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Supergroups existed before Emerson, Lake & Palmer formed in 1970. And, as we all know well, many came after. But few, if any, matched the English trio’s chemistry and its elevated combination of virtuosity, vision, and verve. Having influenced a multitude of followers, ELP’s prowess was obvious from the start. The band’s self-titled debut stands as a towering statement of creative imagination, execution, and discipline more than five decades after its original release.

Mastered at MoFi’s California studio, housed in a Stoughton jacket, and pressed at Fidelity Record Pressing, Mobile Fidelity’s numbered-edition 180g 33RPM LP of Emerson, Lake & Palmer presents the benchmark album in audiophile sound. Clear, dynamic, and balanced, this collectible edition honors the perfectionist approaches that both informed the playing and recording of the record.

Distinguished with black backgrounds, this reissue brings to light the epic scope, tonal depth, and mind-bending degrees of musicianship on display. Aspects — textures, nuances, effects, melodies, tempo changes — that go hand-in-hand with the trio’s compositions and interplay are rendered amid broad soundstages and delivered with pinpoint detail. Whether you’ve owned multiple copies of this touchstone or seeking out your first version, you’ll relish the presence, separation, imaging, and crispness that help make every song come across as if the group has set up shop in your listening space.

Opening the door to the seemingly infinite possibilities of progressive rock while steering clear of excess, Emerson, Lake & Palmer achieved a rare feat in that its complex, cerebral music didn’t prevent it from attaining mainstream success. The gold-certified effort launched the career of a band that would sell tens of millions of records. It also landed a Top 50 single in the form of the ballad “Lucky Man,” whose vocal harmonies, folksy strumming, multi-tracked instrumentation, and breakthrough Moog solo almost feel quaint in the face of the other fare on the album.

Comprised of genre-defying originals and hybrid arrangements of two classical pieces, the album Rolling Stone originally and rightly said is “best heard as a whole” matches outrageous ambition with the otherworldly skills of three musicians who remain among the finest to ever pick up their respective instruments. While Emerson soon drew the lion’s share of headlines for his ability on keys — clavinet, Moog, piano, Hammond organ, and pipe organ included — Greg Lake’s aptitude on guitar and bass, along with well as Carl Palmer’s monster talents behind the kit, created a three-headed hydra that devoured everything in front of it.

That extends to the radical reinterpretation of Bela Bartok’s “The Barbarian” that begins the LP, a performance that in less than four-and-a-half minutes runs the gamut from distorted to churchy to angular and blustery. More classical flourishes, keyboard wizardry, hard-rock heaviness, and gothic signatures emerge throughout “Knife-Edge,” which reimagines music by Leos Janacek and J.S. Bach — and ultimately invites you to explore a cathedral of sound teeming with separate bursts of keys and percussion.

And did someone say “drumming”? Check out Palmer’s monster salvo on “Tank,” a rhythmic showcase that marches out with knee-bent notes and mirror-reflected passages. Or dive into the mythological suite “The Three Fates.” Replete with three parts and Emerson playing the pipe organ at Royal Festival Hall, it shoots off sonic fireworks via sophisticated arpeggios, jazz improvisations, dancing counter-meters, sizzling chords, and a few explosions. Please don’t hold anyone at MoFi responsible if your system cannot handle it; this is heady stuff.

Indeed, everything on Emerson, Lake & Palmer is there for a purpose. Whether you aim to attempt to dissect all of the notes, shifts, and polyrhythmic bluster or just want to absorb this album as one living, breathing organism, this version invites you to do both as many times as you desire.

"Souvenirs opened the door for me in L.A. as far as not just being the kid anymore, but being one of the guys, so I remember that one as a real good time—probably way too good a time! It's a miracle we survived that record." – Dan Fogelberg

Impex Records, in collaboration with Epic Records and Iconic Artists Group, is proud to present the official limited-edition 50th Anniversary 180-gram LP of Souvenirs! Our audiophile vinyl LP has been newly remastered from original analog tapes and features original photographs, new notes, and remembrances from Dan Fogelberg and others who crafted this classic album!

Celebrate the 50th anniversary of Dan Fogelberg's breakout hit album, newly remastered and lavished with The Impex Treatment.

50th Anniversary Edition
180g Audiophile Vinyl LP
Contains the Top-40 Hit "Part of the Plan" & Fan Favorites "As the Raven Flies" & "Illinois"
Features Members of Eagles, Graham Nash, Gerry Beckley, Kenny Passarelli & Russ Kunkel
Mastered from a Flat 1:1 Transfer of the Original Analog Tapes by Chris Bellman at Bernie Grundman Mastering
Pressed at Fidelity Record Pressing
Exclusive Booklet Containing Original Photos & an Appreciation by Charles L. Granata Featuring Archival & New Interviews with Many of the Participants Who Helped Make This Classic Album
Limited to & Individually Numbered to Only 3,000 Copies

This is the first vinyl release of our label, from the Canary Islands to the world! The founder and Spanish producer Luis Pitti captures in this release some of the sounds and style that marked an era on our beloved island. On this record you will find Oldskool Hardcore sounds, breaks, enveloping pianos, synths and sounds from the 90s fused with a modern and fun touch.

Released in a limited edition by ExperimentalBass Records on 150 gram black viny

released limited edition 150 copies 150 gr colour black

released limited edition 150 copies 150 gr colour black

This is the limited edition with the sleeve and alternate labels!

