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VARIOUS - GATHER IN THE MUSHROOMS: THE BRITISH FOLK UNDERGROUND 1969-1975 2x12"
  • A1: CORN RIGS - Magnet & Paul Giovanni
  • A2: MORNING WAY - Trader Horne
  • A3: NOTTANUM TOWN - Oberon
  • A4: GRAVEYARD - Forest
  • A5: THE SKATER – Midwinter
  • B1: WINTER WINDS - Fotheringay
  • B2: LORD AND MASTER - Heron
  • B3: FLY HIGH - Bridget St John
  • B4: SHEEP SEASON - Mellow Candle
  • B5: THE BELLS OF DUNWICH - Stone Angel *
  • C1: THE SEAGULLS SCREAM - Christine Quayle
  • C2: FOREST AND THE SHORE - Keith Christmas
  • C3: ROSEMARY HILL - Fresh Maggots
  • C4: FINE HORSEMAN - Anne Briggs
  • C5: THE WEREWOLF - Barry Dransfield
  • D1: ANOTHER DAY - Roy Harper
  • D2: WINDOW OVER THE BAY - Vashti Bunyan
  • D3: ELEVEN WILLOWS - C.O.B. (Clive's Original Band)
  • D4: THE HERALD - Comus

Compiled by Bob Stanley to document the acid folk scene, “Gather In The Mushrooms” was first issued in 2004 on Sanctuary as a CD-only release; it proved popular enough for a sequel entitled “Early Morning Hush” two years later.

This new edition of “Gather In The Mushrooms” contains the cream of both long-deleted compilations with a few additions – COB, Roy Harper, Fotheringay – that weren’t available to Sanctuary at the time. Though they aren’t traditional, these songs have an authenticity of their own, an autumnal atmosphere and a naivety which proved influential in the 00s neo-folk boom (Devendra Banhart, Joanna Newsom, Alasdair Roberts, Tuung et al) but impossible to replicate. For many of these acts at the end of the 60s, folk music and the hippy world that surrounded them was a way of life, a way of opting out from the Vietnam war, Angry Brigade and three-day-week early 70s. Anne Briggs lived in a caravan in Suffolk, Shelagh McDonald lived in a tent, Vashti Bunyan eschewed electricity; they weren’t part-timers. Listening to “Gather In The Mushrooms”, we are transported to a time when no one used the term post-modernist.

It may not have resonated with dyed-in-the wool political folkies, but over five decades later this music sounds very evocative of an England of yore – not necessarily one of poachers and pedlars, but one of long-haired youths in tie-dye T-shirts, bikers and hippies, acoustic guitars played in white stone cottages. Groups such as Stone Angel, Midwinter and Oberon made primitive, privately recorded folk albums; today they sound as distant and mystical as the field recordings of Alan Lomax. The sincerity and folk knowledge of a group like Forest becomes irrelevant once you hear something as eerie and evocative as ‘Graveyard’. Home-made, homely, warm as soup or chilling as a hoar frost, this is music of innocence and rare beauty.

pre-order now25.04.2025

expected to be published on 25.04.2025

32,48 €
Coffin Feeder - Big Trouble
  • 1: There will be Trouble
  • 2: Porkchop Express
  • 3: If it Bleeds
  • 4: The Destroyer
  • 5: Love at First Death
  • 6: Plain Zero
  • 7: OBEY
  • 8: Get to the Party
  • 9: Let Off some Steam
  • 10: H.I.S.S
  • 11: A Good Day to Die
  • 12: The Wrong Arm of the Law

Spawned on the day the earth stood still, COFFIN FEEDER is an unholy alliance between veterans in the Belgian metal and hardcore scene. A delirious and furious combo featuring members of Aborted, Leng Tch’e, When Plagues Collide and Fleddy Melculy spew forth a high energy blend of groove laden death metal, grind and hardcore. Though all members are from Belgium, they are from three different regions within Belgium and speak three different dialects, so the members have to convene in plain English in order to be able to understand each other. Now if that's not heavy, you don't know what is. Since its inception in 2021, COFFIN FEEDER unleashed 2 EP’s (‘Stereo Homicide’, ‘Over the top’) and played a ton of club shows through Europe. With already some a list festivals in Europe under their belt such as Brutal Assault & Summer Breeze, the band is continuing to take names and kick ass worldwide. The band didn’t sit still and as soon as they put the finishing hands on their debut full length album, they immediatly twent on tour with Benighted & Baest throughout Europe in November 2024 and already scheduled on several European festivals next year: Alcatraz, Summer Breeze, Deathfeast, … In comes BIG TROUBLE, the first full length album by these miscreants was mixed and mastered by none less than Dave Otero (Aborted, Archspire, Cattle Decapitation,...) and features blistering cinematic soundscapes provided by Spencer Creaghan (Aborted, Carnifex). 35 minutes of pummelling, devastating and action packed groovy death metal that will make your ears bleed for more. The artwork has been provided by Dan Goldsworthy (Heathen, Xentrix, Corpsegrinder, Aborted, Chimaira, Sepultura,...) and contains more 80’s action movie references than your now defunct Blockbuster video. If you thought that was enough to flatten everything in their path, the album features some very exclusive guests: Mark Hunter of Chimaira, Ben Duerr of Shadow of Intent and Julien Truchan of Benighted. Ready to curb stomp everyone in their town, COFFIN FEEDER inked a deal with Listenable Records to dominate. You’ve been warned. BIG TROUBLE is coming!

pre-order now25.04.2025

expected to be published on 25.04.2025

28,36 €
H.E.A.T - Welcome To The Future

H.e.a.t

Welcome To The Future

12inch0220328EMU
earMUSIC
25.04.2025
  • A1: Disaster
  • A2: Bad Time For Love
  • A3: Running To You
  • A4: Call My Name
  • A5: In Disguise
  • A6: The End
  • B1: Rock Bottom
  • B2: Children Of The Storm
  • B3: Losing Game
  • B4: Paradise Lost
  • B5: Tear It Down (R.N.R.R.)
  • B6: We Will Not Forget
also available

Neon Orange Vinyl[27,10 €]


