round”, ”Ring Ring (Englisch) / She’s My Kind of Girl”, ”Ring Ring (Schwedisch) / Åh, vilka tider”, ”Love Isn’t Easy (But It Sure Is Hard Enough) / I Am Just A Girl” zeigen klassische Bilder der Band aus der ursprünglichen Ära und enthalten jeweils einen B-Seiten-Begleittrack.

Das Album ist nun als Ltd. 2LP und jeweils als Ltd. 7” Picture Vinyl erhältlich.

ABBA feiern das 50-jährige Jubiläum ihres Debütalbums Ring Ring mit einer neuen Kollektion von Vinylprodukten. Das 2LP-Format besteht aus 180g schwerem schwarzem Vinyl in einer Klapphülle mit Obi-Streifen und Echtheitszertifikat. Das Album ist in hochwertiger Half-Speed-Audioqualität erhältlich, gemastert von Miles Showell in Abbey Road. Die 7ff Picture Discs ”He Is Your Brother / Santa Rosa”, ”People Need Love / Merry-Go-Round”, ”Ring Ring (Englisch) / She’s My Kind of Girl”, ”Ring Ring (Schwedisch) / Åh, vilka tider”, ”Love Isn’t Easy (But It Sure Is Hard Enough) / I Am Just A Girl” zeigen klassische Bilder der Band aus der ursprünglichen Ära und enthalten jeweils einen B-Seiten-Begleittrack.

Das Album ist nun als Ltd. 2LP und jeweils als Ltd. 7” Picture Vinyl erhältlich.

ABBA feiern das 50-jährige Jubiläum ihres Debütalbums Ring Ring mit einer neuen Kollektion von Vinylprodukten. Das 2LP-Format besteht aus 180g schwerem schwarzem Vinyl in einer Klapphülle mit Obi-Streifen und Echtheitszertifikat. Das Album ist in hochwertiger Half-Speed-Audioqualität erhältlich, gemastert von Miles Showell in Abbey Road. Die 7ff Picture Discs ”He Is Your Brother / Santa Rosa”, ”People Need Love / Merry-Go-Round”, ”Ring Ring (Englisch) / She’s My Kind of Girl”, ”Ring Ring (Schwedisch) / Åh, vilka tider”, ”Love Isn’t Easy (But It Sure Is Hard Enough) / I Am Just A Girl” zeigen klassische Bilder der Band aus der ursprünglichen Ära und enthalten jeweils einen B-Seiten-Begleittrack.

Das Album ist nun als Ltd. 2LP und jeweils als Ltd. 7” Picture Vinyl erhältlich.

ABBA feiern das 50-jährige Jubiläum ihres Debütalbums Ring Ring mit einer neuen Kollektion von Vinylprodukten. Das 2LP-Format besteht aus 180g schwerem schwarzem Vinyl in einer Klapphülle mit Obi-Streifen und Echtheitszertifikat. Das Album ist in hochwertiger Half-Speed-Audioqualität erhältlich, gemastert von Miles Showell in Abbey Road. Die 7ff Picture Discs ”He Is Your Brother / Santa Rosa”, ”People Need Love / Merry-Go-Round”, ”Ring Ring (Englisch) / She’s My Kind of Girl”, ”Ring Ring (Schwedisch) / Åh, vilka tider”, ”Love Isn’t Easy (But It Sure Is Hard Enough) / I Am Just A Girl” zeigen klassische Bilder der Band aus der ursprünglichen Ära und enthalten jeweils einen B-Seiten-Begleittrack.

Das Album ist nun als Ltd. 2LP und jeweils als Ltd. 7” Picture Vinyl erhältlich.

