Search:end

Das Debut-Album "Eerie Nostalgia" der Band Fotokiller aus Berlin versetzt die Hörer*innen direkt in die Post-Punk-Ära der 80er-Jahre, ohne dabei sowohl musikalisch als auch textlich den Aktualitätsbezug zu verlieren. Nachdenkliche, ja sogar zuweilen mit dem Tenor der Trostlosigkeit versehene Texte mit hohem Sehnsuchtsfaktor werden kontrastierend mit tanzbaren, catchy Melodien kombiniert. Fotokiller begleiten die Hörer*innen dabei mal sanft, mal aufbrausend, wecken nostalgische Erinnerungen, Gedanken an die unausweichliche Zukunft und den Wunsch nach Beständigkeit in einer Welt, die außer Kontrolle scheint. Nicht zu überhören ist der Einfluss großer Bands wie The Cure oder Joy Division, aber auch Soft Kill, Wipers oder Pink Turns Blue haben die Inspiration für diese LP geliefert.

Mozarts monumentales und berührendes Requiem, ein Werk mit der Aura dramatischer Endzeitlichkeit, dirigiert von Karl Böhm, einem der besten Mozart-Exegeten des 20. Jahrhunderts. Seine klare, aber dennoch
hingebungsvolle Sicht auf Mozart führt, gepaart mit den Wiener Philharmonikern und einem exzellenten
Solisten-Quartett (Edith Mathis, Julia Hamari, Wielaw Ochman, Karl Ridderbusch), zu einer außergewöhnlichen Interpretation des Requiems.
Zur Verbesserung der Audioqualität wurde das Werk neu verteilt auf 2 LPs.
Die audiophile Vinyl-Serie The Original Source präsentiert herausragende Aufnahmen der 1970er Jahre
in ganz neuer Klangqualität. Dafür haben die renommierten Emil Berliner Studios die originalen Vier- und
Achtspur-Bänder mit eigens für die Produktion der Serie entwickelten Technologien in 100% analoger Qualität (AAA) neu gemastert und geschnitten. Die klanglichen Unterschiede zu den Originalveröffentlichungen sind beträchtlich: Größere Klarheit, mehr Feinheiten und Verbesserungen im Frequenzgang, zugleich
weniger Nebengeräusche, Verzerrungen und Komprimierungen ermöglichen ein audiophiles Hörerlebnis wie
nie zuvor.
Auf 180g Vinylplatten und in einer Deluxe-Gatefold Edition mit Originalcovers und -texten werden die
Exemplare dieser Serie limitiert und nummeriert veröffentlicht, begleitet von zusätzlichen Fotos und Faksimiles der Aufnahmeprotokolle und Bandkartons.

. The idea for the band was originally conceived by singer-guitarist Joe Woodward whilst writing and recording songs in his kitchen on a 4-track recorder, and over time eventually found help from like-minded friends, Elliot Roberts and Cam Wheeler. The three of them would spend their nights experimenting with cassette recording with the admirable if not challenging aim to recreate the symphonic sounds of Phil Spector on a DIY budget. With growing confidence and having amassed a small catalogue of songs, a few aborted attempts were made to get a live band together before they found help from a second guitarist, Eli Allison, who had recently relocated from Cornwall. As necessity would dictate, the first shows as a quartet made use of a drum machine, but the ideal formation for the band wasn’t truly complete until meeting Nia Abraham, whose live drumming would add a more physical quality to the band’s sound. At the beginning of 2024, they began working more purposefully towards an end goal with the writing and recording of the five-song Nowhere Near Today EP. Though retaining some of their home recording practices, they also made use of a studio facility based in a disused shopping centre basement that was made available through SHIFT, a local artist collective connected to the band. The acquisition of an 8-track Tascam 488MKII, along with the natural reverb of SHIFT’s empty concrete space allowed for further opportunity to experiment with both cassette recording techniques and their still developing live sound, the two environments permitting an all-too-rare creative freedom. The process was transformative for the group, their Spector-inspired ambitions now taking on a more defined shape that skirted around the edges of psych, noise-rock and industrial-pop in a way that increasingly became their own. For a debut EP, the results are impressively realised, a confluence of expansive tremolo guitars, a deliberately primordial rhythm section and a contrasting vulnerable vocal performance that’s both melodic and bracing. It’s a record born both of private experimentation and public performance, who they are on stage and what they express on record informing the other but still distinctly each their own thing, shifting then dovetailing like the waves of feedback that wash through Nowhere Near Today. Still a young band, it’s tomorrow they feel a lot closer to.

HTRK step into their 21st year on reflective terms, launching a series of collaborations, covers/remixes, installations, and performances alongside the new repress of their full-length debut, Marry Me Tonight. First released in 2009 via Blast First Petite, the album saw its first vinyl pressing in 2015 via Ghostly International and has since been out of stock. In late 2024, Marry Me Tonight becomes available in limited edition pink and black vinyl, also finally on streaming services. Few groups in history elevate mood to such singular, smoldering supremacy as the Australian duo of Jonnine Standish and Nigel Yang, aka HTRK (or "hate rock" if informed). Across two decades of work and wounds, HTRK’s sound has shape-shifted between densities and intensities, noise and nakedness, but never wavered in its delicate poetic gravity. In HTRK’s sound world, cavernous reverberations of dub techno are mixed with frosted post-punk motifs and the gravelly imperfections of industrial, reimagined in the setting of a dingy basement. Like all HTRK albums, Marry Me Tonight was singular in sound and circumstance. It's the only album the outfit recorded from start to finish as a trio, and it's the only HTRK record that bears the co-production stamp of Rowland S. Howard. Breathy, caustic, and rife with contradiction, Marry Me Tonight took the raw material recorded on 2005's Nostalgia and transformed it into a pop record — pop that buckled and warped beneath the glare of Howard, fellow producer Lindsay Gravina, and the HTRK trio: Jonnine Standish, Nigel Yang and Sean Stewart. Howard died at the end of 2009; Stewart died the year after. Things would never be the same. The band would carry on and reach new heights despite it all, but as a trio, this is their definitive document.

Peter Tosh's final studio album, "No Nuclear War," released in 1987 is now available on 1LP Yellow Recycled, is a profound anti-war statement that underscores his lifelong commitment to peace and justice. The album won a Grammy Award for Best Reggae Album, posthumously honoring Tosh's enduring influence. With tracks like "No Nuclear War" and "Nah Goa Jail," Tosh addresses the perils of nuclear conflict and the struggles of the oppressed. The album's passionate plea for a nuclear-free world and its call for global harmony encapsulate Tosh's legacy as a fearless advocate for peace and a visionary artist whose message remains relevant.

The compilation includes 5 Downtempo and 2 Deep House tracks. Marcel primarily focuses on slow and soft grooves with jazzy elements. The “Muzai in the House” and the“Cool Stuff at 4 o’clock” gives a jazzy fl are with a nice bassline. The “Sun-Kissed Shores” is a cool deep House track with a nice trumpet solo. The closing track “End of the Day” by Forteba is a calm and warm deep house song.

The Tonarium is an idiosyncratic instrument comprising of two sets of modular synthesizers: Serge by Random Source, and another one by Bugbrand, both of which operate alongside a mixer constructed by Piotr Ceglarek and Jan Dybała. This intertwinement facilitates precise control over audio and CV signals and integrates technology with analog sound, offering the artists a distinctive sonic palette to delve into.

The present record unfolds in two parts, each exploring the fluctuating nature of sound. Both equally contribute to the work’s immersive imaging characterized by sound intensity, continuity and endless flow. Within its sonic tapestry lies a space for listeners to uncover subtle nuances, pulsations, and moments of harmony flickering through each chord’s firm surface.

In Part I, a formidable force consisting of chord progressions pierced by abrupt shifts and transitions unfolds. This deliberate disruption of harmonic continuity invites listeners to immerse themselves fully in each musical entity, uncovering the intricate details of the chords’ overtonal structure, drifting and steadily glimmering inside their glowing cores.

