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Jakarta Records is proud to present “Les Grandes Vacances” courtesy of Beirut’s Cosmic Analog Ensemble, aka multi-instrumental phenom Charif Megarbane. The LP is an expansive musical odyssey, one that paints a melodic tapestry woven from an eclectic panorama of sonic tools. Funky beats, dreamy melodies + cinematic flair combine to create an experience that transcends time. From vibrant funky energy to introspective moods and library-inspired tunes, “Les Grandes Vacances” captures the essence of past and present, inviting you to indulge in the perfect balance of “groove-stalgia.” Out January 19, 2024.


Cosmic Analog Ensemble (1.6k Spotify Monthly Listeners – SML), the prolific one-man band helmed by Charif Megarbane (61.5k SML), the staggeringly prolific producer, instrumentalist, and all-around musical mastermind, returns to his “Ensemble” with LP “Les Grandes Vacances.” Megarbane's artistry has garnered widespread recognition, with notable placements in Spotify Editorial Playlists like "Global Groove" (679k) and "Folk Fabrique" (162k), along with coverage from esteemed platforms / publications such as BBC Radio, Bandcamp, The Vinyl Factory, Time Magazine, and Esquire, among others. Building on the success of his debut solo release “Marzipan” in 2023 via Habibi Funk, “Les Grandes Vacances” is a sonic journey that captures the full scope of Megarbane’s sonic habitus. As a composer and producer, Megarbane touts hugely versatile, sometimes volatile musicianship — his 100+ catalogue of projects (including legendary groups like the Cosmic Analog Ensemble, Free Association Syndicate, Monumental Detail, etc.) features a huge domain of sonic direction. Now, Jakarta Records presents a new expansion in the Megarbane sonic universe.

In the enchanting sonic world of “Les Grandes Vacances,” Cosmic Analog Ensemble expertly combines diverse musical elements to craft an immersive experience. From vibrant funky energy to introspective moments and library-inspired compositions, the album's sonic palette is rich and varied. The meticulously designed artwork by Simone Cihlar (known for collabs with Anderson Paak., Tom Misch, Ivan Ave, Tapioca and others) complements the album's thematic depth, enhancing the visual and auditory journey for listeners.

First single is the thrilling sonic escapade, “La Ligne Claire,” set to release on November 10th in conjunction with LP pre-order. The track immerses listeners in vintage spy movie ambiance, featuring groovy drums, warm keys, thematic guitars, and strings that create an unforgettable car chase scene. As part of the rollout schedule, this single offers a glimpse into the album's captivating fusion of nostalgia and innovation, promising a musical adventure that lingers and resonates in your ears. Second single, the lush and groovy “Le Dictionnaire des Sentiments,” follows in the sonic footsteps of Serge Gainsbourg (complete with beautifully poignant French lyricism), out December 8th to round out the year. The track jerks the listener towards a more meditative state and expanding, cinematic sound.

Kicking of 2024 will be the absolute funkified single 3 “Maritime Jazz,” out January 5th. The track transports you to a groovy marina where the movement of the sea and boats sways you along a Madlib / Yesterdays New Quintet-esque groove.

Reflecting on his creative process, Megarbane cites a stream of consciousness approach to the Cosmic Analog Ensemble: “It’s a very spontaneous, playful, and diary-like approach and workflow…I trust my instinct because instinct is based on experience.”

It's the pair you've all been waiting for! FINALLY!

Alan Tew's Drama Suite Part II. What can we really say? Honestly? We guess the first thing that strikes you is how clean the drums are. Almost impossibly slick but dripping so, so heavy with the neck-snapping funk you'd expect from perhaps the most sought-after library funk set of them all! The cheapest on Discogs is, currently, £1300+. Now's your chance to remedy that. If you know, you know. And we think you know...

"The Rub" is a cool, low-slung heavy-funk roller with relaxed brass and alto flute phrases. Up next, "Money Runner" is another edgy funk glider, its easy-tempo moving in harmony with slinky rhythmic riffs and featuring a seemingly ad-libbed electric piano solo. Strutting along after, "White Elephant Walk" is another laconic, deeply stoned walking theme with electric piano and alto flutes. There follows a couple of brief "walking" links before the brilliantly tense "Master Plan" slowly builds. Expectancy grows to the main theme around a minute in and then a melodic theme builds slightly to the 3 minute mark before floating down gradually and elegantly to its climax. It's utterly fantastic. The smoky, after-hours "Night Watch" is a slow, cool gem featuring alto flutes and synths.