“The future of Rock music is in safe hands” (10/10 Powerplay Magazine)… It’s time to embrace the next chapter of one of rock’s hardest-working bands. H.E.A.T storms back into the spotlight with the explosive new album “Welcome To The Future” – and it hits with full force!
In recent years, the Swedes have been impossible to ignore. At the front is Kenny Leckremo, undoubtedly one of the best rock and metal voices of his generation, with a stage energy that has been sorely missed in the scene.
Those lucky enough to meet the band know their passion for the ‘80s runs deep. H.E.A.T masterfully channels the spirit of rock’s most fun era, a time where exuberance reigned the stage, crafting a distinctive sound that melds power metal with melodic hard rock.
With “Welcome To The Future”, H.E.A.T brings you a heavy and melodic album packed with anthems that beg to be belted out. It’s an invitation to all who crave the rush of true arena rock.

pre-order now25.04.2025

expected to be published on 25.04.2025

23,24 €
H.E.A.T - Welcome To The Future

H.e.a.t

Welcome To The Future

12inch0220401EMU
earMUSIC
25.04.2025

“The future of Rock music is in safe hands” (10/10 Powerplay Magazine)… It’s time to embrace the next chapter of one of rock’s hardest-working bands. H.E.A.T storms back into the spotlight with the explosive new album “Welcome To The Future” – and it hits with full force!
In recent years, the Swedes have been impossible to ignore. At the front is Kenny Leckremo, undoubtedly one of the best rock and metal voices of his generation, with a stage energy that has been sorely missed in the scene.
Those lucky enough to meet the band know their passion for the ‘80s runs deep. H.E.A.T masterfully channels the spirit of rock’s most fun era, a time where exuberance reigned the stage, crafting a distinctive sound that melds power metal with melodic hard rock.
With “Welcome To The Future”, H.E.A.T brings you a heavy and melodic album packed with anthems that beg to be belted out. It’s an invitation to all who crave the rush of true arena rock.

pre-order now25.04.2025

expected to be published on 25.04.2025

27,10 €
ASC - Undercurrents

ASC

Undercurrents

12inchSPTL035
Spatial
24.04.2025

A1 - Ocean Breeze

Kicking off the EP we have an understated 2-step banger from label head ASC as Ocean Breeze rips into your consciousness, positively bursting at the seams with a wonderful rolling break - make no mistake this track will make you and the dancefloor move. Building continually with a trademark subtle female vocal and wavy synthwork, Ocean Breeze is the perfect livener for any discerning atmospheric set.

A2 - Blue Planet

Straight into the action with a heavy break pattern, Blue Planet sees ASC experiment with deep, thunderous kicks and tightly edited, weighted snares set to take you higher - as the classic, recognisable vocal sample urges.Throughout the track we are treated to a darkly atmosphere created by thoughtful pads and effects which elevate the mix while the breaks make the most of their headline billing to the end.

B1 - Cyclic Nature

Continuing the break focussed approach to the EP, ASC unleashes a break heard right at the start of Spatial's history in Force Majeure - in fact this piece began life as a remix of that very same track, before taking on its own identity and becoming Cyclic Nature. Intense and hot-blooded, dense analogue kicks battle echoing drums and subtle melodies to form a wonderfully constructed atmosphere we just can't get enough of.

B2 - Shapeshift

Dialling back the intensity, Shapeshift is introduced more gradually this time with a DJ-friendly cymbal driven intro, with curious clicks and sound effects jostling over a mellow synthy backdrop. Before long a relaxing old-school break enters the mix while textured pads fluctuate with inquisitive jolts of melodic energy, elevating Shapeshift to become quite the memorable EP closer indeed.

Words by Chris Hayes (Spatial / Red Mist)

out of Stock

Order now and we will order the item for you at our supplier.

Last In: 8 days ago
14,71 €
Ortofon Nadel - QBert Anniversary

Exclusively designed E.T. character on top and "THUD RUMBLE" and "OSGEMEOS" tags on both sides of the cartridge. Features the exact "industry standard" audio specifications of DJ Q.Bert's Concordes with the deluxe allure of Gold.

The Q.Bert has a supreme ability to trace the grooves of your records and it is tailored specifically for scratch.

Due to its enomous output, it is perfect for scratch of all music with deep bass frequences.

Q.Bert Gold stylus Technical data
- Output voltage at 1000Hz, 5cm/sec. - 11 mV
- Channel balance at 1kHz - 1,5 dB
- Channel separation at 1kHz - 22 dB
- Frequency range at -3dB - 20-18.000 Hz
- Frequency response - 20-20.000 Hz -3 dB
- Tracking ability at 315 Hz at recommmended tracking force - 980 μm
- Compliance, dynamic lateral - 12 μm/m N
- Stylus type - Spherical
- Stylus tip radius - R 18 μm
- Tracking force range - 2,0-4,0 g (20-40 mN)
- Tracking force recommended - 3,0 g (30 mN)
- Tracking angle - 20°
- Internal impedance, DC resistance - 1.680 Ohm
- Internal inductance - 920 mH
- Recommended load resistance - 47 kOhm
- Recommended load capacitance - 200-400 pF
- Cartridge weight - 18,5 g

Compatible with cartridges - Q.Bert Gold Anniversary (discontinued and no longer available) and Q.Bert

pre-order now20.04.2025

expected to be published on 20.04.2025

53,74€
THEE BABY CUFFS & COLD DIAMOND & MINK - THERE AIN'T ENOUGH ROSES
  • THERE AIN'T ENOUGH ROSES
  • THERE AIN'T ENOUGH ROSES (INSTRUMENTAL)
also available

Black Vinyl[10,04 €]