Part II, on the other hand, presents a more closed form—a recurring four-chord motif that evolves and transforms with each iteration until it finally fades out into whisper-like serenity. Here, the bass pulsates with greater intensity, like a wave enveloping the listener in a froth of feelings, which prevails and swells throughout the composition. In contrast to Part I, it exudes a sense of warmth and intimacy, inviting listeners to reflect over the dimensions of their own inner landscapes.

The Tonarium is to serve as a conduit for expression—a vessel through which the artist Aleksandra Slyz is enabled to channel her creativity and emotion into the music. Both Part I and II of the work have the capacity to drag listeners into a sonic odyssey that transcends time and space, therefore leaving an indelible impression on one’s trembling soul.

Performed & recorded on December 18-19th 2023 while in residence at The New Media Laboratory in Katowice, Poland.

Organized by The Soundscape Foundation

Composed & produced by Aleksandra Słyż

Mastered by Rashad Becker

Photographies by Kacper Krzętowski

Design by Maks Posio

Executive production by Christian Di Vito

PPU's debut compilation from our favorite femme, Maryn E. Coote. Previously released material featured on PPU-061 with her son Uku Kuut, "Suggestive" gave us access to the endless trove of studio recordings, out-takes, demos, and new material from the estonian-swedish singer/songwriter. Born in Tallinn, Estonia in 1946, Marju Kuut (AKA Maryn E. Coote) was a prolific jazz singer, producer, radio host, and DJ, having recorded hundreds of tracks from the 1960s until around the time of her death in 2022. Maryn dedicated this album to her son Uku Kuut.

The follow up release to last years Times & Places Volume 1, which sold out in super quick time has the same four artists, each bringing their own style of old skool rave goodness to the table.
Gridzone gets us off and running with beautiful pads and an oh so familiar soothing female vocal sample. But don’t let this fool you, the harsh amens are just round the corner and when they drop, you will know about it.
Midlife Crisis has similar energy levels in their offering, the breaks are more chopped and more in a jungle vein.
On the flip is the highlight of this EP. NewKiller drops a jungle-techno stormer. 4/4 kicks with high speed breaks, hoover sounds and horror film samples. Its like 1993 all over again. Finally the EP ends with a ragga tinged rudeboy of a stepper from Gold Soundz.

DJ Support: Carlita, Dar Disku, Disco Arabesquo & Moving Still

Melbourne-based producer Rami Imam unveils Safara, the latest release on his own label, Ponda Records, which he founded in 2020 as a platform for his cross-cultural sound explorations. Drawing from the rich traditions of the Middle East, North Africa, and the Mediterranean, Safara is a six-track odyssey of energetic and euphoric house and disco house, deeply rooted in both nostalgia and innovation. Safara is the culmination of Imam's immersion into the golden eras of global music, channelling the soulful rhythms and melodies of Afro-Funk, West African Highlife, Arab Disco, Bollywood, Afro-Cuban Jazz, Libyan Reggae, and Algerian Rai. By blending these timeless influences with a modern, dancefloor-oriented focus, Imam creates a sound that is both steeped in history and refreshingly new.

With a sonic palette that includes iconic synths such as the Juno 106, Super 6, SH 101, Moog Model D, and the 303, Imam weaves the analog warmth of these instruments into lush, modern productions. Piano and strings—his favourite classical instruments—add an organic layer of emotional depth, connecting the pulse of the dancefloor with the timeless elegance of traditional composition.

Safara is more than a collection of tracks; it is a journey across continents and eras, where the pulse of the past meets the driving force of the present. Recorded in Melbourne but influenced by sounds from around the world, Safara invites listeners to traverse vast musical landscapes—from the hypnotic grooves of North African rhythms to the sun-drenched melodies of Mediterranean shores—culminating in a transportive experience that lingers long after the final beat fades.

By balancing the ancient with the futuristic, Imam has crafted a record that feels both comfortingly familiar and daringly innovative. Safara is a testament to the endless possibilities of blending cultures, genres, and eras into something that is not just heard but felt—music for the soul as much as for the dancefloor.

Surely one of the end of year 2012 hits and now available on CD, this debut album from Jessica Pratt got some rave blogosphere reviewage, Highly recommended!! "I never wanted to ever start a record label. Ever. But there is something about her voice I couldn't let go of. It's an actual voice. An actual beautiful voice. This ones a classic sounding voice. Not to mention her song writing, recording and guitar playing. JESSICA PRATT's music feels like I have found a lost LP of an old forgotten mystical folk singer, that feeling of discovering a record all by myself: Without the help of friends or the Internet. Like Stevie Nicks singing over David Crosby demos, with the intimacy of a Sibylle Baier. I am in love with it. So much, that I saved up and threw all my money to get it into this world. I actually care about it, no matter which way the winds blow."-Tim Presley, White Fence: FOR FANS OF Marissa Nadler / Linda Perhacs / first vinyl pressing of 500 now sold out? Second pressing now in Stock!! 8/10 in the latest Uncut. dont miss this ..

Cello player and electronic artist Martina Bertoni returns with her 2nd album for Karl: Hypnagogia delivers six new, masterfully crafted tracks between experimental ambient, drone and modern composition.

Cellist and composer Martina Bertoni started playing the cello at a very young age. Classically trained, her career further developed around experimental and film music, for which her cello has been featured in numerous records, works and soundtracks for films and series. After two EPs and her debut full length All The Ghosts Are Gone (2020), Bertoni joined the Karl roster where she released Music For Empty Flats in January 2021 to critical acclaim (a.o. one of the Top Ten drone albums of 2021).

On her new album Hypnagogia she continues to explore the sonic possibilities of her cello which she uses as primary source for composition and sound processing through reverbs, feedbacks and sub-bass frequencies, thus crafting sonic sculptures, rich of atmospheres and frictions, fed by ambient as much as drone and modern composition.

In the words of Martina Bertoni:
"The six tracks that constitute Hypnagogia have been written during 2021 and partially inspired by the reading of Stanislaw Lem's book Solaris. The title refers to a transitional state of consciousness from wakefulness to sleep, during which one might experience sensorial hallucinations and lucid dreaming, and can tap into the pristine structures of the subconscious. Hypnagogia portraits an imaginary cosmic journey of the Self that crash ends into a blinding sun."

The genius that is Tony Allen departed this mortal world in April of 2020, but not without leaving an unmatched legacy that crossed oceans and borders, bridging cultures and forging a sound that changed music. As the drummer for Fela Kuti's revolutionary Africa 70, Allen's polyrhythmic drumming defined Afrobeat. His contributions as an artist and cultural ambassador left an indelible impact on every genre of popular music, from Techno to Jan to Rock and Hip-Hop. Tony Allen's music stands as an ongoing testament to the interconnected musical relationships and dialogues across the African diaspora, and their lasting influence on how we listen. For Jazz Is Dead producer Adrian Youngs, it is no small honor to share new music recorded with the drummer revolutionary Tony Allen.

HTRK step into their 21st year on reflective terms, launching a series of collaborations, covers/remixes, installations, and performances alongside the new repress of their full-length debut, Marry Me Tonight. First released in 2009 via Blast First Petite, the album saw its first vinyl pressing in 2015 via Ghostly International and has since been out of stock. In late 2024, Marry Me Tonight becomes available in limited edition pink and black vinyl, also finally on streaming services. Few groups in history elevate mood to such singular, smoldering supremacy as the Australian duo of Jonnine Standish and Nigel Yang, aka HTRK (or "hate rock" if informed). Across two decades of work and wounds, HTRK's sound has shape-shifted between densities and intensities, noise and nakedness, but never wavered in its delicate poetic gravity. In HTRK's sound world, cavernous reverberations of dub techno are mixed with frosted post-punk motifs and the gravelly imperfections of industrial, reimagined in the setting of a dingy basement. Like all HTRK albums, Marry Me Tonight was singular in sound and circumstance. It's the only album the outfit recorded from start to finish as a trio, and it's the only HTRK record that bears the co-production stamp of Rowland S. Howard. Breathy, caustic, and rife with contradiction, Marry Me Tonight took the raw material recorded on 2005's Nostalgia and transformed it into a pop record _ pop that buckled and warped beneath the glare of Howard, fellow producer Lindsay Gravina, and the HTRK trio: Jonnine Standish, Nigel Yang and Sean Stewart. Howard died at the end of 2009; Stewart died the year after. Things would never be the same. The band would carry on and reach new heights despite it all, but as a trio, this is their definitive document.