This is a very limited 10" press of these amazing original remixes...in blue smoked vinyl with a special edition sleeve! And I have to add, these remasters sound incredible!

This is a very limited 10" repress of these amazing remixes, in green smoked vinyl and with a special edition sleeve!

Throughout a professional career defined by early pop successes, every single one of Andy Fairweather Low's performances has been shaped by his blues, gospel and soul influences, and although the many hits he has enjoyed have to some extent overshadowed his undeniable credentials as a great bluesman - his talent for the blues hasn't escaped the notice of some of the world's finest artists who have drawn on his skills as a guitarist and singer Eric Clapton of course leads this impressive list of Andy's discerning employers and collaborators which includes, BB King, Benmont Tench, Bill Wyman, Bob Dylan, Bonnie Raitt, Buddy Guy, Charlie Dore, Charlie Watts, Chris Barber, Chris Rea, Clarence 'Gatemouth' Brown, Dave Edmunds, David Crosby, David Gilmour, David Sanborn, Donald 'Duck' Dunn, Edie Brickell, Elton John, Emmylou Harris, Garth Hudson, George Harrison, Georgie Fame, Gerry Rafferty, Helen Watson, Jackson Browne, Jeff Beck, Jimi Hendrix, Jimmy Page, Joe Cocker, Joe Satriani, John Mayall, Kate Bush, Levon Helm, Linda Ronstadt, Lonnie Donegan, Mary J. Blige, Mick Hucknall, Otis Rush, Paul Weller, Paul Young, Pete Townshend, Phil Collins, Richard and Linda Thompson, Rick Danko, Ringo Starr, Roger Waters, Ronnie Lane, Sheryl Crow, Steve Gadd, Steve Winwood, Stevie Nicks, The Impressions, The Who, Van Morrison, Warren Zevon, and hundreds more. But, despite the blues having become such a hugely popular genre internationally these days, and Andy having been in the thick of it for most of his professional life, he has largely missed the recognition he deserves in that field because up until now, he has never released a blues album. That's why I wanted to make a record that reveals the identity of the Invisible Bluesman to the world beyond his existing loyal fans. Meet Andy Fairweather Lowdown!

The complete album - limited edition pressing on 180g crystal clear vinyl

Although both Ella Fitzgerald and Louis Armstrong had met and performed and recorded a number of singles together during 1940s for Decca, they wouldn't be heard on LP together until 1956 when producer Norman Granz paired the two for this first album session, Ella & Louis, which became an immediate hit. Two further sessions under Granz, followed, Ella & Louis Again, and Porgy & Bess. All three albumswere both critically acclaimed and commercial successes - appealing to audiences in and beyond the confines of jazz per se. Ella & Louis features the incredible Oscar Peterson Trio plus legendary drummer Buddy Rich. As one of the most iconic and fascinating jazz albums ever produced, its appeal and commercial sales haven't waned during the sixty-nine years since its first release. "Ella & Louis is one of the very, very few albums to have been issued in this era of the LP flood that is sure to endure for decades." - ***** Nat Hentoff, DownBeat

They are sexy, powerful, and subversive! HUMAN TOYS is a raw punk rock duo fronted by fierce female vocals

Poupee Mecanik (vocals, theremin) thrives on playing with female archetypes, bringing a subversive edge to their music, all flavoured with a generous dose of irony.

The addition of guitarist Jon Von, formerly of RIP OFFS, since their previous hit record "Spin To Win" (Topsy- Turvy Records), has revitalised the band with an all- new punk rock sound that lands somewhere between THE RAMONES and THE AVENGERS.

Since their debut album "Excuse My French" (Records Ad Nauseam), HUMAN TOYS has evolved musically into a wild punk rock riot grrrl-style force. Anyone lucky enough to catch one of their electrifying live shows around the globe knows they deliver relentless energy, raw power, and a tough yet seductive attitude. That same fierce energy shines through in their new album "At The Poor Cow", named after a legendary underground punk rock bar in Tokyo. The album features fantastic covers of IGGY POP's "I'm Sick of You", THE NERVES' "When You Find Out", and BOB CENTER's "Lost In The Jungle", alongside addictive and wild HUMAN TOYS originals. This record is a true modern-day punkrock-classic!

The capstone of Miles Davis’ electric period, Agharta reigns as a funk-rock fireball — a blazing comet streaked energy and elan, a fearless organism feasting on adventure and freedom, a seven-headed Godzilla stomping its way through Osaka, Japan. Recorded on February 1, 1975 at Osaka Festival Hall at the first of a two-show stand, the double album offers an endless abundance of surprises and shifts — as well as a road-proven ensemble whose chemistry and abilities equal that of any of Davis’ celebrated bands. If the true measure of jazz is the capacity to adapt to the moment and challenge perception, Agharta is consummate.

Sourced from the original master tapes, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing in California, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set of this epic live release presents it in audiophile sound on a domestic pressing for the first time. Offering greater degrees of separation, detail, and richness than the compressed CD editions and more clarity, openness, and presence than older vinyl copies, this version of the 1975 release helps bring the concert stage to your home. Just make sure your turntable and speakers are up to the challenge of Davis and Co.’s explosive performances — and producing the decibels they demand.