If there's a group in this age that faithfully carries the torch of real group soul harmony, it must be these three cats from the US west coast by the name of Thee Baby Cuffs. Currently composed of Joe Narvaez and Reality Jonez, the trio prances on the stage with their new song "There Ain't Enough Roses". Produced together with the Timmion house band Cold Diamond & Mink, these gentlemen lay down pure soulful romantics enough to fill a jacuzzi. Even though they seem to be walking out from the candy and flower shop empty handed to meet their lover, they are equipped with lyrics and falsetto flows that can melt any heart. Continuing with their tried and tested downtempo ballad style, Thee Baby Cuffs deliver a soul boulder just as potent as their previous Timmion releases "My My Baby" and "You're My Reason", not to forget the brilliant work that they have put out on the Raza Del Soul label from California. So hop on in the passenger's seat and let Thee Baby Cuffs serenade you all the way to the sunset. In case you're more for the instrumentals, flip the single over to reveal the flute-led version that'll send you to that sweet Steve Parks lowrider territory in no time.

pre-order now18.04.2025

expected to be published on 18.04.2025

10,71 €
THEE BABY CUFFS & COLD DIAMOND & MINK - THERE AIN'T ENOUGH ROSES

If there's a group in this age that faithfully carries the torch of real group soul harmony, it must be these three cats from the US west coast by the name of Thee Baby Cuffs. Currently composed of Joe Narvaez and Reality Jonez, the trio prances on the stage with their new song "There Ain't Enough Roses". Produced together with the Timmion house band Cold Diamond & Mink, these gentlemen lay down pure soulful romantics enough to fill a jacuzzi. Even though they seem to be walking out from the candy and flower shop empty handed to meet their lover, they are equipped with lyrics and falsetto flows that can melt any heart. Continuing with their tried and tested downtempo ballad style, Thee Baby Cuffs deliver a soul boulder just as potent as their previous Timmion releases "My My Baby" and "You're My Reason", not to forget the brilliant work that they have put out on the Raza Del Soul label from California. So hop on in the passenger's seat and let Thee Baby Cuffs serenade you all the way to the sunset. In case you're more for the instrumentals, flip the single over to reveal the flute-led version that'll send you to that sweet Steve Parks lowrider territory in no time.

pre-order now18.04.2025

expected to be published on 18.04.2025

10,04 €
Thee Baby Cuffs & Cold Diamond & Mink - There Ain't Enough Roses
  • A1: There Ain’t Enough Roses
  • B2: Instrumental
also available

Black Vinyl[10,04 €]


Authentic group soul harmony that is guaranteed to appeal to fans of downtempo soul ballads. Accompanied with an instrumental version, where the flute plays the lead vocal melody. A recognizable continuation to the previous collaboration between the singers and the Cold Diamond & Mink band. If there’s a group in this age that faithfully carries the torch of real group soul harmony, it must be these three cats from the US west coast by the name of Thee Baby Cuffs. Currently composed of Joe Narvaez and Reality Jonez, the trio prances on the stage with their new song “There Ain’t Enough Roses”. Produced together with the Timmion house band Cold Diamond & Mink, these gentlemen lay down pure soulful romantics enough to fill a jacuzzi. Even though they seem to be walking out from the candy and flower shop empty handed to meet their lover, they are equipped with lyrics and falsetto flows that can melt any heart. Continuing with their tried and tested downtempo ballad style, Thee Baby Cuffs deliver a soul boulder just as potent as their previous Timmion releases “My My Baby” and “You’re My Reason”, not to forget the brilliant work that they have put out on the Raza Del Soul label from California. So hop on in the passenger’s seat and let Thee Baby Cuffs serenade you all the way to the sunset. In case you’re more for the instrumentals, flip the single over to reveal the flute-led version that’ll send you to that sweet Steve Parks lowrider territory in no time.

pre-order now18.04.2025

expected to be published on 18.04.2025

10,88 €
Thee Baby Cuffs & Cold Diamond & Mink - There Ain't Enough Roses

Authentic group soul harmony that is guaranteed to appeal to fans of downtempo soul ballads. Accompanied with an instrumental version, where the flute plays the lead vocal melody. A recognizable continuation to the previous collaboration between the singers and the Cold Diamond & Mink band. If there’s a group in this age that faithfully carries the torch of real group soul harmony, it must be these three cats from the US west coast by the name of Thee Baby Cuffs. Currently composed of Joe Narvaez and Reality Jonez, the trio prances on the stage with their new song “There Ain’t Enough Roses”. Produced together with the Timmion house band Cold Diamond & Mink, these gentlemen lay down pure soulful romantics enough to fill a jacuzzi. Even though they seem to be walking out from the candy and flower shop empty handed to meet their lover, they are equipped with lyrics and falsetto flows that can melt any heart. Continuing with their tried and tested downtempo ballad style, Thee Baby Cuffs deliver a soul boulder just as potent as their previous Timmion releases “My My Baby” and “You’re My Reason”, not to forget the brilliant work that they have put out on the Raza Del Soul label from California. So hop on in the passenger’s seat and let Thee Baby Cuffs serenade you all the way to the sunset. In case you’re more for the instrumentals, flip the single over to reveal the flute-led version that’ll send you to that sweet Steve Parks lowrider territory in no time.

pre-order now18.04.2025

expected to be published on 18.04.2025

10,04 €
Tribunal - In Penitence and Ruin (LP)
  • Incarnadine
  • A Wound Unhealing
  • Angel of Mercy
  • The Sword of the Slain
  • Ruin
  • The Penitent
  • Armoured in Shadow
  • And the Thorn-Choked Flowers Grow
  • Between the Sea and Stars
also available

Neon Violet/Mint Green Merge Vinyl[26,01 €]


Tribunal kehren mit ihrem zweiten Album "In Pentinence and Ruin" zurück, einer Elegie voller Trauer und Verlorenheit, die immer tiefer in den feierlichen Abgrund des Kummers hinabsteigt. Das Debüt "The Weight of Remembrance" von 2023 legte die Messlatte für die Kanadier hoch und wurde zu einer der bemerkenswertesten und am meisten gelobten Doom-Veröffentlichungen des Jahres, was Decibel Mag dazu veranlasste, das neue Album der Band in ihre jährliche Liste der am meisten erwarteten Veröffentlichungen aufzunehmen. Tribunal haben sich Zeit genommen und ein Werk von enormer Tragweite geschaffen, das in längst verlassenen Hallen noch lange nachhallen wird.