Now we're talking, "The Fence (a)" is just sensational and worth buying this album all on its own. It's likely the reason you're here, anyway. Another impossibly funky, slow and easy tempo with a bass riff to die for, dramatic guitar with gorgeous electric piano and alto flute phrases. It was sampled for "Action Satisfaction" by J5, way way back. "The Fence (b)" is a slower, more deliberate version of the previous heater, but it's no less essential. Indeed, it's absolutely jaw-drooping. Closing out this remarkable side, "Surveillance" is another horizontal masterpiece of relaxed yet dramatic jazz-funk. Vibes ad-lib in centre section and give you an idea of how Roy Ayers making library funk in the mid-late 70s might've sounded. Sensational.

Flip over for "Total Silence", a near-beatless and understated scene-setter featuring neat interplay of guitar and synthesizer themes over bass and hi-hats. The slow "Eyes" follows, a brief gem with subdued electric piano solo and a light climax. The fantastic "Drama Backcloth (1a)" is up next, a repetitive piano and bass refrain with guitar figures over the top. Its creeping crime-funk vibe was pilfered for "Outta Town Shit" by Ghostface Killah in 2006. "Drama Backcloth (1b)" is a short, subdued version without the guitar figure. "Drama Backcloth (2)" features an expectant, background marimba figure over light rhythm whilst the cool "Drama Backcloth (3)" centres around a relaxed riff and the angular "Drama Backcloth (4)" presents eerie progressions with piano interjections. It's decidedly non-rhythmic!

We're then onto 14 (!) different half-minute "Scenechanges", all jazzy and funky, some cool and dramatic, some slow and rhythmic. All ace and groove-fuelled. The aptly-titled "Final Statement" closes proceedings, a slow, pensive theme on guitar joined by cool brass and a solo trumpet to its climax.

As with all of our KPM re-issues, the audio for Drama Suite Part II comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity. We're not quite sure what else to say about this landmark record, other than, GET IT!

Joseph Omicil, Jr, a.k.a. Jowee Omicil, is a Haitian-Canadian jazz musician. He has worked in the past with artists such as Roy Hargrove, Pharoah Sanders, Tony Allen, Kenny Garrett, Jacob Desvarieux, Glen Ballard, Harold Faustin, Michel Martell, etc. He hosted Quincy Jones' 85th birthday celebration at Montreux Festival. He also starred in the Netflix series The Eddy, produced by Damien Chazelle, and Le temps d'aimer, directed by Katell Quillévéré (Cannes Festival 2023). The Bois- Caïman ceremony was Haiti's first major collective uprising against slavery. On his new album, SpiriTuaL HeaLinG: Bwa KaYimaN FreeDoM SuiTe, Jowee performs his ancestors' revolution in his own way. Joweebroughttogetherallhisinnertubes,soprano,alto,tenor,wood,clarinets, piccolo flute, cornet, that blows, that winds, that rumbles. Thisrecord is an incantation, a therapy, it cleanses the world by drawing onthe fantasized memory of the Haitian revolution. There are FreedomSuites by Sonny Rollins, Max Roach and others. Prayer music, music tobreak the chains in your head and on your wrists, music of black powerandwhitemagic.ForJowee,akidfromMontreal,sonofaHaitianpastor, who sang Jesus in all the tones, and then Michael Jackson, andthen2Pac,wholearnedjazzfromOrnetteColeman,theceremonynecessarilyhasthetasteoffree.Thisrecordisahealinghour-longimprovisation.