Teeming with vibrant colors, tones, and pace, Mobile Fidelity’s reissue captures the hear-it-to-believe-it flow, sweep, and moodiness of the music. Though the group honors looseness and freedom with religious verve, the specificity and scale rendered by this remaster allows you to detect methods behind the alleged madness that are often otherwise harder to discern. This insight extends to the understated changes in volume, harmonics, and phrasings. In many ways, you can listen as Davis himself did that early February evening as he helped coordinate the overall direction and decided on whether to blow his wah-wah-wired trumpet or take a turn on the organ.

Tellingly, Agharta would likely never have been made if not for Davis’ ventures overseas and, specifically, to the Land of the Rising Sun. Having for years faced a backlash on his native soil for his choices to experiment and blow past all known borders, Davis was welcomed with open arms in Japan. The concert documented on Agharta — as well as the day’s later show, captured on the equally exciting Pangea — stemmed from a sold-out three-week tour that would ultimately mark Davis’ final public appearances for years, as he soon settled into semi-retirement and nursed the wounds connected to an unprecedented stretch of restless and relentless output.

For all the band-fueled merit of Agharta — and there’s plenty, given the cast of saxophonist Sonny Fortune, bassist Michael Henderson, drummer Al Foster, percussionist James Mtume, and guitarists Reggie Lucas and Pete Cosey seemingly blasts off to outer space and travels distant galaxies by the time this minimally edited record runs its course — Davis’ own playing often remains overlooked. As critics Richard Cook and Brian Morton observed, it is “often fantastically subtle, creating surges and ebbs in a harmonically static line, allowing him to build huge melismatic variations on a single note.” He attacks like a man on a mission, out to prove naysayers wrong and bent on trailblazing another new path forward. Convention and skeptics be damned.

Noisy and furious, dark and discordant, abstract and off-balance, radical and intense, abrasive and atmospheric, strangely beautiful and hypnotically eccentric: Agharta evades simple description, and refuses to be pinned down in any established category — rock, jazz, punk, ambient, prog, avante-garde, or otherwise. Shot through with trench-deep grooves, screaming riffs, scalding solos, and free-improv leads, its cosmic thrust comes on as the equivalent of an animated pointillist painting comprised of millions of textured dots, dashes, and dabs that hold your attention so raptly you want to revisit the ideas again and again.

Always steps ahead of everyone else, Davis knew what he was doing even when Agharta debuted in Japan before later hitting U.S. markets. Though “Maiysha” and “Theme from Jack Johnson” are identified in the track listing, the record contains a number of uncredited references to other Davis works, including a nod to “So What.” This decision to bypass labels only adds to the art of the reveal — the rare black magic in which Agharta expertly deals.

The notion of home isn’t precise, even a dictionary will offer multiple definitions. A home can be a place where you live, a place where you belong, where you originate from or a place where you’re given care; it can be a physical space, a land, a people or even a person. The concept isn’t completely universal, but everyone possesses a unique idea of what home means to them. On her fifth album, Ziúr considers not just what home symbolizes from her perspective, but the word’s resonance to the diverse community that surrounds her, and how their stories have impacted her over the years. Indeed, it’s the first time she’s felt it necessary to examine her own nationality. In the past, she’s deliberately avoided labelling herself as German, feeling disconnected from her country’s politics, culture and even the German language itself. In 2025, the idea of Germanness is in flux and progressives are under attack from all sides. The country’s politics aren’t only being turned inward by the growing throng of far-right voices, but by scared moderates, opportunists and those blinded by comfort, willing to ignore hatred to maintain their privilege. Stepping up to provide a different narrative, Ziúr scours her soul, writing and singing in German for the first time and proposing growth and evolution, not fear and regression. “I never considered being part of Germany,” she explains. “But I am.”

A solemn mood permeates the album’s opening track ‘Brown is the Color’, and Ziúr sings in measured, slow-motion breaths over noisy synth oscillations and doomed piano flourishes. Already, it’s a significant departure from her last run of releases, veering away from the frenetic, satirical chaos of 2023’s Hakuna Kulala-released ‘Eyeroll’ or its fantastical, dubby predecessor ‘Antifate’. Ziúr pulls on real world insights here, tracing her oldest, dearest musical inspirations to present her origins to anybody who might be listening. “Cold world is holding up,” she laments with a metallic crunch. “To let go of your heart, let me go.” And her voice emerges from the shadows completely on ‘Tame’; unprocessed, Ziúr sounds naked and vulnerable on ‘Tame’, curving her precise words around broken, lopsided rhythms and jangling new wave guitars. It’s pop music in its own way, inverted and reconstructed to fit snugly into her well-established sonic landscape. On ‘No Yawn’, brittle, downsampled hi-hats and industrial scrapes ping-pong around distorted riffs, provided by James Ó Ceallaigh aka WIFE; “You fail to sugarcoat your half-ass attempt,” she deadpans, “to build your promised wonderland on quicksand.” Even the beatless ‘All Odds No Chants’, a collaboration with Elvin Brandhi and Sara Persico, reveals another room in Ziúr’s autobiographical suite, mirroring György Ligeti’s enduringly influential choral works with its gnarled, dissonant vocal harmonies.

Bonbon Vodou’s third album (Épopée métèque), created by Oriane Lacaille and JereM Boucris, follows the paths of exile with lush orchestration and lyrics in French, Creole, and Gascon.