In Penitence and Ruin" hat sich zu einer vollwertigen fünfköpfigen Band und Live-Einheit entwickelt und bietet einen größeren Zusammenhalt und eine größere Reife, die das Wehklagen der Witwe mit düsteren Streichern, schaurigen Tasten und Schlagzeug, das wie die eiserne Glocke des Schicksals läutet, miteinander verwebt. Diese Elemente schmücken das monolithische Fundament aus erdrückenden Klageliedern und funeralen Melodien, die aus dem Mark der Trauer selbst gehauen sind. Die Dualität zwischen dem wehmütigen, leidenschaftlichen Gesang des Sängers/Cellisten Soren Morne und den gequälten Knurrlauten des Gitarristen/Sängers Etinne Flinn verbindet sich mit entschlossenem Schritt und schreitet voran in die Dunkelheit, auf einem Pfad, der nur durch das fahle Glühen einer fernen Klage erhellt wird.

Tribunal hath wrought a requiem most dire where beauty and ruin become one and in doing have forged a second album beyond expectations, progressive in its embrace of the penitent and eminently listenable as a scripture of loss. Like ivy upon the tombstone, 'In Penitence And Ruin' winds slowly but inexorably towards spectral grandeur and eternal oblivion.

pre-order now18.04.2025

expected to be published on 18.04.2025

26,01 €
Tribunal - In Penitence and Ruin (LP)

Tribunal kehren mit ihrem zweiten Album "In Pentinence and Ruin" zurück, einer Elegie voller Trauer und Verlorenheit, die immer tiefer in den feierlichen Abgrund des Kummers hinabsteigt. Das Debüt "The Weight of Remembrance" von 2023 legte die Messlatte für die Kanadier hoch und wurde zu einer der bemerkenswertesten und am meisten gelobten Doom-Veröffentlichungen des Jahres, was Decibel Mag dazu veranlasste, das neue Album der Band in ihre jährliche Liste der am meisten erwarteten Veröffentlichungen aufzunehmen. Tribunal haben sich Zeit genommen und ein Werk von enormer Tragweite geschaffen, das in längst verlassenen Hallen noch lange nachhallen wird.

In Penitence and Ruin" hat sich zu einer vollwertigen fünfköpfigen Band und Live-Einheit entwickelt und bietet einen größeren Zusammenhalt und eine größere Reife, die das Wehklagen der Witwe mit düsteren Streichern, schaurigen Tasten und Schlagzeug, das wie die eiserne Glocke des Schicksals läutet, miteinander verwebt. Diese Elemente schmücken das monolithische Fundament aus erdrückenden Klageliedern und funeralen Melodien, die aus dem Mark der Trauer selbst gehauen sind. Die Dualität zwischen dem wehmütigen, leidenschaftlichen Gesang des Sängers/Cellisten Soren Morne und den gequälten Knurrlauten des Gitarristen/Sängers Etinne Flinn verbindet sich mit entschlossenem Schritt und schreitet voran in die Dunkelheit, auf einem Pfad, der nur durch das fahle Glühen einer fernen Klage erhellt wird.

Tribunal hath wrought a requiem most dire where beauty and ruin become one and in doing have forged a second album beyond expectations, progressive in its embrace of the penitent and eminently listenable as a scripture of loss. Like ivy upon the tombstone, 'In Penitence And Ruin' winds slowly but inexorably towards spectral grandeur and eternal oblivion.

pre-order now18.04.2025

expected to be published on 18.04.2025

26,01 €
Tony Williams - Civilization

Mit dem Album “Life Time”, nach dem er wenig später seine bahnbrechende Fusion-Band benannte, startete
Tony Williams 1964 seine Solokarriere bei Blue Note. Der damals 18-Jährige präsentierte sich darauf nicht
nur als enorm druckvoller Schlagzeuger, sondern auch als erstaunlich gewiefter Komponist. Zwanzig Jahre
später kehrte er zu dem Label zurück, um mit einem modernen, akustischen Hardbop-Quintett auf Alben
wie “Civilization” wieder dort anzuknüpfen.

pre-order now18.04.2025

expected to be published on 18.04.2025

25,63 €
The Delights - The Delights

The Delights formerly unissued recording “Listen To Me Girl” first made it’s vinyl debut during 2017 when released back to back with Tearra’s modern soul anthem “Just Loving You” (SJ1008). Having sold out very quickly this release now commands a price of £60.00 a copy. So, with demand still high we have decided to release “Listen To Me Girl” for a second time with the addition of two recently found unissued master tape tracks, which make their vinyl debut as part of this 3 track EP.

The Delights story began in the early 1960’s while as a children’s group from Chester PA. known as ‘The Twilights’ they began entering local talent shows which culminated in a performance at Philadelphia’s prestigious ‘Uptown Theatre’ during 1963. ‘The Twilights’ made their professional recording debut in 1964 for Weldon McDougal III, Johnny Stiles and Luther Randolph’s Harthon Production’s label with “It’s Been So Long/She Put Me Down” (TW-34). A second Twilights 45 came in 1967 “Shipwreck/For The First Time” (TW-35) which sold sufficiently well to be picked up for national distribution by Cameo Parkway. The group consisted of four male vocalists, brothers Kemp “Toppy” Hill, Ellis “Butch” Hill (the eldest) and Jaime “Peanut” Hill and their friend Raymond, plus lead singer and only female member Brandi ‘Peaches’ Wells (born Marquerite J. Pinder) who was only 9 years old when she sang on the group’s first Harthon 45, (Jaime Hill reputedly never featured on either of the two Harthon 45 recordings).

The Hill Brothers were cousins of Manny Campbell and it’s through this family connection that the group came to Emandolynn Productions initially as backing singers before being persuaded by Manny to drop their former performing name of ‘The Twilights’, to become ‘The Delights’. Under Manny and fellow Philadelphian Charles J. Bowen’s tutelage they recorded the delightful crossover dance track “Listen To Me Girl” during the months of July and August of 1968. Recent unearthed master tape finds from these early sessions have since yielded the featured “Come And Rejoice” an energetic subtle gospel influenced dance track which Manny wrote and produced on them in the hope of giving them a wider body of work and appeal as he shopped their demos around local record companies. The original backing track to “Listen To Me” is also featured on this release.