Low-key R&B legend Eddie Chacon returns with Lay Low, out January 31st. Having collaborated with John Carroll Kirby on his last two albums, Eddie Chacon teamed up with Nick Hakim to produce this new collection of songs of loving and letting go.

Rich in melody and instantly classic in feel, Luca dell’Orso debuts on CWPT with an extended EP of lush Italo, sensitively summoned from the Netherlands. Having impressed with previous releases on labels including Bordello A Paligiaria and Red Laser Records, these six tracks demonstrate a delicate approach to his studio, flitting between pop songwriting and analog experimentation.

From the soft fanfare that announces ‘Solitair & Solidair,’ ‘Actors’ establishes a confident groove that gently pushes an Alfa Romeo pedal toward Balearic ecstasy. On the instantaneous lead single ‘Dear Rosie,’ dell’Orso blends the signature palette of the vintage Yamaha-X7 synthesizer with longing vocals from collaborator Jolisa. A paean to a special person from a distant past, ‘Dear Rosie’ is blessed with a wistful melody befitting an Eric Rohmer classic, a musical postcard of a treasured connection. From wistful midsummer memories, dell’Orso easily transports listeners to another season entirely with ‘Winter Scent’, a deep meditation reflecting the artist’s walks in the few hours of available sunlight, thoughts beautifully vocoded beneath a heavy sonic layer.

Out of this lavish gloom blossoms the inevitable sound of spring on the driving, optimistic ‘Love by Association’; an enduring recipe of distinct drums and pitch-shifting synthesis, frozen in time for frenetic Eurodisco dancefloors. On ‘Propaganda’, dell’Orso offers a more forceful take on the same instincts, skipping inner-Schengen borders to simmer via industrially-tinted pleasures as revealed in Dusseldorf, 1984. For a sublime finale, ‘This Time (Things Will Be Different)’ takes to the piano, where Luca dell’Orso finds space to demonstrate the elegant minimalism that easily coexists alongside his timeless energy.

2024 Repress alert

Space Ghost is excited to announce the release of Dream Tool, a four track 12” EP produced by Space Ghost himself. Dream Tool offers up four spacious house tunes exploring Space Ghost’s signature style of dance music. Each track is equipped with groovin’ drums, atmospheric pads, catchy piano melodies, and bouncy basslines. Dream Tool is the debut release of Space Ghost’s new label, Peace World Records.

With the launch of Peace World Records, Space Ghost aims to harness his passion for music to create a unique platform for like-minded artists in the Bay Area and beyond. Since moving to Oakland in 2009, Space Ghost has been a consistent fixture in the Bay Area music scene, DJing regularly and refining his production skills. For Space Ghost, honing his craft and creating enduring, high-quality art is essential, making the establishment of his new label a natural progression in his artistic journey.

Space Ghost has garnered an international following over the years by steadily dropping a diverse array of LPs and EPs. He has collaborated with Danish label Tartelet Records for multiple projects and has also put out music with acclaimed labels such as Apron Records, Pacific Rhythm, and PPU. Across his releases, Space Ghost’s production style weaves between ambient and dance music, drawing inspiration from the underground scenes of the '80s and '90s while adding a contemporary touch.

The launch of Peace World Records and its debut release, Dream Tool, marks Space Ghost’s inaugural step towards his goal at a full-time music career. Embodying his journey, this debut release truly is his Dream Tool.

Ocean Moon - alias of producer Jon Tye (MLO).

In addition to running the long-standing label Lo Recordings, Tye has recorded under various names and been involved in numerous projects over the past three decades. Keen fans of the label may also notice that this isn't Tye's first collaboration with MFM; his work during the 1990's as part of UK ambient group MLO captured our attention years ago, leading to the release of their retrospective album 'Oumuamua' in 2021.

Releasing archival work alongside new material from an artist has been a fundamental aspect of Music From Memory's identity since we began the label, and is something that continues to bring us immense joy. With Jon continuing to produce work under a wide range of names to this day, the short step to releasing this new work was organic and natural. Working under the name Ocean Moon Jon carries echoes of his work with MLO into the modern day, weaving an ambient electronic music that radiates gentle positivity.

The title 'Ways To The Deep Meadow' is inspired by the poem 'Universal Solar Calendar' written by poet, mystic, shaman, and visionary Angus Maclise. Maclise began as the percussionist in an early iteration of La Monte Young's Theatre Of Eternal Music and later played with the Velvet Underground before moving to Nepal, where he wrote and published an impressive collection of poetry and music.

Side one of the album was created at a time when Tye had been exploring ideas around artificial intelligence, delving into books such as 'The Physics Of Immortality' by Frank J. Tippler, 'Novacene' by James Lovelock, and '12 Bytes' by Jeanette Winterson, seeking an alternative to the prevalent, negative views of AI. He was also inspired by the Buddhist perspective of AI as an integral part of consciousness evolution, as evidenced by the creation of a Buddhist robot that preaches in the Kodaiji Temple in Kyoto.

Side two consists of two long-form pieces, one composed for Janine Rook's 'Made In Dreams' exhibition and the other for Vix Hill Ryder's 'Wild Edges' film. For 'Made In Dreams', text from the exhibition catalogue was processed via the Holly Herndon Holly + app to create an environment that is simultaneously otherworldly and warm.

As with much of Jon's work, this music seeks to nurture an optimistic outlook in the listener, something he achieves here with subtlety and a truly delicate touch. The immersive ambient music of 'Ways To The Deep Meadow' reaches out to the listener like gentle trails of light, offering it's spells,invocations and enchantments to all who choose to listen.

'Ways To The Deep Meadow' will be released on 31st January 2025 on LP as well as digitally. Sleeve art and design by Michael Willis.

Music as the main vibration
the world shapes through its continuous flow,
able to lead the human mind,
who perceives its manifestation
through its physical properties,
into a deep state of trance,
enabling a connection to the soul,
who experiences space-time
alongside this sound flow,
to transmute it
in the image of itself.

Crucial version of the classic Deniece Williams number! Karen Dixon sings it in a Lovers Rock style. From the Neville King archive and licensed for it’s first ever 7 Inch press. Complete with Instrumental Version on the flip! 40 years of endless play!

Limited Edition White Vinyl

At the forefront of a rising wave of Brazilian artists captivating international audiences, Nyron Higor brings a quiet yet potent sense of wonder to his new self-titled album. Born in Maceió, Higor’s latest work is rooted in the traditions of Northeastern Brazilian music and golden-era MPB. Within the peaceful surroundings of his home, Higor weaves these roots together with global influences and contemporary production techniques, for a uniquely dreamlike vision of hope.

Following the success of his self-released debut Fio de Lâmina—an instrumental record of delicately balanced rhythmic and harmonic patterns, which earned support from tastemakers like Mr. Scruff, Gilles Peterson, and John Gomez—Higor’s new album is a move towards a more expansive, lyrical exploration of transcendence and triumph. As Higor explains, “This album is a test of resistance and a big event in my life as a young Black man from the Northeast and coming from a humble background, financially speaking, its context is political.”

Taking his demos and unfinished tracks to São Paulo, Higor worked alongside friends and collaborators from Brazil’s vibrant contemporary music scene—including fellow Maceioense artists Bruno Berle, Batata Boy, and New York-based Brazilian vocalist Alici Sol—assembling a rich musical landscape and a cutting edge development on the musical world from which he emerges.