The bonbon piment (a spicy Réunionese fritter) is deceptive. Beneath its harmless appearance lies a fiery kick that can jolt you into clarity. Bonbon Vodou operates the same way. While the duo's musical influences sway between the Indian Ocean and the Mediterranean Sea, a sharp edge cuts through the tenderness of their graceful songs, often carried by the rhythms of maloya. This contrast gives depth to their third album, Épopée métèque, which takes us on journeys of exile—both across land and sea.
Oriane Lacaille is the daughter of accordionist René Lacaille, a key figure in the revival of Réunionese music in the 1970s, who has lived in mainland France for five decades. JereM Boucris’s father, from a Tunisian Jewish family, was 14 when he arrived in France at the end of the colonial protectorate. Their lives are interwoven with these paternal exiles, which they continue to explore and unravel, alongside the broader, universal stories of migrants fleeing poverty, persecution, and war.
The duo is now joined by a vibrant trio—Piment Piment (Juliette Minvielle, Roland Seilhes, and Yann-Lou Bertrand)—bringing a rich orchestration featuring guitars, flutes, brass, roulèr, kayamb, jaw harp… all set to lyrics in French, Creole, and Gascon. Their voices are joined by numerous guests, including Mouss and Hakim, Rosemary Standley, and Bernard Lavilliers. This playful yet poignant album explores themes of life and death—radiant but aware—seemingly echoing Camus: “There is no sun without shadow, and one must know the night.”

The Psycheground Group has been a completely mysterious band for a very long time, about whom nothing was known except the fact
that they released an obscure LP in 1970, with a red front cover with a stylized drawing of a male face wearing a coloured bandana.

Only in recent times it has finally been revealed that “Psychedelic and Underground Music” was played and recorded –
and sung on very rare occasions – by musicians from Nuova Idea, who would debut only a year later with the LP “In the Beginning”,
the first in a trilogy of albums that would leave an important and indelible mark on the Italian Progressive Rock story.

“Psychedelic and Underground Music” is a fully instrumental album – with the exception of some vocal harmonization –
of rhythm & blues, pop and psychedelic music with a strongly British imprint: it is no coincidence that for a
long time it was mistakenly believed that The Psycheground Group were a English group.

“Psychedelic and Underground Music” is a wonderful cult album, impossible to find in its first edition
which is valued thousands of Euros in the collectors’ market. It is now reissued in an original-like version, on clear red vinyl.

To celebrate the 50th anniversary of Profondo Rosso, Dario Argento’s masterpiece with its iconic Goblin soundtrack, comes a once-in-a-lifetime collector’s box set.

This box set, limited to 450 copies, includes:

GOBLIN - PROFONDO ROSSO / 2LP SET
Special double vinyl reissue with gatefold cover and brand new artwork including the original soundtrack, plus a bonus disc that contains a collection of tracks with the actual music used in the movie.

CALIBRO 35 - CANZONCINE PER BAMBINI / 12” LP
Exclusive 6-track LP featuring brand-new compositions by cinematic jazz-funk masters Calibro 35, blending their trademark sound with nursery rhymes sung by a real children’s choir.
The project is inspired by one of the film’s key scenes — a sort of MacGuffin around which the music playfully revolves — transforming that cinematic idea into a standalone concept full of irony, tension, and imagination.

FABIO CAPUZZO - NEL ROSSO PIÙ PROFONDO
LP-sized book, in English, containing one of the most detailed and thorough analysis on both “Profondo Rosso” movie and soundtrack ever written, courtesy of Fabio Capuzzo,one of the greatest Italian experts on the matter.

LENTICULAR IMAGE, revealing the film’s key scene, turning this edition into a true display piece.

A celebratory release of extraordinary cultural and collector’s value, blending cinema, music, and memorabilia into a total experience. An unmissable tribute to Profondo Rosso, fifty years on.

At the end of the 1980s, Mariolina Zitta approached the world of natural sounds, studying musicology and developing a passion for speleology. Her encounter with Walter Maioli was fundamental, guiding and influencing her definitive research into sound archaeology and the primitive sources of musical acoustic phenomena. In these recordings Mariolina conducts a magical ritual as a cave priestess, celebrating the icons par excellence of the mysteries of the an ancestral enchantment on the border between consciousness and dreams, a symbolic liturgy of primordial reverberations, echoes and whistles. Edition of 200 copies.

Unit Nine is a The Hague-based musical collective weaving together soulful melancholy, minimalist composition and soft grooves. Their debut album, Disaster Jester, will be released digitally and on 12’’ vinyl on The Hague imprint PIP Records on November 14th, 2025, celebrated with a release show at Paard, Den Haag. The album was recorded under guidance of renowned producer Tijmen van Wageningen, at The Womb Studio.

Disaster Jester revolves around the archetype of the jester, the trickster who embodies both chaos and wisdom, humour and tragedy. Across the album, music video and cover artwork, he appears as a clown in a shadowy crime narrative and as a weary detective who eventually dons the fool’s hat himself. The image becomes a mirror for the artist: observing, stumbling, laughing & fooling. The track ‘Afgesproken Plek’ features rap artists KC and MC Lost, who provided an imaginary crime skit playing on the detective persona central in the story telling of the album.