During the mid-1970’s ‘The Delights’ under the tutelage of respected Philly producer, arranger and songwriter Morris Bailey Jr recorded two 45 releases for the Jamie/Guyden distributed Phil-L.A Of Soul label “It’s As Simple As That/I’ve Got Enough Sense” (PH-374) and “Face The Music/Things Ain’t What They Used To Be” (PH-379). Brandi Wells had left the group prior to the Phil-L.A Of Soul releases to firstly join Major Harris’s backing singers ‘Brown Sugar’ before forming the group ‘Breeze’ who backed fellow WMOT label stable mates Billy Paul, Fat Larry & Philly Cream (a.k.a Ingram). Breeze later evolved into the group Slick who recorded the self-named album which produced the chart hits “Space Bass” and “Sexy Cream”. In 1981 Brandi recorded her first solo debut album ‘Watch Out’ which reached #37 on the Billboard R&B Chart, her second solo album entitled “20TH Century Fox” followed in 1985 for the Omni label. She recorded the Butch Ingram penned “I Love You” 12” single for Butch’s Society Hill records in 1992. Sadly, Brandi Wells passed away in 2003 at the age of 47.

out of Stock

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Last In: 17 months ago
18,28 €
Bill Wyman - Back To Basics
  • What & How & If & When & Why
  • I Lost My Ring
  • Love, Love, Love
  • Stuff (Can't Get Enough)
  • Running Back To You
  • She's Wonderful
  • Seventeen
  • I'll Pull You Through
  • November
  • Just A Friend Of Mine
  • It's A Lovely Day
  • I Got Time
pre-order now11.04.2025

expected to be published on 11.04.2025

25,17 €
Babytron & Certified Trapper - Mario & Luigi LP

Mario & Luigi is the collaborative album between rappers Babytron & Certified Trapper. Originally released on July 10. 2024, the 13 track album clocks in at just under 30 minutes of blistering bars and enough brazen schemes to make your head crack. Akin to the greatest brothers in video game history, the link up between Babytron & Certified Trapper is perhaps the greatest link up in scammer history. The album focuses on Babytron & Certified Trapper trading off rounds of elite shit talking, braggadocious rhymes, and witty worldplay. Pressed on Picture Disc vinyl and limited to 1000 copies.

out of Stock

Order now and we will order the item for you at our supplier.

Last In: 17 months ago
26,68 €
Damian Lazarus - Magickal LP 3x12"

Audio alchemist Damian Lazarus continues to redefine the boundaries of electronic music with his fifth studio album, ‘Magickal’.

Renowned for his unparalleled ability to craft transformative sonic journeys, Damian Lazarus is a master of rhythm, melody, and vibration—a true pioneer among his generation’s visionary artists. Damian’s broad depth of experience encompasses a variety of disciplines: tastemaker, selector, label owner, A&R and a Grammy-nominated artist in his own right - each informed by his unique ear for sound. He is chief wizard of the hugely influential and culture-defining Crosstown Rebels label, a globally renowned DJ with a penchant for exotic outdoor locations and a highly regarded recording artist with four albums and a plethora of solo cuts, collaborations and remixes in his sprawling discography.

With his fifth album, ‘Magickal’, Damian steps into his next evolutionary phase, combining his newly found sobriety with a more mature outlook while still pushing boundaries and creating unforgettable moments. At the root of it all is the magical power of togetherness and human connection that only music can facilitate. Driven by this core ethos, Damian continues on his mission to share his heartfelt music, taking the dance floor into unexplored realms of experience, facilitating moments of transcendence, bliss and pure, unadulterated magic.

Damian Lazarus, the avant-garde architect of spiritually nourishing sounds, is joined by a stellar lineup of collaborators on his latest excursion. It’s imaginative and mystical, rhythmically captivating and daring in its own way, as is typical of Damian’s approach. Taking consideration of his past, the album references his previous work to create a tapestry of compositions that tap into the energy of key moments from his discography. Drawing on his existing catalogue creates cohesive through lines and thematically serves as a continuation of previous stories. November’s single, ‘Sunrise Generation’, for instance, works as a companion to ‘Vermillion’, which was recorded by Damian with his band The Ancient Moons and vocalist Moses Sumney back in 2015. ‘Sunrise Generation’, featuring the beautiful vocals of Fink, was Damian’s first major release since his Grammy-nominated 2021 collaboration ‘Don’t Be Afraid’ with Diplo and Jungle, and continues to take inspiration from global gatherings at solstice and those moments of collective awe at sunrise.

Indeed, the album’s themes of mental elevation and psychedelic sonic journeys are evident throughout. Damian channels this energy through tracks like the soulful ‘So Low’, featuring the incredible Zoe Kypri, and the luminous ‘Searchin’, with Jem Cooke, whose collaboration with Damian dates back to ‘Flourish’ (2020) and lead single ‘Into The Sun’. Uplifting is the operative word here, as Damian aims straight for our hearts and inner selves, stripping away the layers to take us on a trip inwards, and out into the ether all at once. There’s a clear nod to Damian’s appreciation of amapiano when he teams up with Ghanaian interdisciplinary healer Jojo Abot on ‘Warrior Dance’. Old friend and inspirer Mathew Jonson brings his virtuoso touch to ‘Are You Dreaming?’, while TEED and A-Trak form an awesome alliance for ‘Falling Down’ with its heartrending vocals. ‘Alive’ features the Bloom Twins, and also additional production from acclaimed producer Mark Ralph, who incidentally worked on Damian’s debut album ‘Smoke The Monster Out’ in 2009 and forms another throughline to the past. ‘Alive’ blends pop sensibilities and song structure with Damian’s inimitable sound - and could become one of Damian’s biggest moments to date. ‘La Hija De Juan Simon’ delves into the Latin energy synonymous with vibrancy and self-expression as Damian teams up with acclaimed Spanish flamenco-influenced duo Mëstiza. On a solo tip, he rolls out with the eight-minute-plus soulful funk flex ‘Why Don’t U’.