Ulvers legendäre erste beiden Black Metal - Alben, "Bergtatt" & "Kveldssanger" endlich wieder als separate Vinyl - LPs erhältlich! Beide Werke wurden für das lange vergriffene LP Box Set "Trolsk Sortmetall" (2014) von Jaime Gomez Arellano für Vinyl remastert und kommen - wie auch die vorherigen 2019er Editionen - in Klappcovern und auf 180gr schwerem, farbigem Vinyl. Das 4-seitige "Bergatt" LP-Booklet enthält ein ausführliches Interview mit Ulvers Mastermind Krystoffer Rygg und das 8-seitige "Kveldssanger" LP-Booklet enthält ein Notenblatt des Songs "Ulvsblakk". Truly classic Norwegian Black Metal pioneering art!

Ulvers legendäre erste beiden Black Metal - Alben, "Bergtatt" & "Kveldssanger" endlich wieder als separate Vinyl - LPs erhältlich! Beide Werke wurden für das lange vergriffene LP Box Set "Trolsk Sortmetall" (2014) von Jaime Gomez Arellano für Vinyl remastert und kommen - wie auch die vorherigen 2019er Editionen - in Klappcovern und auf 180gr schwerem, farbigem Vinyl. Das 4-seitige "Bergatt" LP-Booklet enthält ein ausführliches Interview mit Ulvers Mastermind Krystoffer Rygg und das 8-seitige "Kveldssanger" LP-Booklet enthält ein Notenblatt des Songs "Ulvsblakk". Truly classic Norwegian Black Metal pioneering art!

"Keith Porteous, who was A&R at BMG brought me to a bar called The Absinthe to check out a new band he was working with. What was immediately interesting about them was that, while their tastes were root-ed in ‘70’s rock, they didn’t sound retro. They had created a classic rock sound for their generation. What was also great is that they were four distinct personalities-four characters, like the Beatles or the Monkees. But they all dressed in matching outfits and did coordinated rock moves on stage. Amazing. I went to Moncton, NB and met the guys at an old schoolhouse that they’d wrangled to do pre-pro-duction. We spent a week or so workshopping their super cool songs and hanging out at their favorite watering holes. They had sold me with their live show and part of the trick of producing them was to try to capture that. I knew we weren’t going to do a lot of overdubs or ornate production. That week was an absolute blast. The guys were so funny and so engaging, just dripping with personality, which I knew was going to serve them well in the music business. I remember going to a Chinese Buffet with them and their girlfriends and watched them eat half of the food in the restaurant. I think the bill came to less than $100 for the nine of us. I still love the record and I wish it had made them world famous rock superstars. Every song on it is so uniquely them, they had perfectly distilled their influences, both old and new, and I don’t think any other band could have made this record. " - Moe Berg

The incomparable trumpeter Clifford Brown recorded two leader sessions for Blue Note in 1953—a co-led quintet date with Lou Donaldson and his own sextet date—that were compiled on the 12" LP Memorial Album (BLP 1526) shortly after his tragic death in 1956. Brownie’s star burns bright from the blistering ‘Cherokee’ to the stunning ballad ‘Easy Living’. This Blue Note Classic Vinyl Edition is mono, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

The amazing bebop piano genius Bud Powell made his most enduring recordings as a leader for Blue Note. Powell’s 1949 and 1951 quintet and trio sessions were compiled on the 12” LP The Amazing Bud Powell, Vol. 1 (BLP 1503) in 1955 featuring the pianist with the likes of Sonny Rollins, Fats Navarro, Roy Haynes and Max Roach on bebop classics including ‘Un Poco Loco’ and ‘Bouncing with Bud’. This Blue Note Classic Vinyl Edition is mono, all-analog, mastered by Kevin Gray, and pressed on 180g vinyl at Optimal.

Vladislav Delay's complete "Hide Behind The Silence" series. Intuitive and raw music, momentary and reflective, released on Ripatti's own label Rajaton.