For Higor, the process of recording and producing in close collaboration with Berle and Batata Boy allowed him to fully cultivate the emotive power of his compositions. Album opener "Ciranda" sets the tone with a slow frevo rhythm, as wistful trombone melodies and melancholic acoustic guitar harmonies create an atmosphere both intimate and grand. Lead single "São Só Palavras," featuring Alici Sol and Bruno Berle, captures both the lightness and depth of young love in an all too fleeting minute-and-a-half moment of soaring brilliance.

Building upon the instrumental sound of his debut, “Louro Cantador” with its playful organ, birdlike whistles and elegant acoustic guitar, emanates a kind of rare natural beauty, as each sound dances amidst the gentle pulse of Higor's bass—his main instrument.

Through ten carefully crafted tracks, Higor’s acuity for sound and silence draws listeners into a place that feels both deeply personal and universally resonant. “Above all, I value making music that brings me genuine satisfaction. I’m always looking for depth in the things I create.”

This album is a testament to the timeless themes that define Higor’s artistry, as well as his creative drive to overcome the obstacles he faces. Conveying his feelings of jubilance for his work, Higor notes, “This work is liberating, contemplative and victorious!” Each track invites the listener to experience the raw intimacy, the joy and longing, and the otherworldly ingenuity of Brazilian music, which seems to endlessly keep us coming back for more.

CREDITS

Ciranda (Nyron Higor)
Tico Lima: Trombone, Nyron Higor: Drums, Bass, Synthesizers, Electric Piano, Guitar, Molho de Jatobá, Ganzá, Caxixi, and Indigenous Whistle

Louro Cantador (Nyron Higor)
Nyron Higor: Drums, Bass, Keyboards, Guitar, Percussion, and Direct Sound

Demo Love (Nyron Higor)
Nyron Higor: Drums, Bass Synth, Keyboards, and Synthesizers

São Só Palavras feat. Alici, Bruno Berle (Nyron Higor, Batata Boy, Alici Sol, and Bruno Berle)
Alici Sol: Vocals, Bruno Berle: Vocals and Bass, Nyron Higor: Drums, Guitar, Keyboards, Synthesizers, and Whistles

Estou Pensando Em Você feat. Johanna (João Menezes, Rubens Adati)
Nyron Higor: Vocals, Johanna: Vocals. Bruno Berle: Vocals, Rubens Adati: Piano, Guitar, Programming, Stefan Costilhes: Bass, Batata Boy: Programming

Maravilhamento feat. Nathalia Grilo (Nyron Higor, Nathalia Grilo)
Nathalia Grilo: Vocals, Nyron Higor: Drums, Bass, Guitar, Keyboards, and Synthesizers

Som 24 (Nyron Higor)
Nyron Higor: Sampler, Keyboard, Bass Synth, Vocoder, and Steel Guitar

Pizzicato (Nyron Higor)
Nyron Higor: Double Bass and Keyboards

Eu Te Amo (João Menezes)
Nyron Higor: Vocals and Bass, João Menezes: Guitar, Batata Boy: Rhodes Piano, Bruno Berle: Xylophone

Me Vestir De Você feat. Johanna (Paulo Novaes and João Menezes)
Nyron Higor: Vocals, Johanna: Vocals, Bianca Godoi: Drums, Bruno Berle: Bass, Guitar, Percussion, and Rhodes Piano, Batata Boy: Rhodes Piano and Guitar

===================

Tracks 1, 2, 3, 4, 6, 7, and 8 were recorded by Nyron Higor in Maceió

Track 4: Bass and Synthesizers recorded by Ico dos Anjos. Vocals recorded by Batata Boy at Estúdio Rural

Track 5: Guitars, Bass, Programming, and Pianos recorded at Inhame Estúdio. Coproduced by Rubens Adati

Tracks 9 and 10 Recorded and Co produced by Ico dos Anjos

Mixed by Batata Boy, Ico dos Anjos, Bruno Berle, and Nyron Higor

Mastered by Batata Boy

Produced by Batata Boy, Bruno Berle, and Nyron Higor

Lacquer Cut by Caspar Sutton Jones @ Gearbox Records

Cover photo by Claudio Virginio

Vinyl centre label artwork by Tadáskía

Sleeve design by Alessandro Renaldin

First Word Records is extremely proud to welcome aboard Takuya Kuroda.

A highly-respected trumpeter born in Kobe, Japan, Takuya is a forward-thinking musician that has developed a unique hybrid sound, blending soulful jazz, funk, post-bop, fusion and hip hop music.

After following the footsteps of his trombonist brother playing in big bands, he relocated to New York to study jazz & contemporary music at The New School in Union Square; a course he graduated from in the mid-noughties. It was here that Takuya met vocalist José James, with whom he worked on the 'Blackmagic' and 'No Beginning No End' projects.

Following graduation, Takuya established himself further in the NYC jazz scene, performing with the likes of Akoya Afrobeat and in recent years with DJ Premier's BADDER band (also including acclaimed bass player, Brady Watt). Premier said "The BADDER Band project was put together by my manager, and an agent I've known since the beginning of my Gang Starr career. He said, 'What if you put a band together that revolved around a trumpet player from Japan named Takuya Kuroda? He's got a hip-hop perspective and respect in the jazz field…"

Takuya Kuroda is already incredibly prolific, releasing five albums in the past decade and fortifying a solid reputation in the global jazz scene. 2011 saw the release of Takuya's independently-produced debut album, 'Edge', followed by 'Bitter and High' the following year and 'Six Aces' on P-Vine in 2013. Takuya was signed to the legendary Blue Note Records in 2014 for his album 'Rising Son', as well as appearing on their 2019 cover versions project, 'Blue Note Voyage'. He released his 5th album 'Zigzagger' on Concord in 2016, which also featured Antibalas on a reimagining of the Donald Byrd classic 'Think Twice'.

Late Summer 2020, Takuya Kuroda returns with his sixth album 'Fly Moon Die Soon'.

In his words, "this album is about the irony between the greatness of nature and the beautiful obsceneness of humanity. Melodies and grooves fly back and forth from being spiritual to being vulgar."

It took two years to make this album. In 2018, I decided I just couldn't make albums the same way I had been in the past anymore. As a birthday treat to myself, I booked a studio in Brooklyn for two days, with only myself and an engineer, Todd Carder. I brought along some tracks I'd been building at home to see if we could complete them within that time. We began replacing sounds and adding texture, sampling noises from all over the studio; me sipping coffee, hitting a 26" kick drum, speeding up snares. At the end of the two days we were like "wow, I didn't know we could make tracks this good in this way". This is how the process of the full album started. Everything was based on my beats I made at home, inviting musicians in one by one, adding or replacing parts. I was very careful when developing these tracks; just note by note, part by part. I wanted to make the music effectively from a blend of two different recording methods; one very slickly produced part and one very organic part played by live musicians. I remember mixtapes from when I was kid, and wanted to make an album that wasn't just a bunch of flashy singles, trying to catch people's attention in the first 30 seconds, or full of guest features. Instead, I'm essentially just trying to let the grooves breath."

The album consists of nine tracks of excellence. The uptempo jazz-funk of 'ABC' and 'Moody' sit alongside soulful jazz cuts like 'Fade' and 'CHANGE', also featuring Corey King on vocals. The title track is a downtempo groove lead by a heavy Moog bassline, whilst 'Do No Why' contains an infectious piano riff throughout. Aside from Takuya's original compositions, he revisits two classics from Ohio Players ('Sweet Sticky Thing' featuring Alina Engibaryan on vocals) and Herbie Hancock ('Tell Me A Bedtime Story') whilst the album closes with the epic 'TKBK'.

Takuya adds "this special cover was inspired by the Golden Moon I saw during a photoshoot in Death Valley with my homie Hiroyuki Seo".

Takuya Kuroda is a truly unique talent, and this album is a realisation of the evolution of his sound.