In a suitably aligned instance of serendipity, the arrival of ‘Magickal’ comes at a pivotal period in Damian’s life, just as it has been with previous album concepts. Albums made and released during big shifts in his life speak to the correlation between growth, personal evolution, creativity, catharsis and sharing that process musically. The last album ‘Flourish’, for instance, was recorded and released in the space of a few months during the first summer of the global pandemic. As a result, there’s a kind of vulnerability in the music, a subtle story that’s being told with emotional touchpoints that will be relevant to anyone listening. The universal human experience and spectrum of emotions are things almost everyone can relate to. With the enhanced clarity of his sobriety, Damian’s compositions embody the uplifting nature of simply being alive, connected and unified in our love for music and one another.

Day Zero, Damian’s iconic annual festival, is intrinsically linked to ‘Magickal’. It’s the setting for his imagination when producing the music, it’s the launchpad for each year’s kaleidoscopic adventures around the world, and this year’s edition will be the backdrop to the release of ‘Magickal’. As the pinnacle of Damian’s annual experiences, Day Zero marks a vital milestone for his artistry, an extension of his inner realm, carefully curated and created for his global family of lovers and dancers to revel in the awe-inspiring beauty of Mother Nature. Central to the ethos of Day Zero is its sustainability practices and deep consideration for the locality within which it is held. Connections with local elders embolden its depth, cultivating a strongly aligned purpose with the ritual, customs and energy of the land and its people.

‘Magickal’ will be released in the same week as Day Zero, tying the two projects together in a neat dovetail. 12 years since it started, Day Zero continues to play a significant role in the music Damian makes, curates and plays. For him, it’s the epitome of his vision: a stunning natural setting, the very best party people from around the world, an unparalleled lineup of friends and family, high production values, eco-centric policies and music from another dimension. With these interdimensional transmissions, Damian channels his inner alchemist, which, in turn, permeates into the vibrational framework of ‘Magickal’.

Never one to adhere to convention, Damian has opted for a disruptive album release. ‘Magickal’ is to be kept under wraps and then announced and released on Crosstown Rebels on 8th January 2025, bypassing the modern trend of prolonged single drops and ‘tombstone’ album releases. ‘Magickal’ is the embodiment of Damian and his intentional, against-the-grain approach and reinforces the album as a complete artistic statement, offering listeners the full cohesive experience from the very beginning. This is a return to the album as the pinnacle moment and not the afterthought. Singles, edits and remixes will follow the ‘Magickal album’ release, and, of course, there will be a world tour to promote the album (including Glastonbury and Coachella) and a chance to present the album in exciting, innovative and unique ways.

Forever dreaming, a sincere student of magic, new and old, social sorcerer, lover of nature and master of musical wizardry, Damian Lazarus is a potent force. With ‘Magickal’, he reaffirms his place as one of electronic music’s most influential figures, taking listeners on a profound journey into sound, spirit, and connection.

out of Stock

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Last In: 6 months ago
40,76 €
Dogo du Togo & the Alagaa Beat Band - Avoudé Remixes

Following up their critically-acclaimed 2024 LP Avoude (5 stars and 'Top of the World' on Songlines, Bandcamp top pick, Le Monde, BBC Radio, Pop Matters and more), Sol Power Sound is proud to present a blistering EP of remixes from the thrilling psychedelic West African outfit, Dogo du Togo & the Alagaa Beat Band.

Combining iconic traditional Togolese rhythms and melodies, Dogo du Togo’s sound is anchored in the country’s often overlooked, but extraordinary rich cultural history, reflecting the local Vodun religion and traditions that permeate everyday life in Togo.

For the remixes, Sol Power Sound enlisted a cast of renowned producers to rework the scorching originals into deeper club-friendly burners.

Captain Planet leads off the A side with a modern and percussive African house groove that will get any room with a pulse up and jumping

Sol Power All-Stars ask the question 'what if Prince joined Dogo du Togo in 1983?' and answer with a blistering dance funk track laced with synths, arpeggios, and Moog.

Rounding out the A-side is Detroit legend John Beltran, who transports Dogo and crew to Bahia for an Afro-Brazilian balearic heat rock. Perfect for your next sunset soiree.

Blair French, another Detroit icon, leads off the B-side with a deep and organic house groove that works equally well day, night, or early morning.

Sol Power All-Stars reappear again on side b with their mid tempo groovy Afrobeats flip of Von Na Agbeto, the one track that was not featured on Dogo’s LP.

Finally, DC mystery man Glenn Echo gets loose and trippy on the boards with a psychedelic digi dub (in 12/8!) that rattles your chest and puts your being directly into the echo chamber.

out of Stock

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Last In: 16 months ago
14,50 €
UDG Ultimate PickFoam FlightCase Multi Format - Turntable Black

We, at UDG have further fined-tuned already a great design concept of our flight case into one specially for the most discerning DJ/producer. Constructed from aluminum thus providing an extremely stable structure with lighter weight compared to traditional flight cases. The inner sides are protected with pick & pluck foam that consists of two separate layers, each allowing user to create individualized adapted compartments. The pick & pluck foam allow you to pluck out any desired shape you require for various-sized DJ-controllers and providing the additional option of creating another slot underneath the controller for laptop or cable storage. This pick & pluck foam creating an easy, do-it-yourself customized system of case interiors.

The UDG Ultimate Pick Foam Flight Cases are designed to keep your gear protected from accidental damage when you transport it to and from gigs. They’re compact and lightweight yet tough enough to keep your gear safe.