Stillness is a myth. Consider concepts such as ”still water”, or ”still air” for that matter. Go to a restaurant, ask them for a glass of still water, hold it against the light and see where we’re at. Even though the water itself has been captured and imprisoned in the glass, it never stops breathing. It’s filled with tiny particles, dancing. Everything can be explained on a molecular level, but since we’re not scientists – and even if you happen to be – it’s the natural world of perception that moves me.
Still air is very similar. A hot summer’s day with zero wind feels completely still. It’s the closest I have felt to complete stillness. Or for a more urban adaptation, imagine the same vibe inside a normal apartment. In those moments, revelations and mind- blowing experiences can be had with experiments in stillness.
Try this: Just sit down for a minute on a sunny day, making sure there’s enough natural light. Do absolutely nothing. Try not to breathe for a bit. (If you need a mental anchor, you can play Cage’s 4’33” in your head but nothing else.) Watch the tiny dots of dust dancing :..’ ̈.:; ́ ́*°.,’:,. ̈ ̈ ̈ ̈:,.’
The movement is crazy, but the feeling of stillness comes from witnessing how subtle it is. In (perceived) complete stillness, every act of microscopic mobility seems to speak volumes. Yet, it feels both reassuring and oddly threatening that the stillness is never complete. What if we would need absolute stillness? Or is it just enough that we can perceive something as such? Extremes attract, so for both water and air, extraordinary movement is equally fascinating. That is also a luxury item of sorts. For us to enjoy a very ”loud” body of water or air, we need to be safe, in enough control of the situation. So when you are, it’s worthwhile to pay attention and take it all in.
A rapid flowing free with extreme strength and just barely in control. Look at that water go! No still water on this one, only ”sparkling”. A windy day when birds seem surprised how hard it is to fly, but in the end they make it. Trees bend but don’t break. The wind shows you its movement but doesn’t hurt you. It feels friendly, like a big clumsy dog that doesn’t quite understand its size.
It’s beautiful to be a guest of the elements, but not at the mercy of them. A new kind of dialogue forms.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Hide Behind the Silence”, what’s the idea and what can we expect?

Exploration of inaction. Of many kinds. In arts and in personal life, or at bigger and more serious levels. Questioning myself as a human being as well as an artist. Acknowledging the growing activism all around, and the very clear need for it, and how it reflects my own inaction.
Musically speaking, after Rakka, Isoviha and Speed Demon, I finally found some relief, but more importantly lost the need to go musically ever more outward and intensive. I felt quite strongly certain periods/moods from the past and they made me revisit some musical ideas or states of mind I was exploring early on.
It’s about live moments being captured, not much premeditation or editing. More intuitive and raw, even though the end result (to me) feels and sounds quite introspective and calm. It’s not very ambitious. Momentary and reflective.

2) Your music doesn’t sound very silent. Does it come from somewhere behind the silence?

Oh, this time to me it sounds quite quiet and playing with space if not silence. I don’t know what’s actually behind silence, but I think silence is the source of everything. We just don’t understand it yet.

3) What kind of thoughts or experiences gave inspiration to this series?

Writing this in Nov ’22, it’s not a stretch to say the world has been really unwell. Sometimes, like Mika Vainio put it, the world eats you up. I feel a bit like that. And I try to hide in my studio and stay away from it all, but it’s getting harder by the day. I’ve been questioning myself and thinking if what us artists are doing is worth anything, and whether it’s just a selfish thing I’ve been doing for the past 25 years, running away from everything. I haven’t come to a conclusion yet.

4) Is it easy for you to be in silence, or around silence?

Absolutely. I not only hide behind silence but I also love silence. It’s only since I started going back to nature as a grown-up person that I sensed and was enveloped by silence, true silence. I have begun to appreciate it a lot. I think all the people should spend more time in silence.

All tracks composed and produced by Sasu Ripatti.
Artwork by Marc Hohmann, photography by Shinnosuke Yoshimori.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Sasu Ripatti's complete "Dancefloor Classics" series. Music for imaginary dancefloors, released on Ripatti's own label Rajaton.