'Fly Moon Die Soon' is released on Worldwide Award-winning UK label First Word Records on vinyl & digital in September 2020.

Maceration's drittes Album „Serpent Devourment“ wird am 31. Januar 2025 veröffentlicht. Wieder hat Dan Swanö als Produzent und Mann hinter
dem Mix in seinem Unisound-Studio eine wichtige Rolle bei der Entstehung gespielt. Diesmal hat er jedoch nicht die Vocals aufgenommen.
Maceration's Stammsänger Jan Bergmann Jepsen (ex. Cor Vacante) hat die Aufnahmen übernommen und er lässt keinen Zweifel daran, dass er den
Gesang auf den neuen Aufnahmen übernommen hat. Jan Bergmann war seit der Wiederauferstehung 2022 live bei Maceration und auf einigen
Tracks auf „It Never Ends“ im Duett mit Swanö zu hören, aber jetzt ist er allein an der Front. Mit seinem tiefen, knurrenden und brutalen Gesangsstil
ist er der perfekte Nachfolger von Swanö und er meißelt dies auf dem neuen Album in Stein. Zehn brandneue Tracks sind es, die auf „Serpent
Devourment“ serviert werden. Brutalität, Geschwindigkeit und Härte sind die Schlüsselwörter für alle Tracks, aber auch Melodie und eingängige Riffs
und Refrains zeichnen die Tracks von Maceration wie immer aus. Das gilt für die schweren Riffs im Titeltrack und „Where Leeches Thrive“ ebenso wie
für die schnellen, leicht wiedererkennbaren Themen in „The Den of Misery“ oder das triolische, aggressive Hauptriff in „A Corrosive Heart Fell Below“.
Das gesamte neue Album ist eine abwechslungsreiche Kreatur, mit schnellen Death Metal-Attacken wie „The Suffering“ und „For The End Alone“ über
das schwere „Revolt The Tyrant Dream“, „In Rot Unleashed“ oder „Emptiness Embraced“. Fans von Maceration werden anerkennend nicken,
während neue Hörer von stilvollem, brutalem und aggressivem Death Metal der alten Schule begeistert sein werden.

Maceration's drittes Album „Serpent Devourment“ wird am 31. Januar 2025 veröffentlicht. Wieder hat Dan Swanö als Produzent und Mann hinter
dem Mix in seinem Unisound-Studio eine wichtige Rolle bei der Entstehung gespielt. Diesmal hat er jedoch nicht die Vocals aufgenommen.
Maceration's Stammsänger Jan Bergmann Jepsen (ex. Cor Vacante) hat die Aufnahmen übernommen und er lässt keinen Zweifel daran, dass er den
Gesang auf den neuen Aufnahmen übernommen hat. Jan Bergmann war seit der Wiederauferstehung 2022 live bei Maceration und auf einigen
Tracks auf „It Never Ends“ im Duett mit Swanö zu hören, aber jetzt ist er allein an der Front. Mit seinem tiefen, knurrenden und brutalen Gesangsstil
ist er der perfekte Nachfolger von Swanö und er meißelt dies auf dem neuen Album in Stein. Zehn brandneue Tracks sind es, die auf „Serpent
Devourment“ serviert werden. Brutalität, Geschwindigkeit und Härte sind die Schlüsselwörter für alle Tracks, aber auch Melodie und eingängige Riffs
und Refrains zeichnen die Tracks von Maceration wie immer aus. Das gilt für die schweren Riffs im Titeltrack und „Where Leeches Thrive“ ebenso wie
für die schnellen, leicht wiedererkennbaren Themen in „The Den of Misery“ oder das triolische, aggressive Hauptriff in „A Corrosive Heart Fell Below“.
Das gesamte neue Album ist eine abwechslungsreiche Kreatur, mit schnellen Death Metal-Attacken wie „The Suffering“ und „For The End Alone“ über
das schwere „Revolt The Tyrant Dream“, „In Rot Unleashed“ oder „Emptiness Embraced“. Fans von Maceration werden anerkennend nicken,
während neue Hörer von stilvollem, brutalem und aggressivem Death Metal der alten Schule begeistert sein werden

20025 Repress

Barker makes solo debut on Ostgut Ton with new experimental dancefloor EP

Sam Barker has had a long ongoing relationship with Berghain and Ostgut Ton, having released two LPs and various EPs as one half of Barker & Baumecker and hosting regular nights at the club since September 2008 as co-founder of the label Leisure System. 2017 marked the beginning of his solo residency, 2018 sees his first solo release with Ostgut Ton.

Both as a musician and label owner, Barker operates on the fringes of techno, balancing experimentation with functionality. On Debiasing, he takes a hard look at the musical elements often
considered necessary to maintain dancefloor momentum, with four distinct tracks of morphing synth stabs and paired down metronomic rhythms in varying time signatures. While there is no kick, snare, or clap to be heard, the result is not experimental techno deconstructions but driving, hypnotic and unlikely dancefloor tools.

Inspired by the psychology underpinning relationships between producer/DJ and audience, Debiasing is an exercise in creating alternative paths within a techno framework. In Barker's own words: If you have ever sat down with a drum machine and tried to elude the rules of dance music, you will find at whatever tempo, and however you arrange the rhythms of each sound, you inevitably end up somewhere. I've generally tried to get away from that, but you always hit against this problem of an all-encompassing taxonomy and the baggage that comes with it. For a long time, music only seemed to show me how deeply locked into our habits and patterns we are.

**Including 12-page booklet including liner notes and artwork made by Vormlust** Lush house, electronic and italo tracks ready for club use. A beautifully produced album with absolute floor killers and emotional set-enders. FIGI's debut album, "fig.1", is a meticulously crafted compilation of 11 tracks that have been made and woven together over a span of three years. The album delves into the intriguing realm of figures, both in the context of shapes and language, where they possess the unique ability to evoke emotions and connections without being the exact representation of those sentiments. Each track on "fig.1'' originated in moments of creativity, allowing the smallest of ideas to sprout and grow into full musical compositions. Drawing inspiration from the serene landscapes of the Jura in Pays de Gex and the energy of club nights in Amsterdam, Berlin, London and The Hague. Throughout the album, FIGI skillfully captures the essence of pure bliss in some tracks, while others ignite extreme dancefloor excitement. "fig.1" marks an exciting new chapter in FIGI's musical journey, serving as a blueprint for innovative approaches to music creation. It is a demonstration of the artist's dedication to crafting a rich and diverse sonic landscape that resonates deeply with the listener.

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder/CEO of Rock The Bells, LL COOL J continues his trailblazing career with upcoming album 'The FORCE'.

LL’s highly anticipated 14th studio album The FORCE (Frequencies of Real Creative Energy) set for release September 6th follows over a decade long hiatus. The record was executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings. As LL was the label’s first release, there is no better way to represent the legacy of Def Jam Recordings on its 40th year

Rock & Roll Hall of Fame inductee, two-time Grammy® Award-winning Hip-Hop icon, Kennedy Center Honoree, actor, author, NAACP Image Award winner, entrepreneur, philanthropist, and founder and CEO of Rock The Bells, LL COOL J has created one of the most multifaceted careers and brands in entertainment and continues to display his wide range of talents with every project.

Four decades after he first burst onto the scene, LL COOL J continues his vibrant, trailblazing career. LL COOL J helped elevate the burgeoning rap and Hip-Hop scene of the 80’s, which developed into the musical and cultural phenomenon that is Hip-Hop as we know it today. Of LL’s many contributions to the culture, he also is credited with the creation of the acronym “G.O.A.T.” - short for “Greatest of All Time.”

First introduced to the world in 1984 as a Def Jam Recordings’ flagship artist, LL is the first rap artist to amass ten consecutive platinum-plus selling albums, including his critically-acclaimed debut album, RADIO, and the international, timeless anthem and album of the same name, MAMA SAID KNOCK YOU OUT. LL’s hit singles include “Going Back to Cali,” “Doin’ It,” “Around the Way Girl,” “Loungin’”, “Headsprung,” and Hip-Hop’s first rap ballad “I Need Love.”