While their universal and timeless sound could travel anywhere, there’s something distinctly The Hague about Unit Nine; a mix of irony, unpolished charm, and understated design sensibility. Their city’s blend of rough edges and refined aesthetics runs through their work and places the debut album within a historical tapestry of not-so-mainstream culture and art that the sea town is known to embody.

Here are 4/5 of the early work of Dj Ultramars, before he created his own label, Mars Assault Records.

Dj Ultramars drew inspiration from records from the begining of Hard Techno; from some work of the Spiral Tribe, but also just from the musical impression he had after attending his my first free parties.
Those tracks corresponds to a certain moment in the history of the free party movement, so a release on Toolbox Killerz was logical.

The tracks have been edited so that the arrangements would be more relevant to nowadays standards, and to alow a better sound quality on vinyl. Back in 1997, we didn't know better about vinyl cutting & premastering, so we went to a legacy cutting studio that had made all the cuts for Rock & Pop for decades, and they didn't understand the specifics of such Tekno music. Therefore on their first release, those tracks didn't make much sense without the highest frequencies... This time we have their ultimate cuts, the way they should always have been cut on vinyl, thanks to the legendary Hervé @ DK mastering studio.

Grizzly Bear haben sich nie aufgelöst. In den sechs Jahren seit ihren letzten Auftritten haben sich die vier Mitglieder, die vor zwei Jahrzehnten als lose Freunde und sogar völlig Fremde zur Gruppe stießen – Chris Bear, Ed Droste, Daniel Rossen, Chris Taylor – anderen Dingen zugewandt. Sie haben andere Musik gemacht, andere Karrieren verfolgt, andere Familien gegründet und andere Leben jenseits dieser Band geführt. Und nun, zum ersten Mal seit 2019, kehren diese vier Musiker und Freunde zu Grizzly Bear zurück, um die Bande, die sie zu einem der fesselndsten und beliebtesten Acts dieses Jahrhunderts gemacht haben, auf die Probe zu stellen und zu sehen, wohin diese alten Verbindungen noch führen. Da sich Grizzly Bear nie aufgelöst haben, sind ihre ersten Auftritte seit sechs Jahren keine Reunion; sie sind Ankunft und Aufbruch zugleich, ihr nächstes Ziel noch unbekannt.

Diese Art von offenem Ansatz ist es schließlich, der Grizzly Bear noch immer zu einem der prägenden Acts dieses jungen Jahrhunderts macht. Vor zwanzig Jahren wandelten sie sich rasant von einem Lo-Fi-Songwriter-Projekt zu einer vollwertigen Band mit einem sofort einzigartigen Sound, unheimlichen Harmonien, die sich um Arrangements schmiegten, die den Glanz eines Kammerorchesters mit der Härte einer Rockband verbanden. Sie trugen dazu bei, die Möglichkeiten des Indie-Rock neu zu definieren, indem sie Üppigkeit mit Lockerheit, technische Exzellenz mit emotionaler Offenheit in Einklang brachten. Ihre musikalischen Spuren sind nach wie vor allgegenwärtig, Teile ihrer unorthodoxen Sicht auf Klang und Textur sind heute fester Bestandteil des musikalischen Erbes. Diese Songs im Jahr 2025 live zu hören, wird sich also weniger wie ein Händedruck mit der Vergangenheit anfühlen, als vielmehr wie das erste Mal, ihre Fingerabdrücke in der Gegenwart zu sehen.

Begleitet werden diese Live-Shows von Neuauflagen der Alben Yellow House, Veckatimest, Shields und Painted Ruins auf farbigem Vinyl.

James Brown wants to know one thing before he and his band begin Sex Machine. “Can I get into the thing, really?,” he asks. His cohorts enthusiastically respond in the affirmative. And for the next hour and change, Mr. Dynamite gets into it and more, turning in a sweat-soaked, feet-moving, hip-swiveling, emotion-purging, in-the-red, drop-everything-you’re-doing-and-dance performance for the ages. Ranked by Rolling Stone among the 500 Greatest Albums of All Time, the sweeping 1970 effort towers as a testament to Brown’s inimitable legacy as well as the peak powers of his voice, vibrancy, and bands.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and housed in a Stoughton gatefold jacket, Mobile Fidelity’s numbered-edition 180g 33RPM 2LP set presents Sex Machine in audiophile sound for the first time. It explodes with the energy the lightning-strike music demands. Dynamic, immediate, present, airy: Everything from the brassiness and fluidity of the horns to the snap and decay of the snare to the swell and carry of the organ comes across in full-range perspective.

Then there’s Brown’s superhuman singing, which here emerges with a purity, naturalism, and transparency that ensure you feel everything. Screeching, shouting, pleading, moaning, preaching, stinging, commanding, testifying, crooning, humming: The Godfather of Soul contributes one of the finest vocal performances known to man. This definitive 55th anniversary reissue of Brown’s monster funk statement further exhibits a combination of clarity, solidity, separation, and imaging that helps bring to light what he and his crack ensembles committed to tape. Both in the studio and on the stage.

Just how lifelike does this reissue sound? Senior Mobile Fidelity Sound Lab engineer Krieg Wunderlich, who handled the remaster, notes: “There were some artifacts that sounded a bit like mistracking. But they turned out to be breath blasts on the vocal microphone. That is part of history. JB was workin' hard, and breathin' hard. And there was an edit the timing of that was truly strange. Again, a part of history.”