ABBA feiern das 50-jährige Jubiläum ihres Debütalbums Ring Ring mit einer neuen Kollektion von Vinylprodukten. Das 2LP-Format besteht aus 180g schwerem schwarzem Vinyl in einer Klapphülle mit Obi-Streifen und Echtheitszertifikat. Das Album ist in hochwertiger Half-Speed-Audioqualität erhältlich, gemastert von Miles Showell in Abbey Road. Die 7ff Picture Discs ”He Is Your Brother / Santa Rosa”, ”People Need Love / Merry-Go-Round”, ”Ring Ring (Englisch) / She’s My Kind of Girl”, ”Ring Ring (Schwedisch) / Åh, vilka tider”, ”Love Isn’t Easy (But It Sure Is Hard Enough) / I Am Just A Girl” zeigen klassische Bilder der Band aus der ursprünglichen Ära und enthalten jeweils einen B-Seiten-Begleittrack.

Das Album ist nun als Ltd. 2LP und jeweils als Ltd. 7” Picture Vinyl erhältlich.

After a creative break of more than 10 years the Contemporary Noise Ensemble returns with the brand new album called »An Excellent Spiritual Serviceman«. With the band’s line-up reduced and the sound of the brass section replaced with programmable synthesizers comes an entirely new sound of the band’s music. Leaning towards composition instead of improvisation the music is now less jazzy sounding - with electric bass being used instead of double bass and drums actually being the only strictly acoustical instrument. But then again you can hear a lot of other prerecorded instruments like marimba, vibraphone, Rhodes and upright pianos surrounded by arpeggiated synths and other programmable electronic instruments.

The album takes you to a journey through jazz, space rock, funk and electronic music with a destination in a form of a rock song which is as well the title song of the album. The Contemporary Noise Ensemble still impresses with maturity and class.

An impossibly rare double sider from the JB's Records vaults gets a much called for official reissue. Cynthia Sheeler - I'll Cry Over is one of the rarest and greatest Southern Soul classics out there, always held back due to the scarcity of its original 1975 release. The last copy sold on Discogs five years ago for £400 and it’s easy to tell why. A luscious slice of Baton Rouge crossover soul that will sweep you up and whisk you away in it’s blissful grasp. An absolutely essential 7 inch for any collection. Black label version original black sleeve.

First release of this label featuring Gehlektek, Pozek and SPK

A1 "Gruntler" from Gehlektek with a long 9 minutes track at 45rpm, mega bomb at 150 bpm! Super HQ sound, stompy kick, melodic themes and delicious ear candy. Proper crowd control tool !

B1 "MR.Kubickeh" is a track from the super talented Pozek 33rpm this side with a very easy but super effective Acidcore tune at 150 bpm! Clean mix and driving atmosphere with a very important kick! The track was composed to support the victims of Redon party in 2021, parts of the revenues will go to the crews involved in that party. Massive support to Pozek for this pearl track!

B2 "We Are The Resistance" is a driving nu school Tribecore banger! It starts with a long monologue with a very well done crescendo bringing to a massive sentimental and impressing drop. Synths arrangements drive you dancing crazy with a very persistent, solid distorted kick. 165 bpm. Amazing production from the notoriously skilled SPK.

First release of this label featuring Gehlektek, Pozek and SPK

A1 "Gruntler" from Gehlektek with a long 9 minutes track at 45rpm, mega bomb at 150 bpm! Super HQ sound, stompy kick, melodic themes and delicious ear candy. Proper crowd control tool !

B1 "MR.Kubickeh" is a track from the super talented Pozek 33rpm this side with a very easy but super effective Acidcore tune at 150 bpm! Clean mix and driving atmosphere with a very important kick! The track was composed to support the victims of Redon party in 2021, parts of the revenues will go to the crews involved in that party. Massive support to Pozek for this pearl track!

B2 "We Are The Resistance" is a driving nu school Tribecore banger! It starts with a long monologue with a very well done crescendo bringing to a massive sentimental and impressing drop. Synths arrangements drive you dancing crazy with a very persistent, solid distorted kick. 165 bpm. Amazing production from the notoriously skilled SPK.