Up next, this fall LL is back to make his latest artistic contribution and continue to elevate Hip-Hop culture after over a decade long hiatus with the release of his highly anticipated new album, The FORCE (Frequencies of Real Creative Energy), executive produced by Hip-Hop innovator and Rock & Roll Hall of Fame inductee Q-Tip, of A Tribe Called Quest. With this album, LL will help celebrate the 40th anniversary of the creation of Def Jam Recordings.

In December 2017, LL became the first rapper to earn the prestigious Kennedy Center Honor, which is America’s highest achievement for any performer. In addition, he received his star on the world-renowned Hollywood Walk of Fame on January 21, 2016.
In March 2018, LL launched his own SiriusXM timeless Hip-Hop channel entitled “LL COOL J's Rock The Bells Radio,” garnering millions of daily listeners. The channel features a wide range of innovative and timeless Hip-Hop content, music, interviews, and in-depth retrospectives curated, programmed, and presented by the award-winning artist himself. Since founding the radio station, Rock The Bells has developed into a global platform that has become the preeminent voice for timeless Hip-Hop. Rock The Bells focuses on content, commerce and experiences that honor the CULTURE and the core elements of Hip-Hop – MCs, DJs, Breakers, Graffiti Artists – and more. Rock The Bells hosted its inaugural eponymous music festival in Queens, New York in August 2022, which sold out back-to-back years in 2022 and 2023, where LL headlined both festivals.

LL COOL J was inducted into the Rock & Roll Hall of Fame on October 30, 2021, in Cleveland, Ohio for the 36th annual induction ceremony. Considered by most as the crowning achievement for one’s musical career, the ceremony was a celebration of LL’s lasting impact on Hip-Hop and the music industry.

In Summer 2023, LL COOL J, Rock The Bells, and Live Nation Urban kicked off his first arena tour in 30 years across North America called The F.O.R.C.E. Tour, inspired by the name of LL’s forthcoming album. Living up to the acronym for Frequencies of Real Creative Energy, the lineup for this tour was personally curated by LL COOL J. Building off their amazing performance together on the GRAMMY® Awards earlier that year celebrating the 50th Anniversary of Hip-Hop, all dates featured collaborative live performances with preeminent Award-winning Hip-Hop band The Roots, the legendary DJ Jazzy Jeff, and DJ Z-Trip.

LL hosted the GRAMMY® Awards for an unprecedented five years in a row from 2012-2016, for which he earned rave reviews. In addition, he hosted and produced the GRAMMY® Nominations Concert Live Special for seven years and has also been a presenter at the Emmy®, Golden Globe® and SAG Awards. Most recently, at the end of 2023, LL helped produce CBS’ live concert special A GRAMMY Salute To 50 Years Of Hip-Hop, which celebrated the 50th anniversary of Hip-Hop and was nominated for an NAACP Image Award.

LL has always been an avid philanthropist involved in numerous causes, including literacy for kids as well as music and arts programs in schools. Founded in 2005, LL’s charity “Jump & Ball” – which takes place every August in his hometown of Queens, New York – aims to give back to his local community by offering an athletic and team building program dedicated to bringing wholesome fun to young people.

Between being a musician, actor, philanthropist and entrepreneur, LL COOL J is the ultimate multi-hyphenate whose career continues to expand and where he remains one of the most beloved and innovative brands in entertainment. He currently resides in both New York and Los Angeles.

The Vinyl Only label is a hot one amongst heads and now it hits double figures with a cheeky new 7" packed with plenty of delicious dub. It is the work of the Vinyl Only Allstars and A-side cut 'Dub, Dub, Dub' is just that - a big bottomed sound with cavernous low ends, oodles of reverb and some well-treated vocals floating in amongst the liquid chords. 'Find A Reason' is another rich soundscape with natty guitar riffs, filtered vocals and a sunny disposition with some playful pianos.

Deluxe Edition, 2LP, Gatefold, alternative Cover. Plus three bonus tracks. Between records like Relentless and Show `Em How, Pentagram have never wanted for self-awareness in terms of album titles. The gauntlet thrown down by Lightning in a Bottle is very much in this tradition. The 10th Pentagram album sees founding frontman and doom figurehead Bobby Liebling leading a new cast of players that includes guitarist/producer Tony Reed (Mos Generator, Big Scenic Nowhere, etc.), drummer Henry Vasquez (Legions of Doom, Saint Vitus, Blood of the Sun, etc.) and bassist Scooter Haslip (Mos Generator, Saltine). It would be hard to overstate the energy the new band brings to songs like "Live Again," "Solve the Puzzle" or "In the Panic Room," but Lightning in a Bottle is unmistakably a Pentagram record, of course in Liebling's unremittingly charismatic performance and the groove conjured to back it. Recorded with Reed at the helm, Lightning in a Bottle recalls the best of what has allowed Pentagram to cast an influence across decades and generations of musicians, bands, and worshippers of Riff, and as just their third studio release in the last 15 years, it's not a moment to neglect as they dig into a cut like "Dull Pain" or "Lady Heroin," the latter of which is a naked reconciliation on the part of Liebling with a lifelong addiction to opiates that's become an inextricable part of the Pentagram story. As he wonders in the lyrics, "Lady Heroin, have I seen the last of you?" it becomes difficult to know whether the separation would be through sobriety or death, and that ambiguity becomes part of what makes the song so striking.

‘Dua Lipa Live From The Royal Albert Hall’ offers a thrilling new way to experience Dua Lipa’s greatest hits reimagined with The Heritage Orchestra, a fourteen person choir and a seven piece band. The album features a medley of fan favourites, from the infectious pop hits “Levitating” and “Cold Heart” with the incredible Elton John, alongside the bold new sounds of Radical Optimism, from ‘Training Season’ to ‘These Walls’. vinyl on December 13th, this highly anticipated live album captures the magic of Dua's unforgettable performance at one of the world's most iconic venues.

Getting to perform at The Royal Albert Hall was unlike anything I’ve ever done,” Dua shares. “For the longest time, I’ve had this idea to reimagine my music with an orchestra, and when I was making Radical Optimism, I was constantly thinking about the live element and how these songs would transform on stage, so when The Royal Albert Hall show came up, it presented itself as the perfect opportunity to not only reconstruct these songs, but also celebrate them in such a beautiful and intimate way. The experience was entirely thrilling and equally rewarding. It was a dream come true, and something I’ll always take with me.”

Waxwork Records is thrilled to present GODZILLA 70th Anniversary Original Motion Picture Soundtrack by composer Akira Ifukube. Released in 1954 by director Ishirô Honda, Godzilla holds the record for being the longest- running franchise in film history. Waxwork Records worked closely with Toho to create this deluxe 70th Anniversary release, featuring a re-mastered score and all-new art.

When ships begin to go missing near Odo Island off the coast of Japan, the locals look to the government for help. Paleontologist Kyohei Yamane (Takashi Shimura) is sent to investigate the situation. There, he discovers the horrors of Godzilla, who soon begins attacking the Japanese mainland. As the military’s efforts to destroy the monster continuously fail, scientist Daisuke Serizawa (Akihiko Hirata) is called upon to use his “Oxygen Destroyer” to kill the beast. Finding Godzilla in Tokyo Bay, Serzawa’s machine is used and finally, the beast is felled.

Since its release, Godzilla has continued to terrorize audiences around the world. The film has influenced countless filmmakers, with both Akira Kurosawa and Steven Speilberg citing it as one of their favorite films. The genius use of practical special effects and miniatures changed how the Japanese film industry made movies for decades. Godzilla has spawned over thirty sequel films and countless video games, comic books, toys, TV shows, and more becoming a pop culture phenomenon in the process.