Originally marketed as a live album, Sex Machine contains six songs recorded in the studio and later overdubbed with canned crowd noise and reverberation. Save for “Low Down Popcorn,” the tracks on the latter half stem from a phenomenal performance captured in October 1969 at Bell Auditorium in Brown’s adopted hometown of Augusta, GA. The special relationship between the singer, the audience, and the location is palpable.

As the 1960s gave way to a new decade, Brown experienced immense success and dealt with unexpected change. Soul Brother Number One soon expanded his idea for an official live album captured in Augusta when the ensemble that backed him on that date morphed into the original version of the world-famous J.B.’s just months after the show. The virtuosic abilities, sticky chemistry, and rhythm-forward nature of the J.B.’s prompted him to book a one-off session in Cincinnati, OH, on a late July night.

Anchored by brothers William “Bootsy” Collins and Phelps “Catfish” Collins, the group — as well as two different drummers — laid down a nearly 11-minute rendition of “Get Up I Feel Like Being Like a Sex Machine” and a thrilling medley of “Bewildered,” “I Got the Feeling,” and “Give It Up or Turnit a Loose.” A pair of then-recent studio singles cut in separate locations in 1969, “Brother Rapp” and “Low Down Popcorn,” each featuring his prior group, took care of the second LP worth of material that complements the originally planned live set.

Complicated? Somewhat. Unusual? Definitely. But just as he elevated the expectations for all present and future R&B artists, Brown not only makes it all work. He makes it positively electrifying.

“Get Up I Feel Like Being Like a Sex Machine” is alone deserving of a dissertation on the art of funk music, seeing it moves up and down akin to an oil derrick, witnesses Brown unleashing a trademark series of grunts, squeaks, and “good god” asides, and glides to a hypnotic groove that won’t quit. Or look to the syncopated rhythms of “Brother Rapp (Part I and Part II),” one of multiple pieces here that signify the point where Brown began viewing every instrument as a percussive tool. Brown closes the three-song medley with his new band with a skedaddling “Give It Up or Turnit a Loose,” which provides jolts on the order of sticking your finger into a socket.

Not that the actual live material falls short in any way. Setting an insistent tempo for the vitality that follows, “I Don’t Want Nobody to Give Me Nothing” positions Brown as a role model, leader, and self-sufficient entrepreneur. All simmer and boil, the short and sweet “Licking Stick” dares you to keep pace. The floating, almost comforting “Spinning Wheel” spotlights the instrumental prowess of Maceo Parker and company, and functions as a seamless segue into the tender, horn-saluted “If I Ruled the World.”

And Brown and his mates still aren’t done. Just try to resist the one-two closing punch of “I Can’t Stand Myself (When You Touch Me)” and “Mother Popcorn.” Mercy.

Ain’t it funky? Sure ‘nuff.

Instrumental versions of Dr. Dre's 2015 album, Compton (A Soundtrack by Dr. Dre) released for Record Store Day.

Celebrating its 10th anniversary in 2025, Emi Okamoto's debut mini-album "Strike!" is being released on vinyl LP with a newly remastered "10th Anniversary
Edition"!

Singer-songwriter Emi Okamoto is a multifaceted artist, active not only as the lead vocalist of the band Friends, but also in dramas, writing songs, and supporting
and guesting at RIP SLYME's live shows. Her fourth album, "Ten City," commemorating the band Friends' 10th anniversary, will be released in September 2025
and is generating rave reviews. Also celebrating its 10th anniversary in 2025, her debut solo album will be released on vinyl LP with a newly remastered"
10th Anniversary Edition"! Written and composed by herself, this album showcases her unique style, spanning everything from cheesy electro-pop to
Idol-esque tracks, '90s R&B, exotic pop, and emotional rock ballads. Also included as a bonus track is the remix "Hit Number - Evisbeats and Punch Rmx"
by Evisbeats and Michel☆Punch. The single-LP release of "Strike!" sold out immediately, skyrocketing in price even on the used market and making it
difficult to find, so this vinyl release is a welcome surprise! Guest appearances include Kouki Okamoto (Gt./Okamoto's) and Keisuke Okamoto (Dr./Kuroneko
Chelsea).

E-style single jacket / Japan pressing / 33 RPM / Lyrics included

The second release in French beatmaker Medline's 7" cover series of soul, jazz-funk, and rare groove classics!

Much like Leon Michels of El Michels Affair, Medline plays all the instruments himself?this release features two stunning tracks, including a newly recorded cover.

Side A presents a brilliant rendition of "Wind Parade," Donald Byrd's immortal 1975 masterpiece that has been widely sampled in hip hop. The iconic bassline remains intact, while Roni Alkekengi's transparent vocals and a bold substitution of flute in place of trumpet create a uniquely groovy interpretation.

Side B is a refined cover of the 1972 soul classic "People Make the World Go Round" by The Stylistics, which has also been heavily sampled and covered. Medline retains the charm of the original while adding his own polished touch.