X-Plode is a master of the 1992 rave sound. Listening to any one of his tracks, you could easily imagine them being part of a Top Buzz set back in the early 90’s. Hailing from Bolton, Lee aka X-Plode self-released his debut EP on white label in ’92, which would go on to be a highly collectable item and in turn would prompt Vinyl Fanatiks to track him down, which was not easy I can tell you, in order to repress it in 2020.

A friendship was born and in turn Lee was inspired by the interest in his old EP when reissued that he decided it was time to start making music again, 27 years after he downed tools. And we are very luck he has, because he is a rare talent, with an ability to capture an era in music so genuine and respectful that you would struggle to even tell it was made in the 21st century.

This is X-PLode’s second EP on Amen Brother and another EP has been made for a new label run out of the Vinyl Fanatiks stable called Acid Boom, where Lee showcases his unique ability to perfectly capture another era of British dance music… Adddiieeeeddd!

First Two Pages of Frankenstein" ist ein spannendes neues Kapitel in der belebten Diskografie der Band. Die 11 Songs wurden von The National in den Long Pond Studios in Upstate New York produziert und beinhalten Gastauftritte von Taylor Swift, Phoebe Bridgers und Sufjan Stevens. Der Nachfolger des 2019 erschienenen "I Am Easy To Find" geriet zunächst ins Stocken als Leadsänger Matt Berninger "eine sehr dunkle Phase durchlebte, in der mir überhaupt keine Texte oder Melodien einfielen, und diese Phase dauerte über ein Jahr. Obwohl wir schon immer ängstlich waren und uns oft stritten, wenn wir an einer Platte arbeiteten, war dies das erste Mal, dass es sich so anfühlte, als ob die Dinge wirklich zu einem Ende gekommen wären". Stattdessen haben es The National "geschafft, wieder zusammenzukommen und alles aus einem anderen Blickwinkel anzugehen, und dadurch sind wir in einer gefühlten neuen Ära für die Band angekommen", so Gitarrist/Pianist Bryce Dessner, zu dessen Bandkollegen auch sein Bruder Aaron (Gitarre/Piano/Bass) sowie die Brüder Scott Devendorf (Bass, Gitarre) und Bryan Devendorf (Schlagzeug) gehören. "First Two Pages of Frankenstein" synthetisiert die neue Chemie in der Band. Entstanden ist ein Album, das eine wunderbare Balance zwischen dem eleganten Sound und den eigenwilligen Impulsen von The National hält. Tracks wie "Grease in Your Hair" und "Ice Machines" wurden 2022 auf Tour gespielt bevor sie aufgenommen wurden, so dass die Band das Material in Echtzeit auf der Bühne während der Konzerte verfeinern konnte. "Für mich hat die Kraft dieser Platte mit der Absicht und der Struktur der Musik zu tun, die auf eine Menge zufälliger Magie trifft", sagt Aaron Dessner.

Strictly Limited Red Coloured Vinyl Edition

First Two Pages of Frankenstein" ist ein spannendes neues Kapitel in der belebten Diskografie der Band. Die 11 Songs wurden von The National in den Long Pond Studios in Upstate New York produziert und beinhalten Gastauftritte von Taylor Swift, Phoebe Bridgers und Sufjan Stevens. Der Nachfolger des 2019 erschienenen "I Am Easy To Find" geriet zunächst ins Stocken als Leadsänger Matt Berninger "eine sehr dunkle Phase durchlebte, in der mir überhaupt keine Texte oder Melodien einfielen, und diese Phase dauerte über ein Jahr. Obwohl wir schon immer ängstlich waren und uns oft stritten, wenn wir an einer Platte arbeiteten, war dies das erste Mal, dass es sich so anfühlte, als ob die Dinge wirklich zu einem Ende gekommen wären". Stattdessen haben es The National "geschafft, wieder zusammenzukommen und alles aus einem anderen Blickwinkel anzugehen, und dadurch sind wir in einer gefühlten neuen Ära für die Band angekommen", so Gitarrist/Pianist Bryce Dessner, zu dessen Bandkollegen auch sein Bruder Aaron (Gitarre/Piano/Bass) sowie die Brüder Scott Devendorf (Bass, Gitarre) und Bryan Devendorf (Schlagzeug) gehören. "First Two Pages of Frankenstein" synthetisiert die neue Chemie in der Band. Entstanden ist ein Album, das eine wunderbare Balance zwischen dem eleganten Sound und den eigenwilligen Impulsen von The National hält. Tracks wie "Grease in Your Hair" und "Ice Machines" wurden 2022 auf Tour gespielt bevor sie aufgenommen wurden, so dass die Band das Material in Echtzeit auf der Bühne während der Konzerte verfeinern konnte. "Für mich hat die Kraft dieser Platte mit der Absicht und der Struktur der Musik zu tun, die auf eine Menge zufälliger Magie trifft", sagt Aaron Dessner.