The film’s score by Akira Ifukube has become an instantly recognizable piece of film music. Given only the script and a week in which to compose, Ifukube crafted a score that feels as enormous as the kaiju himself. Godzilla’s theme has become a staple of nearly all subsequent Godzilla films and was considered by Ifukube to be the greatest piece of music he had written. Using low-pitched brass and string instruments, Ifukube gives the score a massiveness and weight that complement the terror and destruction brought about by the rampaging monster. Ifukube also used a deeply resonant stringed instrument to create Godzilla’s iconic roar, a trick used to create the roar throughout the franchise.

Waxwork Records is beyond excited to present this vinyl release of Godzilla for its 70th Anniversary. Re-mastered, pressed to colored vinyl, housed in a deluxe gatefold jacket with matte satin coating, an art print, and featuring all-new artwork throughout by Robert Sammelin.

"Visionary director, photographer and producer, Robert Ascroft unveils a captivating musical odyssey akin to the cinematic allure of Wim Wenders' ""Until The End Of The World"" and the ethereal resonance found in 4AD's This Mortal Coil. Emerging as a prominent photographer in the 2000s, Ascroft forged his path through collaborations with luminaries of the Oscars, Grammys, Tonys, and Emmys. With an innate ability to capture the essence of his subjects through his camera lens, he redefines photography, infusing it with depth, emotion, and narrative. A classically trained guitarist turned music producer, Ascroft weaves intricate melodies and evocative songwriting with cinematic narratives.

Drawing from a diverse array of talented friends, Ascroft curates a mesmerizing ensemble of vocal performances featuring luminaries such as Zumi Rosow (Black Lips), Kid Congo Powers (The Cramps, Gun Club), Tess Parks, Ruth Radelet (Chromatics), Britta Phillips (Luna), and more. With Ascroft's multi instrumental performances on guitar, bass, and keys, complemented by the rhythmic contributions of friends Derek James and Roger Brogan, the album takes on a rich and dynamic sonic journey.

""Echo Still Remains'' transcends traditional musical boundaries, beckoning listeners into a world crafted from Ascroft's vivid imagination. Each track unfolds like a technicolor scene in a cinematic narrative, with each melody and lyric evoking a sense of profound introspection and wonder. Accompanied by stylized music videos in Ascroft's distinct visual world, ""Echo Still Remains"" emerges as a multifaceted work of art, inviting listeners to stir the soul and lose themselves in a world of sound and sensation."

In 2009, you couldn't ignore Kyteman. It truly was his year. His album "The Hermit Sessions" likely topped the year-end lists of many critics and music enthusiasts. With his HipHop Orchestra, sometimes 25 members strong, Kyteman made more than his mark at numerous festivals, including Pinkpop, Paaspop, Oerol, North Sea Jazz, Lowlands, Appelpop, a sold-out gig at the HMH in Amsterdam, and many club performances, always bringing the energy to the next level. His appearances on Dutch televisionshows like 'Raymann Is Laat' and 'De Wereld Draait Door' are also legendary. Now, 15 years later, the music has not lost any of its power. It is high time for a re-release of this iconic album in a special Anniversary Edition, with an additional insert with photo's, credits and a reflection by Colin Benders.








[g] Sorry [Live @ Tivoli]

[i] It Curcus [Not]

This sense of speed, this sense of elation. The man who knows no end, Takeshi Inomata, breaks through the limits of groove with his ever-changing stick work.

Another masterpiece released by Takeshi Inomata, a great drummer who has always kept his eye on the times and opened up new horizons, during the golden age of jazz rock. It is a so-called instructional record produced as one of the "Method" series, but its musicality is fiercely funky and groovy, as if provoking the listener. Leading the famous group Sound Limited, which played a part in the development of jazz rock in Japan, he breaks through the limits of groove with his ever-changing stick work. From cover songs such as "Runaway Child" and "Smack Water Jack" to "Sleeper" and "Seven Four" composed by his close friend Norio Maeda, who also participated in the arrangement, and the overwhelmingly powerful drum solo ""Drum Concert"", the diverse selection is filled with a flawless, high-density groove.

Auf dem Debütalbum des australischen Duos The Ferguson Rogers Process, "Style And Or Substance", entdeckt Disco, dass es auch schmutzig werden kann, und Rock findet seinen Groove. Das Duo besteht aus Lance Ferguson, der alle Songs produzierte und fast alle Instrumente im Alleingang einspielte, und Tom Rogers, der 2012 mit seiner Band The Bamboos einen der erfolgreichsten australischen Tracks des Jahres feierte ("I Got Burned"). Sie werden begleitet von Graeme Pogson an Drums/Percussion (langjähriges Bamboos-Mitglied und zentrales Mitglied der Melbourner Boogie-Band Mondo Freaks), sowie von John Castle (Alex Lahey, Cub Sport, Vance Joy) am Mischpult.

1/4" / 15 IPS / Dolby A Analogue Copy to DSD 256 to analogue console to lathe

Carlos Santana and Company Return to a Dynamic Blend of R&B, Latin, Funk, and Rock: Amigos Aims for the Hips, Spreads Joy, and Includes “Europa (Earth’s Cry Heaven’s Smile)” Amigos has been beloved for decades by both long-time and recent Santana admirers, with multiple generations of fans drawn in by the record’s contagious blend of R&B, Latin, rock, and funk elements. As well as its immense accessibility. Coming off a series of albums that heavily leaned into jazz fusion, the band returns to the more dynamic and concise approaches of its earlier works without losing the sense of adventurousness, craftsmanship, and virtuosity that turned it into a juggernaut embraced by both the mainstream and experimentally minded communities.

Mastered at Mobile Fidelity’s in-house studio in California, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, Mobile Fidelity’s 180g 33RPM LP of Amigos presents the 1976 album in audiophile sound for the first time on a domestic release. Part of the reissue label’s Santana series, this collectible version features quiet surfaces and black backgrounds that help reveal the intricate details, distinguished tones, and cohesive interplay that cause Santana’s music to take flight.

The enhanced aural perspectives extend not only to Carlos Santana’s intoxicating fills and solos, but to the rich tapestry of the rhythmic, melodic, and vocal elements that help Amigos feel as fresh today as it did several decades ago. This LP shines a beaming light on the surrounding musicians that simultaneously feed off and inspire their bandleader. The solidity and depth of the bass lines; the wash of the organ; the scope and carry of the vocals; the grip and weight of the low-end frequencies; and, possibly the most enticing traits, the textures of the acoustic guitars, numerous percussive devices, and then-modern synthesizers: all come across with tremendous presence and energy.

Entirely appropriate for a set that kicks from the start, with the opening “Dance Sister Dance (Baila Mi Hermana)” true to the song title’s combination directive-invitation meaning. Tropical, soulful, upbeat, and liberating, it beckons hips to shake and delicious libations to pour. Clinking cowbells, spirited background vocals, hand-tapped congas, and Carlos Santana’s six-string magma pour forth with abundance. The song sets the mood and expectations for a record that contains not an ounce of filler, and which inspires and spreads joy at practically every turn.

On the gold-certified Amigos, the ensemble never seems to run short of zest or happiness. Key in on the Latin bite and searing guitar architecture of “Take Me With You,” an instrumental that shifts tempo at its midpoint and sparkles with a samba-like outro that aims to put everyone in earshot on the dance floor. Surrender to the slow-burn of “Tell Me You Are Tired,” sent up with Greg Walker’s sympathetic vocals and spun around with whirling funk accents. Marvel at the Spanish guitar introduction, Mexican folk foundation, group vocals, and extroverted grooves of the forward-propulsive “Gitano,” with lead singing by conga/bongo expert Armando Peraza.

Having reached the Top 10 in the United States and spawned the hit “Let It Shine,” Amigos marked the final stint for bassist David Brown, the last of the group’s famed Woodstock lineup to depart. His contributions feel especially spirited throughout the album, compass readings that the group uses to chart their course. Just listen to how his passages pop on “Let Me” and frame the can’t-get-it-out-of-your-head “what you need is what you want” refrain. And while Carlos Santana remains the centerpiece of the brilliant and meditative “Europa (Earth’s Cry Heaven’s Smile),” Brown serves as a trustworthy anchor and friendly advocate.