[a] 01: Wind Parade (45 Edit) [feat. Roni Alkekengi]

American Nightmare's "Year One" collection on 180 gram vinyl for its 25th anniversary. Available again for the first time in decades. Originally released in 2001, the Boston hardcore band’s 25th anniversary release of "Year One" pays tribute to their formative years. This collection unites their first two 7”s, originally released by Bridge 9 Records founder and then-roommate Chris Wrenn, on a 180-gram LP, with all tracks recorded by Kurt Ballou at God City. Originally designed by Jake Bannon (Converge), this edition has been reimagined by Del Jae (Futurismo Records) and singer Wesley Eisold, and comes packaged in a gatefold with an insert of handwritten lyrics and collaged images. "Year One" doesn’t just celebrate a milestone; it reaffirms American Nightmare’s enduring legacy. Their music raised the bar for emotional depth in hardcore, adding a distinctly poetic and existential lyrical approach that set them apart and changed the rules of the scene, paving the way for countless bands that followed

To celebrate the 30th anniversary of Snoop Dogg’s multi- platinum Doggystyle, heralded as one of the most important albums of all time, Death Row Records will be bringing this back to retail with the original 1993 track listing on vinyl.

This new 30th Anniversary edition will include the track “Gz Up, Hoes Down” which has not been on the album since its pressing in 1993. For new and old fans alike, this is the definitive version of the classic album that launched Snoop’s solo career and helped define the sound of Los Angeles in the process.

The cultured dub and tech label Sushitech marks its 20th anniversary by branching out with a new imprint, Wood White Sessions, which has been designed as an outlet for more intimate, home-focused listening sounds that don't stray too far from the parent label's original ethos. Dedicated to albums from long-time collaborators and core artists, the new venture expands the Sushitech sound with a softer, more reflective edge and seasoned dub craftsman Another Channel is up first. Across eight cuts rich in texture and atmosphere, he hooks up with Prince Morella, Masis and Yassin Omidi to immerse you in the most shady and pristine dub.

Next up on Fluid Electronics, Irish producer Derek Carr joins up the fold with his “Harvest Time EP”, featuring Dutch techno staple Deniro on remix duty. Carr’s style, stretching from low-slung techno to squelchy electro, via breaks and chiselled IDM, teleports us to a zero-G headspace where shape and substance merge into an effervescing and highly stimulating maelstrom of sound. The very idea of self-reflexive dance music.

Fusing sino-flavoured harmonics with a straight out hi-tech edge, the lead single “Harvest Time” is the perfect balance between body and soul music, as it elegantly bridges the gap between that sense of weightless vaporousness and a more tactile punch. Pace itself feels relative. In the hands of Deniro, the track hatches into an eerily haunting piece of cinematic electronics, stressing further on the contrasting batucada-esque rhythms and slo-scudding synth tapestry.

The Italo-indebted “Dust Yourself Down” takes Moroder on a ride by the seashore, all arps and heavily processed keys blazing. Dipped in acid, “Rhea” pulls out a cascade of pretty aggro snares, prismatic bleeps, bloops, and a healthy dose of post-trancey waves crashing against a glassy sound design.

Bristol artists: Holsten, Grandma Love (AKA Karkossyn) & Frank Silva converge on 3 track VA for new Bristol underground label & club night Northfield.

Edition of 300. Mastered for digital and vinyl by Larry ‘Bruce’ McCarthy at Edgar Studios in Bristol.

Hand-stamped 12” vinyl. Matte black sleeves.

Supported by:

Pessimist, UVB-76, Clarity, Mackenzie, Anina, mad miran, Batu, Bruce.

On December 19, 2025, HAMMER KING will release a very special double edition, closing the circle of their band’s history while opening a new chapter. To mark the 10th anniversary of their debut album “Kingdom Of The Hammer King”, the album returns as a freshly remastered edition. The original artwork has received a modern twist, and thanks to Alexander Ecker’s brilliant remastering, the album now sounds warmer and more present than ever – without losing the charm and magic of the original. But that’s only half of the royal celebrations: with “Hammer King X – Alive In '25”, HAMMER KING release their very first live album! Recorded in the summer of 2025, it captures the raw energy and magic of their acclaimed shows – including performances at Summer Breeze, Bongert Open Air, Formosa Bierfest, and their traditional summer homecoming at the 7er Club Mannheim. Of course, the vinyl edition is also included: the anniversary edition is available as a double album on CD and vinyl, making it the perfect gift for all metalheads.

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to thesesongs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.

Long regarded as singular architects within European post-rock, EF have built a catalogue defined by dynamic patience, melodic clarity, and widescreen emotional reach. Across two decades of touring, the Gothenburg ensemble have carried that language to clubs and theatres at home and abroad, earning a reputation for meticulous, high-impact live shows and a body of work that has steadily gathered critical regard and a devoted international following. Reimagined and with expanded production including strings and brass, this edition is a considered re-engagement with the material that first crystallised EF's voice. The band returns to these songs with the benefit of twenty years' craft, presenting new arrangements that stretch time and deepen narrative, while retaining the quiet-to-catharsis arc that has always set their music apart. "Since it's our precious first born we wanted to give it the love it surely deserves. We felt we didn't want to celebrate its big 20th birthday by just remastering it and we surely didn't want to make the songs too modern and unrecognisable for the old fans. We wanted to give it a tighter, more dramatic and bombastic make over_ a gentle touch of today's EF." (Niklas Åström) Originally released in 2006, `Give Me Beauty_ or Give Me Death!' introduced EF's signature blend of cinematic guitars, patient dynamics and aching melody. For this new edition, along with an incredible cover illustration by Phillip Janta and brand-new bonus track `Noll', the band returned to the material with fresh ears and clear intentions: to open more space in the arrangements and to enrich the melodic lines with orchestral colour. `Give Me Beauty_ or Give Me Death!' (20th-Anniversary Edition) is a document of growth rendered with care: more instrumentation, more time, more consequence. The album is an act of stewardship_ both a homage and a forward-looking manifesto for EF and for discerning listeners everywhere. FOR FANS OF Explosions in the Sky, Mogwai, Caspian, Gospeed You! Black Emperor, Yndi Halda, Mono Black or White Double Vinyl, Digisleeve Single CD. Includes bonustrack Noll.