EAN 8718969212694
Color Black
Weight 4,55 kg / 10.01 lbs
Outer Dimensions (W x H x D) 49 x 42.3 x 21 cm | 19.3 x 16.6 x 8.3 inch
Inner Dimensions (W x H x D) 48 x 41.3 x 20 cm | 18.9 x 16.2 x 7.9 inch
Material Aluminum
Protection Corrosion resistant aluminium profiles with strong rounded corners
Fully-lined with high density foam protective padding & foam on lid
Two side strong butterfly lock & solid metal hinges
Rubber feet at the bottom for support in standing
Extra's Lighter weight than traditional flight cases
Black Diamond finishing surface
Ergonomic & sturdy carry handle
Pick & pluck foam with two separate layers
Replacement pick & pluck foam is available to purchase
Rear cable access hole with cover
Fits Technics SL-1200MK7, SL-1200MK6, SL-1200 MK5, SL-1200 MK4, SL-1200 MK3, SL-1200 MK2, SL-1200GR, SL-1200GAE,
Denon VL12 Prime,
Pioneer PLX-1000, PLX-500
Reloop RP-8000 MK2, RP-8000 Straight, RP-8000, Reloop RP-1000M, RP-1000 MK2, RP-2000 MK2, RP-2000 USB MK2, RP-4000 MK2, RP-7000, RP-7000 MK2, RP-7000 MK2 GLD, RP-7000 MK2 Silver,
Audio Technica LP120-USB, LP120XUSB, LP1240-USBXP, LP1240-USB, LP140XP, LP3, LP5, LP7, LPW40WN,
Stanton STR8-150 M2, ST-150 M2, T.52, T.55 USB, T.62 M2, T.92 M2 USB,
Mixars STA, LTA,
Vestax PDX-3000, PDX-3000Mix, PDX-3000MKII,
or similar size turntable

out of Stock

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Last In: 9 months ago
105,00€
Various - Halo Original Trilogy LP 8x12"
  • A1: Opening Suite
  • A2: Truth and Reconciliation Suite
  • A3: Brothers In Arms
  • A4: Enough Dead Heroes
  • B1: Perilous Journey
  • B2: A Walk in the Woods
  • B3: Ambient Wonder
  • B4: The Gun Pointed At the Head of the Universe
  • B5: Trace Amounts
  • B6: Under Cover of Night
  • B7: What Once Was Lost
  • B8: Lament for Pvt. Jenkins
  • C1: Devils… Monsters…
  • C2: Covenant Dance
  • C3: Alien Corridors
  • C4: Rock Anthem for Saving the World
  • C5: The Maw
  • C6: Drumrun
  • C7: On a Pale Horse
  • C8: Perchance to Dream
  • C9: Library Suite
  • D1: The Long Run
  • D2: Suite Autumn
  • D3: Shadows
  • D4: Dust and Echoes
  • D5: Halo
  • E1: Halo Theme Mjolnir Mix
  • E2: Peril
  • E3: Ghosts of Reach
  • E4: Heretic, Hero
  • E5: Flawed Legacy
  • E6: Impend
  • F1: Ancient Machine
  • F2: In Amber Clad
  • F3: The Last Spartan
  • F4: Orbit of Glass
  • F5: Heavy Price Paid
  • F6: Earth City
  • F7: High Charity
  • F8: Remembrance
  • G1: Prologue
  • G2: Cairo Suite
  • G3: Mombasa Suite
  • H1: Unyielding
  • H2: Mausoleum Suite
  • H3: Unforgotten
  • I1: Delta Halo Suite
  • I2: Sacred Icon Suite
  • J1: Reclaimer
  • J2: High Charity Suite
  • J3: Finale
  • J4: Epilogue
  • K1: Luck
  • K2: Released
  • K3: Infiltrate
  • K4: Honorable Intentions
  • K5: Last of the Brave
  • L1: Brutes
  • L2: Out of Shadow
  • L3: To Kill a Demon
  • L4: This Is Our Land
  • L5: This Is the Hour
  • M1: Dread Intrusion
  • M2: Follow Our Brothers
  • M3: Farthest Outpost
  • M4: Behold a Pale Horse
  • N1: Edge Closer
  • N2: Three Gates
  • N3: Black Tower
  • N4: One Final Effort
  • N5: Keep What You Steal
  • O1: Gravemind
  • O2: No More Dead Heroes
  • O3: Halo Reborn
  • O4: Greatest Journey
  • P1: Tribute
  • P2: Roll Call
  • P3: Wake Me Up When You Need Me
  • P4: Legend
  • P5: Choose Wisely
  • P6: Movement
  • P7: Never Forget
  • P8: Finish the Fight

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Diese Box enthält 83 Titel aus den ersten drei Halo-Alben, die speziell für Vinyl neu gemastert und auf acht heavyweight LPs gepresst wurden. Jeder Soundtrack befindet sich in einer breitrandige Außenhülle und einer bedruckten Innenhülle. Diese wiederum befinden sich in einer stabilen Sammlerbox aus Karton mit silbernem Laminatüberzug und geprägtem Halo-Logo.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork der Box wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

Für Halo 2 taten sich die Komponisten mit hochkarätigen Musikern zusammen und verpassten dem Halo-Thema mit dem neuen „Mjolnir Mix“ ein Heavy-Metal-Makeover. Es war der erste Videospiel-Soundtrack, der es in die Billboard 200 schaffte.

Halo 3 zeichnete sich durch Tribal-Drums und Prog-Rock-Refrains aus, während Klaviermelodien, begleitet von einem 60-köpfigen Orchester und einem 24-stimmigen Chor, dem Soundtrack emotionale Tiefe verliehen.

- 83 Tracks aus Halo: Combat Evolved, Halo 2 und Halo 3
- Speziell für Vinyl neu gemastert
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist, Bungie)

pre-order now04.04.2025

expected to be published on 04.04.2025

188,03 €
Martin O'Donnell, Michael Salvatori - Halo: Combat Evolved LP 2x12"
  • A1: Opening Suite
  • A2: Truth and Reconciliation Suite
  • A3: Brothers In Arms
  • A4: Enough Dead Heroes
  • B1: Perilous Journey
  • B2: A Walk in the Woods
  • B3: Ambient Wonder
  • B4: The Gun Pointed At the Head of the Universe
  • B5: Trace Amounts
  • B6: Under Cover of Night
  • B7: What Once Was Lost
  • B8: Lament for Pvt. Jenkins
  • C1: Devils… Monsters…
  • C2: Covenant Dance
  • C3: Alien Corridors
  • C4: Rock Anthem for Saving the World
  • C5: The Maw
  • C6: Drumrun
  • C7: On a Pale Horse
  • C8: Perchance to Dream
  • C9: Library Suite
  • D1: The Long Run
  • D2: Suite Autumn
  • D3: Shadows
  • D4: Dust and Echoes
  • D5: Halo

Halo Studios und Laced Records haben sich zusammengetan, um die ikonische Musik der ursprünglichen Halo-Trilogie zum ersten Mal auf Vinyl zu veröffentlichen.