”Look up, into the light” she said, while the camera shutter clicked. ”Like this? Does it look holy?” His neck felt stiff. Her reply: ”Yes, just like that. What do you mean holy? Like religious? ”No, more like trying to look very far, somewhere beyond what we can see.” ”Okay, stand still, I’m going to come close to you now. The light hits your face great.” click, click, click.
He noticed her fingernails. They were not polished. Natural. Even somewhat rugged, as if something wore out the fingers slightly. What had these hands held besides the camera? What made the edges of her fingernails drift off?
He thought it’s weird to look straight into the camera. The photographer had closed her left eye, the one not looking into the lens. Then it opened, she looked up, perusing the surroundings, then she closed her eye again, then looked up, closed, looking up, very quickly. It all seemed very professional. Maybe she calculated the light, making sure it’s close to perfect. ”What will these photos look like?” – the thought popped into his head briefly. It was liberating to think it wouldn’t matter.
”What’s that song playing?” he asked. ”Wait a sec, Ol’ Dirty Bastard?” she replied. ”Oh yeah, right. But the sample?” ”Hey, could you look up again, like that. No, lower.”
New directions: ”Look out from the window, turn left.” ”My left or yours?” ”Yours, I always try to think from the direction of my model.” How professional! This is a good shoot, so natural. Should I worry about how the photos look like? No, I don’t want to. His thoughts bounced around. What would the story be like? It’s a big newspaper, everyone will read it. Maybe someone drinks coffee and eats a stroopwafel while they do it. Will they place the waffle on top of the mug for a brief while, so that it gets hot and the syrup melts a little? Then it feels wet, and you can bend the cookie.
She broke his train of thought off midway through: ”Now turn right, but look left, and slightly up, but don’t turn your face right.” ”Umm, like this? Sounds like a set of pilates instructions.” she laughed ”You do pilates?” ”Yeah, it’s hard sometimes. Have you tried?” ”No”, she said. ”I’m not good for sports that are done in groups.” ”Yeah, but in pilates you can just be inside your mind, drowning in your private thoughts.”
”What are you thinking in pilates?” she asked, taking more photos. ”Well, mostly just which way is right. And which left.” click, click.

Q&A with Sasu Ripatti:

1) Tell us something about the EP series ”Dancefloor Classics”, what’s the idea and what can we expect?

I’ve been slowly writing these sort of dance music pieces and finally curated them together for a conceptual release. I like to create music for a dancefloor that exists only in my imagination and doesn’t try to suck up to the standardized reality.

2) Your vinyl format is 10” which is quite special (as opposed to LP / 12”). Why did you choose it?

It’s my favourite format, absolutely. The size is perfect, and you can make it sound really good @ 45 rpm. And you still can make great artwork.

3) You seem interested in sampling/repurposing, what does it mean to you as an artist to approach something already existing from a new angle? How does the source material inform you about the approach to take?

I guess i could flip it around and just say I’ve outgrown synths or electronic sounds to a great extend, and having gotten rid off all my synths already good while ago I’ve used samples as my main source material a lot. It’s obvious on this series that i’ve sampled existing music, but I also sample instruments and things in the studio and resample my own library that I have built over the years, it’s quite large. To me the end result matters, not so much how I get there. Once I have something on my keyboard and play around, it’s all an instrument, though with sampling other music it becomes a really interesting and complex one as you’re possibly playing rhythm, but also harmonic content and maybe hooks or whatever, all at once.
I never sample premeditadedly, like listening to records and looking for that mindblowing 3 sec part. I just throw the cards in the air and see what lands where, just full intuition and hopefully zero mind involved, playing tons of stuff, trying things, just recording hours of stuff. Then comes the interesting part to listen to hours of mostly crazy stuff and finding that mindblowing 3 sec part.

4) What is your relationship with the dancefloor (conceptually and/or in experiences / as a performer)?

Very complicated. I have never really felt comfortable on a dancefloor but have always wanted to. There’s something in club music, in theory, that really speaks to me. It has never really materialized for me – speaking mainly from a performer’s point of view who goes to check on a dancefloor for a moment after a concert. I never have DJ’d or felt much interest towards it. But again, I love the idea and concept of DJing. As well as producing music for imaginary DJs. Lately, as in the past 10+ years, I haven’t even performed in any sort of club spaces. So my relationship to the dancefloor is quite removed and reduced, but there’s quite a bit of passion and interest left.

All tracks composed and produced by Sasu Ripatti.
Artwork & photography by Marc Hohmann.
Mastering by Stephan Mathieu for Schwebung Mastering.
Vinyl cut by SST Brueggemann.
Publishing by WARP Music Ltd.