180-gram 45 RPM double LP. Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing

Genesis' seventh studio album was released in February 1976 on Charisma Records and was the first to feature drummer Phil Collins as lead vocalist after the departure of Peter Gabriel. The album was a critical and commercial success in the U.K. and U.S., reaching No. 3 and No. 31 respectively. A Trick Of The Tail was a landmark album for the band, and it still stands today as one of their best with classics such as "Dance On A Volcano" and "Squonk."

In the wake of Peter Gabriel's departure from the band, the remaining members of Genesis were determined to forge ahead, showcasing their songwriting prowess and recording prowess in the absence of their iconic frontman. This period marked the genesis of A Trick of the Tail. In mid-1975, the band embarked on an intensive creative journey, crafting new compositions and diligently rehearsing them. Their quest for a new lead vocalist led them to sift through a staggering 400 audition tapes.

As the autumn leaves began to fall, Genesis found themselves at Trident Studios in October, accompanied by producer David Hentschel. Surprisingly, the recording sessions began with an air of uncertainty regarding who would take on the role of lead vocalist. However, fate intervened when Phil Collins was persuaded to step up and deliver a powerful rendition of "Squonk." The strength of his performance not only won over the band but also paved the way for him to assume lead vocals for the entirety of the album.

Genesis has always been synonymous with grandeur and innovation, both in their electrifying live performances and their trailblazing studio albums. From timeless classics such as Nursery Cryme, Foxtrot, Selling England By The Pound, to the epic concept album The Lamb Lies Down On Broadway, the band has consistently pushed the boundaries of musical creativity.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing.

Over the span of four remarkable decades, Genesis has left an indelible mark on the music industry, having sold a staggering 150 million albums worldwide. Their influence extends far and wide, inspiring artists ranging from the indie rock stylings of Elbow to the experimental sounds of The Flaming Lips, and even the soulful resonance of Jeff Buckley. A Trick of the Tail stands as a testament to their enduring legacy and their ability to adapt and thrive in the face of change.

It’s safe to assume no one in the audience at Carnegie Hall on March 30, 1974 anticipated what Miles Davis would play at the concert documented on Dark Magus: Live at Carnegie Hall. Recorded near the tail end of his electric period, the double album remains the darkest, most ferocious statement of Davis’ career — a visionary effort that foresaw developments in jungle, noise-rock, funk, and drum ‘n’ bass.

Initially issued in Japan in 1977, Dark Magus waited two decades for U.S. release. Now, more than 50 years after Davis and his ensemble blew minds at the famous New York venue, it gets its first-ever domestic issue on vinyl — and on a definitive-sounding pressing at that.

Mastered at Mobile Fidelity's California studio, housed in a Stoughton gatefold jacket, and pressed at Fidelity Record Pressing, this numbered-edition 180g 33RPM 2LP set of Dark Magus invites you to pull up a seat and wrap your head around an exhilarating performance that simultaneously functions as an audition, experiment, release, and magnificent explosion of jazz-rock fusion. We hope your turntable and speakers are up to the challenge.

This collectible reissue presents the improvisational magic that unfolded onstage — the skronking tonalities, wah-wah-pedal bluster, acid-washed effects, furious drumming, run-the-voodoo-down grooves, menacing riffs, crashing cymbals —with incredible detail, color, and pace. It also captures the band’s unbelievable energy, rendering both instruments and on-the-fly changes with revealing depth, definition, and dynamics. At its core, MoFi’s audiophile set takes you deep into the boundless mystery, promise, and uncertainty of Davis and company’s efforts like never before.

The story behind Dark Magus is nearly as unbelievable as the spur-of-the-moment compositions that resulted when Davis brought drummer Al Foster, bassist Michael Henderson, percussionist James Mtume, horn virtuoso Dave Liebman, and guitarists Pete Cosey and Reggie Lucas together, and, in a new twist for the concert’s second half, added guitarist Dominique Gaumont and tenor saxophonist Azar Lawrence to mix. That the latter two instrumentalists had never seen each other until that night adds to Davis’ legend — and penchant for bold, unorthodox moves.

Ditto Davis’ own actions that spring evening, which reportedly included showing up to the show an hour late and taking the stage with his back facing the crowd. The strategy worked. Davis inspired the group to play in a bold manner that few, if any, had heard before. Dark Magus is a rhythmic bonanza. Rooted in Afro-centrist techniques, avante-garde sensibilities, and exploratory moods, the songs eschew set arrangements and solos, and, for the most part, melodic devices.

For Davis, Dark Magus represented a personal triumph amid a period marked by health issues, addictions, and critical decline. The latter slight would be corrected, but not until decades later when Dark Magus saw Stateside release in 1997 via a CD reissue. Of course, the free-form patterns, unpredictable passages, dense structures, and distorted blues that course through the songs — titled after Swahili numerals — are not for everyone. And certainly not for the fainthearted. Though Dark Magus contains majestic moments marked by quiet restraint and something on the level of balladry, its rich and radical concoction of tormented thwacks, thumps, cracks, clatters, wails, bleeps, burbles, stomps, and enigmatic beats remains its adventurous heart and soul.

Primal and enigmatic, fierce and jagged, forceful and revolutionary, jolting and terrifying, Dark Magus seemingly attacks from any and all directions. Turn it up loud and let the prophetic brilliance of this inimitable and relentlessly funky album wash over you.

Filled with aural magic and enchanting musical spells, Sorcerer is true to its name. The third of five albums by Miles Davis’ legendary Second Great Quintet — and the second record in a still-unprecedented string of eight consecutive releases within a four-year period that forever changed the face of jazz — the 1967 effort mesmerizes with instrumental colors, subdued musings, and subtle details. These crucial characteristics blossom with vibrant realism on Mobile Fidelity’s 180g 33RPM SuperVinyl LP.

Sourced from the original master tapes and pressed at Fidelity Record Pressing, this numbered-edition audiophile edition of Sorcerer joins the ranks of other essential Davis records given supreme sonic and packaging treatment by Mobile Fidelity. Longtime listeners will immediately recognize a wealth of information and depth of tonality unavailable on prior versions. The myriad shadings, interwoven textures, and relaxed nuances that tie the post-bop set’s warm compositions together are rendered with utmost realism. Credit goes to MoFi’s engineers as well as the label’s groundbreaking SuperVinyl profile that features the lowest-possible noise floor as well as sublime transparency, dead-quiet surfaces, and superb groove definition.

By any measure, this is a reference reissue. You’ll hear poetic lyricism pouring out of Wayne Shorter’s horn, the breadth and definition of the notes spreading across an enormous soundstage. Never before have drummer Tony Williams’ rim shots ricocheted with such purpose or his light percussive work mirrored that of a feather touching skin. Similarly, Herbie Hancock’s piano runs occupy their own space, where their relationship to the central rhythms and front line becomes clearer.

Prizing inflection and nuance more so than heady solos or uptempo flights, Sorcerer mesmerizes with cerebral properties and cascades of emotional interplay. Such beauty emerges in the mellow ballad “Pee Wee,” an indelible statement of restrained authority and sophisticated expression. The swirling title track unfolds as jazz shadowplay, Hancock, Shorter, and Williams mirroring one another’s moves with guile and purpose. The opening “Prince of Darkness” showcases the ensemble’s reach and communication, every musician going in seemingly different directions yet ending up on the same page.

A lasting example of Davis’ visionary insight, Sorcerer is comprised entirely of pieces written by his band mates. Indeed, save for the closing “Nothing Like You” — a brief tribute to Davis’ eventual wife, who also graces the cover, recorded in 1962 and adorned with vocals from Bob Dorough — the album represents a further maturation and refinement of a quintet that stands as one of the finest in jazz history.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world’s quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label’s engineers hear in the mastering lab.