After 3 individual pieces on the Hamburg label PUDEL PRODUKTE, the longplaying work of the man from the Pension Stammheim is finally released. It quickly becomes clear that this is a real capacity record: 6 (on vinyl) or 8 pieces (on electricity) from the cosmos of a man who means business. You can already tell by the fact that the record is only called ROTTE and not something else. Rotte makes ROTTE and nothing named, nothing labelled, nothing carefree commodes and prisoners certainly not.

It is relatively easy to approach ROTTE. Just listen and do nothing else. No, nothing. Nothing at all. Don't give away flowers, smoke cows, talk yourself or listen to the net. Don't try to get out of the Bermuda Triangle in the process! Concentrate as if you were reading a book by Suhrkamp. Be action-less in the here and jazz. Beat the six kinds of wood out of the coffin and leave only the steel screws!

Take Rotte and ROTTE seriously. Man and work. With him, though, black is absolutely a colour. My ketamine is my petrol. First Takes only. Drilling without Club of Gore. Undisputed truth. No Lounge. The lyrics on Rotte are not a party.

It might seem a bit TOO colourless, a bit TOO intense, a bit TOO hard and dark. Too much psycho-babble. But the songs bring it and you. They are designed in such a way that nothing else works during them. Nobody would think of peeling an egg at Russian roulette. That's how you have to see it.

The songs were musically supervised by Jörn Elling Wuttke and Oliver Bradford (Thee Church Ov Acid House), by DIE NERVEN producer Ralv Milberg, by Douglas Creed (BPitch Control + Freude am Tanzen), Boris Nielsen (Käptn Peng) and Peter Armster.

There is a congenial mutual autocorrection between lyrics and music. Individually, this cannot be heard and it is not offered. By the way, you don't hear anything else at the Federal Criminal Police Office at the moment. So please.

A1 Fliege gegen Scheibe
Written & produced by Oliver Bradford, Jörn Elling Wuttke, Christian Rottler
Lyrics: Christian Rottler

A2 Butterbrot und Peitsche
Written & produced by Peter Armster, Christian Rottler
Lyrics: Christian Rottler

A3 Gaffa, Farbe und Zustimmung
Written & produced Jörn Elling Wuttke, Christian Rottler
Lyrics: Christian Rottler

B1 Autosuggestion
Written by Boris Nielsen, Christian Rottler, produced by Boris Nielsen, Marc Eggert
Lyrics: Christian Rottler

B2 Deichtorhallen
Written & produced by Oliver Bradford, Jörn Elling Wuttke und Christian Rottler
Lyrics: Christian Rottler

B3 Dunkelwach
Written by Mario Willms, Christian Rottler, produced by Mario Willms
Lyrics: Christian Rottler

After more than 20 years, Band Of Brothers is still considered one of HBO’s most important series. Produced by Steven Spielberg and Tom Hanks, the series has won major awards such as the Golden Globe for Best Miniseries and the Emmy Award for Outstanding Miniseries. The series is a war drama miniseries based on historian Stephen E. Ambrose’s 1992 non-fiction same titled book. It follows the story of Easy Company of the U.S. Army 101st Airborne Division and their mission in World War II Europe, from Operation Overlord to V-J Day

The score, composed by the late Michael Kamen, is credited as one of the essential elements in creating the realistic atmosphere of the series. Kamen was best known for scoring movies such as Die Hard, Lethal Weapon and X-Men and received an Academy Award nomination for both Don Juan DeMarco and Robin Hood: Prince Of Thieves.