Flat Party’s debut self titled EP, available on black or limited edition cream vinyl. Featuring tracks written over the past few years, the five-track record acts as a perfect entry point to Flat Party’s unforgettable wonky indie without getting too abstract.

- Newly Expanded Deluxe Double LP Edition! - Includes the original 1972 album, plus all of Larry Mark's acoustic demos and tracks from his unreleased 1970 LHI LP for the first time on vinyl - Previously unreleased session outtake of "Cold Hard Times" plus demos of obscure Hazlewood compositions "Drums," "The - Start," "Susie," "Miracle on 19th Street," and "Peppermint Morning" - 30 total tracks - Remastered by GRAMMYr-nominated mastering engineer John Baldwin - Liner notes by GRAMMYr-nominated reissue producer Hunter Lea including interviews with Larry Marks, Joe Cannon, Torbjörn Axelman & Suzi Jane Hokom - Lee Hazlewood comic strip, the story of 13 told through original artwork by Jess Rotter - Double LP housed in a gatefold jacket // DESCRIPTION "Pimps_ whores_ pushers_ dopers_ gangsters_ and bottom of the human chain shit-heels. Now you're probably thinking I'm writing about major record companies and their unscrupulous executives_ and lawyers. You could be right_ but this time_ YOU'RE WRONG! I'm describing the characters in my album `13' _Some I knew_ some I invented _ some are true_ some are false_ some I liked_ some I didn't. But they all had a story to tell and I told it_none of `em seem to care_ and I don't either_ have fun_" - Lee Hazlewood "He (Lee) took my voice off the album and put his voice on the album. Now don't forget these were in my keys, it was my charts, it was my everything. Lee Hazlewood was not even remotely going to be considered as an artist for this album and that's the way he wanted it." - Larry Marks The album 13 was never supposed to be a Lee Hazlewood album. It is perhaps the strangest record in one of the most varied discographies in music. The Bombastic brass heavy funk, deep blues and soul paired with Hazlewood's subterranean baritone would be best enjoyed with a tall Chivas in an off-strip seedy Vegas lounge. By 1972 Lee Hazlewood had settled in his new homeland of Sweden. His days were spent carousing, making movies with Torbjörn Axelman and releasing albums. To keep up his prolific recorded output, Lee began to mine the recently defunct LHI Records archives for material. One such gem, was an unreleased album by Larry Marks (LHI producer, artist and the voice of the first Scooby-Doo theme). Larry's concept was to take Hazlewood's strongest compositions and arrange them in a soul vibe. An album was completed, but with no distribution in America and no funding, Lee had no vehicle to release Larry's record. The tapes were taken to Sweden, Larry's voice was wiped and Hazlewood's was dubbed_ 13 was born.

ARCHIVAL LIVE RECORDINGS OF THE LOUISIANA HAYRIDE BY ELVIS PRESLEY - ON LIMITED EDITION GREEN VINYL! Louisiana Hayride was a radio show broadcast from the Shreveport Municipal Memorial Auditorium in Shreveport, Louisiana. During its heyday from 1948 to 1960 'Hayride' helped to launch the careers of some of the greatest names in American country and western music. Then on October 16th of 1954, Elvis Presley made his debut. Presley's performance of his debut release, 'That's All Right', brought a weak response from the country-loving audience, but Presley was signed to a one-year contract for more appearances. Elvis worked the Hayride audience week by week until he finally won them over, but there was to be a catch... the demand for more of Presley's new kind of rockabilly music resulted in a sharp decline in the popularity of the Hayride, a strictly country music venue. Times were changing... These recordings capture the formative years of The King of Rock 'N' Roll and feature many of his soon-to-be classic numbers.