To celebrate the twentieth anniversary of their debut album ‘Employment’ (usually commemorated with the gift of china), Kaiser Chiefs are making three new expanded ‘China Anniversary’ formats available. The 1LP edition is pressed on white vinyl, and includes ‘bonus’ track ‘Take My Temperature’. Remastered at Abbey Road Studios.


Originally released in March 2005, ‘Employment’ peaked on the UK album chart at No. 2, and has since spent more than 17 months on the Top 40, selling more than 2.1 million copies in the process, and being certified 7 x Platinum status by the British Phonographic Industry. Similarly successful across Europe, the album’s longevity was aided by the hits singles ‘Oh My God’, ‘I Predict A Riot’, ‘Everyday I Love You Less And Less’ and ‘Modern Way’, and a series of triumphant performances that established Kaiser Chiefs as a ‘must see’ live act, building a loyal fanbase that stays with them today.

Das Italo-Disco-Juwel „For Your Love“ von Faber DJ aus dem Jahr 1985 kehrt in einer spektakulären farbigen Maxi-Vinyl zurück. Diese Edition bringt den unverwechselbaren Sound der 80er direkt auf den Plattenteller und lässt die Tanzflächen erneut erbeben.

Neben den originalen Mixen erwarten die Fans zwei brandneue, exklusive Remixe von Flemming Dalum und The Ri-Mix, die dem Klassiker frische Energie verleihen. Ein absolutes Must-Have für Italo-Disco-Liebhaber, Sammler und Vinyl-Enthusiasten

The Italo-disco gem “For Your Love” by Faber DJ, originally released in 1985, returns on a spectacular coloured maxi vinyl. This edition brings the unmistakable sound of the 80s straight to the turntable and sets dancefloors shaking once again.

Alongside the original mixes, fans can look forward to two brand-new, exclusive remixes by Flemming Dalum and The Ri-Mix, giving this classic a fresh burst of energy. An absolute must-have for Italo-disco lovers, collectors and vinyl enthusiasts

Two musicians, two different folk music traditions, two soundscapes hundreds of miles apart and one nightingale song. Nightingale melodies inspired this intoxicating folk album by Slovakian flautist Michaela Antalová and Norwegian double bassist Adrian Myhr. The Oslo-based duo’s album follows their meditative 2021 debut Zvony (Bells), which featured harmonium, field recordings of crickets and a Slovak male choir.

Sing Nightingale is a translation of ‘Zaspievaj Slavicku’, a traditional Slovakian song. The duo experiments with this theme of the songbird; exploring instrumentation from around the world and its rich tonal textures. On ‘Night Singing’, Michaela plays a Slovakian fujara, a tall, upright wooden bass flute originally played by shepherds. The fujara’s smooth, deep tones are laid over a recording of a nightingale by musicologist Tomáš Šenkyřík, with Michaela’s flute mimicking the bird’s nocturnal chirps and warbles to attract a mate. Michaela is carefully imitating the bird, who is in turn improvising his melody. In ‘Worm Moon’, named after the springtime full moon in March, when nightingales return from Africa where they have spent the cold winter, Adrian’s slow and resonant double bass is brightened by the sweet trills of a real nightingale and Michaela’s fujara.

The Norwegian Hardanger fiddle or hardingfele, features on two specially written songs; ‘Lament’ and ‘Rosenhave’ (rose garden) which bring together the nightingale’s symbolic associations with undying love, sacrifice, deep sorrow and loss. Celebrated Hardanger fiddle player Helga Myhr plays alongside Adrian’s double bass and Michaela’s seljefløyte or willow flute. Helga also plays on ‘Flagre’ (Flutter) and ‘Dance Nightingale’. The seljefløyte is very similar to the Slovak overtone flute koncovka. By using this Norwegian instrument, Adrian and Michaela’s new compositions are reminiscent of both countries’ folk traditions. Folk music often comes from unknown sources; the original writer may not be known and the melodies are typically passed down orally. Michaela and Adrian’s project merges the different folk musics from their respective countries, finding common ground in the sonic qualities of instruments and evolving a new hybrid folk style, authentic in its own right.

For the stunning adaptation of the traditional Slovakian fujara song ‘Dolu Ovce Dolinami’ (‘Sheep down the valleys’), Adrian’s friend Javid Afsari Rad plays the Iranian santur, similar to the traditional Slovak string instrument cimbalom. By coincidence, Iran’s national bird is the nightingale, making another unexpected connection to the symbolic bird. These 11 tracks are a beguiling fusion of traditional folk styles, approached by musicians from an avant-garde, improv and jazz background. The album pays tribute to a hugely expressive bird and finds a strange, soothing universality in the folk sounds of different countries.