Revisit the Band Of Brothers score with this deluxe reissue on smoke- coloured vinyl, available as a limited edition of 1500 individually numbered copies. The 2LP is housed in a gatefold with a cast picture on the inside, and includes a large poster and insert.

Silberfarbenes 2LP-Vinyl zur Feier des 100-jährigen Jubiläums von Disney mit Favoriten von Three Little Pigs, Snow White and the Seven Dwarfs bis Coco, Encanto und mehr!

The popularity of Brazilian music from the 60s, 70s and 80s has experienced quite the renaissance; artists such as Gal Costa, Gilberto Gil, Arthur Verocai, Joyce et al, have become household names to an international audience passionate about global sounds. However, even for die-hard fans and collectors of Brazilian music of the past, discovering contemporary Brazilian artists is not always easy, nor accessible. But, if you know where to look, you will see that there is a resurgence well underway that can be epitomised by an exciting new wave of Brazilian artists beginning to break through and gather momentum overseas. It’s with thanks to Sound and Colours, a website devoted to promoting Latin American music and culture, that we can help shine a light on one particular collective, bursting with creativity and camaraderie.

‘Hidden Waters: Strange and Sublime Sounds of Rio de Janeiro’ is compiled by Joe Osborne (founder of specialist Brazilian music platform Brazilian Wax) and Russ Slater (editor at large of Sounds and Colours). Focusing solely on the 'Rio Scene', rather than taking on the mammoth task of tackling Brazil as a whole, this collection presents 20-plus ground-breaking artists selected from Rio’s resurgent music scene. By presenting a snapshot into the pulse of the city and the vibrant musicians that live in it, ‘Hidden Waters’ collates tracks from a wide spectrum of musical genres from the avant-garde edge to bossa nova, samba, Candomblé, lo-fi rock, jazz and funk.

‘Hidden Waters’ showcases musicians such as iconic Rio mainstays Negro Leo & Ava Rocha, Brazilian jazz upstart Antônio Neves, critically lauded Avant-pop trailblazer Thiago Nassif, breakthrough artists Ana Frango Elétrico and Letrux, lo-fi psych rocker Lê Almeida, plus the Latin Grammy-winning Bala Desejo who are set to explode onto the world stage. The music featured on ‘Hidden Waters’ is unequivocally Brazilian, swelling with samba, bossa nova, funk, and jazz. But it’s within the album's blend; from sunny psychedelia to dusky synth-pop via experimental electronics, that marks the compilation as the sound of modern, multicultural Rio.

This comprehensive compilation comes with album artwork designed by Rio music’s leading album artwork designer, Caio Paiva. It features essays by professor and music critic Bernardo Oliveira and music journalist Leonardo Lichote, plus extensive notes on each track by the artists themselves.

“ABBEY ROAD’S world-renowned engineers have been cutting grooves into discs since the studios first opened their doors in 1931. This record was pressed from a master cut using a precision technique known as half-speed mastering. The procedure requires the source master and the cutting lathe to run at half speed on a specially adapted Neumann VMS-80 lathe.

This rare and specialised technique transforms difficult to cut highend frequencies into relatively easy to cut mid-range frequencies. The result is a cut with excellent high frequency response and very solid and stable stereo images. In short, half-speed mastering produces a master of the highest quality that enables the pressing plant to produce a superlative record.”

Speedbeforedeath is the debut album from Misteriseparli "the duo with an enigmatic name".

Many influences emerge across Speedbeforedeath. They populate Misteriseparli multiverse where electronic music, funk, ambient, surf, house, psychedelic, disco, exotica and who knows what else, always find an easy way-in to the club.