- New repress Edition - Pressed on Metallic Silver Wax - LP housed in an expanded gatefold jacket - Includes lyric insert and repro archival newspaper fold-out // Reissue of the pioneering group's debut album First Issue. In 1976 Johnny Rotten and the Sex Pistols set the agenda for punk's year zero with 'Anarchy In The UK', a song that summed up the spirit, sound and attitude of the band in one shocking package. Two years later, the Sex Pistols were in tatters, but Rotten was as unsentimental as you'd hope. He reverted to his real name - John Lydon - and set about forming a band whose very identity kicked against press and media manipulation. Featuring bassist Jah Wobble, drummer Jim Walker and guitarist Keith Levene, his new group were Public Image Limited. The public image would be limited. PiL were a very distinct prospect from the Pistols, founded with a greater thought for rhythm, and with a sound that turned the page from snarling punk to a more experimental sound fusing rock, dance, folk, ballet, pop and dub. But that's not to say Lydon's new outfit lacked vitriol. 'Public Image' hits out against the notorious British tabloid press, who never gave Lydon an easy ride, and against his own Sex Pistols public image - "You only saw me for the clothes I wore". The debut single (and the album that followed) operated as a theme song and a manifesto: "_my entrance/My own creation/My grand finale/My goodbye," as the lyrics had it. It is, essentially, the sound of four people letting loose in a studio - and not caring what anyone else thought.

Aptly titled Two Worlds, Tigers Jaws sophomore full-length draws on the strengths of the band's raw, minimalist atmospheres and driving grunge-rock rhythms, funneling them into a catchy, brooding and brilliantly focused album. Sounding as confident as ever in abandoning dependence on traditional pop structures, songs ebb and flow naturally as the band explores fresh tones and textures. Firmly planted in their own niche of the 90 s-era Midwestern emo sound, Two Worlds probes Superchunk's indie-punk stylings, Weezer's discordant pop moments and the far edges of Kurt Cobain's brain while managing to sound almost nothing like those groups. Chimey clean guitars weave in and out of the mix, juxtaposing a gain guitar laden with thick grit. Standing alone, the tones create familiar Tigers Jaw moods, but when combined, the effect lays the foundation for swelling walls of sound. Pulsing bass fills the low end, locked with the drums in rhythmic unison, alternately tracing guitar lines and stepping forward to grab the listener s car. Similarly, the drumming style perfectly compliments the songwriting with steady beats and measured flash. Lush and resonant cymbal splashes constantly flourish, adding color and a new spaciousness. Keyboards swell in a wave of warmth creating the band s defining ambiance, in parts taking on more adventurous melodies and chord tones. At its core, Two Worlds is a Tigers Jaw album through and through. It evokes many moods the band is known for, but adds a depth that will leave listeners discovering new reasons to love them with each new listen.

Edles weisses Vinyl mit Radio-Live-Aufnahmen von 1996 der legendären Band RAINBOW, inklusive den Mega-Hits Perfect Strangers, Man On The
Silver Mountain, Burn und viele mehr. Limitierte Auflage.

The heavyweight trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return with their 12th and most epic release to date, the triple LP With pats on the head, just one too few is evil one too many is good that's all it is. Documenting the entirety of their final performance at the dearly departed Roppongi home of Tokyo underground institution SuperDeluxe in November 2018, the music spread across these six sides splits the difference between the guitar-bass-drums power trio moves and experiments with novel instrumentation that have defined the trio’s decade of working together. Containing some of the most delicate music the three have committed to wax since the gorgeous 12-string acoustic guitar and dulcimer tones of Only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen (BT011), this wide-ranging release also offers up some of their most blistering free rock performances yet.

The side-long opening piece finds Haino on a single snare drum in duet with O’Rourke on unamplified electric guitar, playing in the lovely post-Bailey vein heard on his classic 90s recordings with Henry Kaiser and Mats Gustafsson. Spiky dissonance and ringing harmonics interweave with flowing melodic fragments as Haino single-mindedly explores the resonance of the snare like an untutored Han Bennink. On ‘Right brain, left brain; right, left; right wing, left wing. Just how many combinations can be made from these?’, O’Rourke moves to synth and electronics, joined by Ambarchi on drums, who at first focuses on sizzle cymbals before hypnotic cycles of gentle tom rhythms combine with electronic burbles and flutters to suggest a dream collaboration between Masahiko Togashi and Jean Schwarz. Ambarchi’s percussion is then joined by Haino on wandering, overblown flute, before the man in black switches back to the snare for a bizarre, stuttering drum duet.