Roy Orbison was always noted for his impassioned singing style, complex song structures, and dark, emotional ballads. Roy Orbison released his 21st studio album Laminar Flow in 1979. It features guest performances by Steppenwolf- guitarist Larry Byrom and singer-songwriter Mac McAnally. The album includes the track “Hound Dog Man”, which is a tribute to Elvis Presley.

Laminar Flow is available as a limited edition of 750 individually numbered copies on “bloody mary” coloured vinyl and includes an insert.

Alternative Hip Hop Artist Rebel ACA Channels his Pain in "Migraine" ft. Spragga Benz, Rodney P

LONDON - The word "migraine" can make you twinge, especially if you experience the pounding head, vertigo, and tinnitus associated with migraines. Imagine if you put all those feelings into music - that is what Rebel ACA did with his latest single, "Migraine."

Rebel ACA's new single flows through his twenty-year journey of advising on international tax by day and rapping and producing by night. Perhaps, the ACA stands for his accounting qualification.

Dropping in April, there will be two versions, an original version and a DJ Phantasy Remix of "Migraine" on streaming platforms. Depending on the version, "Migraine" is a musical representation of a severe headache. The drum and bass mix features a funky, constant drone throughout the track, while the original version is a funk-latent hip-hop song.

"I suffer very badly from migraines every week," said Rebel ACA. "To me, it was logical to write a song about migraines. The lyrics talk about what it feels like by using synthesizers to bring out the feeling of a migraine."

Joining Rebel ACA on the single is Spragga Benz and Rodney P. The duo shares their thoughts on using marijuana to cure a migraine. While Rebel ACA acknowledges he is not a medical doctor, studies have shown that smoking weed can reduce migraine pain.

"We talk about smoking weed to fight the migraine," he said. "The lyrics revolve around what it feels like to have one in your head. Doctors have told me that migraines are caused by triggers like alcohol and getting f*cked up. Then you get a migraine and now you get more f*cked up on pills or weed to feel better." This revolving cycle spirals throughout the single.

Born and raised in the UK, Rebel ACA experienced London's musical melting pot from birth. Hailing from northwest London, he was exposed to the rich Caribbean influence and massive underground music scene.

From squat parties to illegal raves, London's music was all mashed up, and Rebel ACA soaked up every genre and cultural influence. As a result, he is a successful singer/songwriter/producer who fuses hip hop, reggae, and indie sounds to create his unique style.

"Where I come from, the UK hip hop is like the 90s hip hop in America," he stated. "There is a hip hop scene that talks about poetry. I'm trying to keep it real with my lyrics and talk about things that are important other than guns, money, and bitches."

Rebel ACA's music is versatile but uniquely his own by utilizing numerous live instruments and coming in hard with a big boom-bap sound. The Rebel ACA sound is born by adding a funk influence on his tracks aligned with funky bass. On "Migraine," he uses some vintage 70s French influence vibes to give the single a flavor of its own. There is nothing out there like "Migraine."

Rebel ACA records under Buttercuts Records, a company he owns and operates. The London-based production company has been "bashing out buttery beats" since 2000. Buttercuts Records is the go-to place for releasing hip hop, reggae, breaks, funk, soul, and folk records with a tongue-in-cheek attitude and marketing that surpasses witty wordplay.

As "Migraine" gains international attention, it is easy to understand how Rebel ACA combines old and new hip hop with effortless flows and brilliant lyrics. Maybe the world is ready for an international tax advisor who drops bars and vibes out to some wicked rhymes.

Make sure to stay connected to Rebel ACA on all platforms for new music, videos, and social posts.

a A1. DJ PHANTASY VOCAL MIXfeat. Rebel ACA
b A2. DJ PHANTASY DUB MIXfeat. Rebel ACA
[c] A3. DJ PHANTASY INSTRUMENTAL MIX [feat. Rebel ACA]
[d] B1. OLD KOOL F U NKY MIX [feat. Rebel ACA]
[e] B2. OLD KOOL F U NKY INSTRUMENTAL [feat. Rebel ACA]
[feat. Rebel ACA]