For the first trio performance, Haino makes another new addition to his seemingly infinite catalogue of instruments, this time a homemade contraption he refers to as ‘Strings of Dubious Reputation’. Joined by O’Rourke on increasingly spaced-out electric guitar and Ambarchi on skittering percussion, Haino’s wonky, slack strings adds a definite ‘musique brut’ edge to this side-long performance, certainly one of the most enchantingly odd in the trio’s discography. When the group reconvene for the second set, spread out across the final three sides, they seem ready to breathe fire from the first instant. O’Rourke slashes distorted chords on the six-string bass, Ambarchi breaks into his signature irregular caveman thump, and Haino squeals and squawks on heavily delayed oboe before unleashing an overpowering electrical storm when he first picks up the guitar. For over half an hour, the trio pound out one of their most relentless performances, a constantly rearranging kaleidoscope of tortured fuzz guitar, insanely busy bass riffing and propulsive, tumbling drums. A hushed atmosphere initially reigns on the final long piece, given the mournful title ‘There are always things I wish to say but I can only convey them in this language August 6 August 9’. Haino’s clean guitar strumming calls up the shimmering tones of his PSF classic Affection, gradually building to a surging wall of sound, bass and drums lumbering through a roar of jet-engine guitar. Arriving in a deluxe trifold package with photos by Lasse Marhaug alongside inner sleeves with extensive live images, this epic release is perhaps the most remarkable document yet of this unique trio’s stamina and continuing inventiveness.

The undisputed kings of grind, PIG DESTROYER return with their long awaited fourth proper full length ‘Book Burner’. ‘Book Burner’ is a resounding statement of championship, as every element of PIG DESTROYER towers above their closest peers—a 32 minute, 19 song knockout punch of cerebral viciousness. Scott Hull’s guitar heroics sound like a mutant double speed hybrid of Slayer and the Melvins jacked up on amphetamines, new skinsman Adam Jarvis is the pinnacle of inhuman drumming, Blake Harrison delivers layer upon layer of suffocating atmosphere and JR Hayes remains the poet laureate of extreme metal. ‘Book Burner’ is the finest work of extreme music’s best band. Limited edition deluxe CDs and LPs available with bonus ‘Blind, Deaf and Bleeding’ EP, expanded packaging and the much talked about short story penned by JR Hayes. RECOMMENDED IF YOU LIKE: Napalm Death, Converge, Melvins, Discordance Axis, Wormrot

■ Die Nits sind eine niederländische Art-Pop-Rockgruppe, die 1974 in Amsterdam
gegründet wurde. Ihr musikalischer Stil hat sich im Laufe der Jahre ebenso geändert wie
ihre Besetzung, aber die Kernmitglieder sind der Leadsänger und Texter Henk Hofstede,
Robert-Jan Stips an den Keyboards (der mit Supersister, Gruppo Sportivo, The Golden
Earring zusammengearbeitet hat) und Rob Kloet am Schlagzeug.
Im Jahr 2024 feiert die Band ihr 50-jähriges Jubiläum mit einer Europatournee und
brandneuer Musik. Sechs frisch geschriebene Tracks sind auf der Mini-Album "Tree
House Fire" enthalten, wobei das zentrale Thema der Songs das Feuer ist, das das
Amsterdamer Studio der Band im Jahr 2022 vollständig zerstört hat. Diese
10-Zoll-Schallplatte ist als limitierte Edition von 500 einzeln nummerierten Copies auf
Flamino Coloured Vinyl erhältlich und enthält ein 4-seitiges Booklet.

This past year marked the 25th Anniversary of Big Pun's debut Capital Punishment. Big Pun was truly larger than life and sadly passed away at the age of 28, only two months before the release of his sophomore studio album Yeeeah Baby. Yeeeah Baby was released on April 4, 2000, excecutive produced by Fat Joe and a roster of producers including Just Blaze, L.E.S., Buckwild, Younglord, and Sean C among others. The album which would be Big Pun's final release was certifed Gold after three months off the strength of the first two singles "It's So Hard" and "100%" and eventually certified Platinum. Get On Down is proud to present and honor the legacy of Big Pun with a limited edition vinyl reissue pressed on double A-Side/B-Side colored vinyl and stamped numbered OBI limited to 2000 copies.