Dieses Doppel-LP-Set enthält die Musik aus dem Spiel, mit dem alles begann, speziell für Vinyl neu gemastert und auf heavyweight LPs gepresst. Die Schallplatten befinden sich in einer breitrandigen Außenhülle und zwei bedruckten Innenhüllen.

Das Original-Cover-Artwork stammt von Art Director und Concept Artist Isaac Hannaford (alias Rhizus / Space Ship Guru), dem ehemaligen Lead Concept Artist und Mitwirkenden an Halo 3, Halo 3: ODST und Halo Reach. Das zusätzliche Artwork des Sets wurde von der Grafikdesignerin Maren Landsnes erstellt.

Halo: Combat Evolved war der Inbegriff des Konsolen-Ego-Shooters und sein Soundtrack legte den Grundstein für den legendären Sound der Serie. Der Soundtrack ist von verschiedenen Genres inspiriert und kombiniert schwungvolle Orchesterklänge mit marschierenden Militär-Snares, Prog-Rock-Percussion und - wer könnte den gregorianischen Mönchsgesang vergessen?

- 26 speziell remasterte Titel aus dem Spiel von 2001
- Cover-Artwork von Isaac Hannaford (ehemaliger Lead Concept Artist bei Bungie)

pre-order now04.04.2025

expected to be published on 04.04.2025

50,63 €
Eliza Niemi - Progress Bakery
  • A1: Do U FM
  • A2: Novelist Sad Face
  • A3: Green Box
  • A4: Dusty
  • A5: The Linda Song
  • A6: DM BF
  • B1: I TrieD
  • B2: Melodies Like Mark
  • B3: Wildcat
  • B4: How U Remind Me
  • B5: Pocky
  • B6: Bon Tempiii
  • B7: PT Basement
  • B8: Alberqurque II
  • B9: Mary's
also available

Yellow Coloured Vinyl[29,37 €]


Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

pre-order now04.04.2025

expected to be published on 04.04.2025

27,10 €
Eliza Niemi - Progress Bakery

Eliza Niemi

Progress Bakery

12inchTAR118SX
Tin Angel
04.04.2025

Kneading dough is tricky – you should know how it’s supposed to feel. If you try too hard you could make it worse. It’s a beautiful practice – creation with a gentle touch, to work at something so it can be left alone. “If it’s too drawn out it’s awful. It’s easy to give too much.” Dance in the mirror. Contemplate your veiny hands. Who do they remind you of?

You begin by mixing flour and water. “What happens when your people die? Why’d they move the rock to the other side of Ulster Park?” Eliza Niemi asks two seemingly unrelated questions in a rising melody with guitar accompaniment, like fingers playing spider up to the nape of your neck. Gentle pressure. Strands of gluten form to bind the mix. A new question lingers in the binding. When she admits “but I don’t know how to tell if I’m feeling it or not,” that question surfaces through the text. It is reiterated throughout the album. When I’m working with dough I think the same thing to myself.

On Progress Bakery, her second album as a solo artist, Eliza knows to leave some questions alone – to let juxtaposition and tension be the proof. It doesn’t have to be hard. The feelings and revelations they provoke rise in the heat. The smell is sweet. Crispy on the outside and soft all the way through. She playfully slip-slides through words and sounds and images, delighting in surprise, skimming ideas like stones cast across clear water, touching down briefly with uncommon grace.

The question provoked between those opening lines resurfaces in the strands between songs – “Do U FM” is fully formed and beautifully layered, while “Novelist Sad Face” is a short, acapella rendering of gentle curiosity. What is holding these ideas together? Some songs demand more, seem to carry a whole load – eventually the skipping stone will halt to sink and resume its idle duty – while others drift in and out of focus, the way thoughts and dreams become interwoven before the mind is sunk into true sleep.

Music and words don’t always have to interact. Where she decides to keep them apart gives a new contour to where and how she puts them together. The kind of thing you’re supposed to take for granted with songs and their singers comes alive in Eliza’s hands – the little miracle of mixing, kneading, stretching, and stopping.

So often on Progress Bakery, Eliza teases out truth and meaning by asking questions. “Do I wanna be crying?” “Do you want me good or do you want me bad?” “Do I need an eye test?” “I’m writing songs in my head while you’re going over stuff with me — is that cruel??” In “Pocky” Eliza ends with a question that feels to me like the actual biography, succinct and revealing:

I don’t wanna be made to see
I just wanna ask “what’s that?”

Grace that ought to be rare, but in its care and precision is offered humbly, with great generosity, and without announcing itself. Eliza’s simple, miraculous music is given further form and shape by a group of collaborators – invaluable guest musicians Jeremy Ray, Evan Cartwright, Steven McPhail, Kenny Boothby, Ed Squires, Carolina Chauffe, Dorothea Paas, Louie Short, and Avalon Tassonyi. Together with Louie Short, who recorded, mixed, and produced the album along with Jeremy Ray and Lukas Cheung, Eliza has cultivated a richness in sound and texture that prods and provokes the ticklish ear. Barely audible guitar tinkering, a brief lo-fi field recording of trumpets, the harmonic clicking of a looped synthesizer, a flourish of reeds, a child’s conversation, each uncanny sound perfectly placed, rippling out under a soft breeze.

Lay in bed alone at night and ask aloud to the stillness,

“What were you doing at the Albuquerque Airport?
What were you doing there??”

And hear your question answered by a dream of swelling, undulating cellos. Try to grasp at the melody and structure. It’s not an answer (if there could be one), but it moves deeper, closer to the weird layer of fleeting moments and disconnected images, barely perceptible at its core. Wait for the dream reel to click into place.

Eliza took me for a ride in Nicole (her beloved Dodge Grand Caravan) and told me she’d been thinking of the album as an embodiment of transition – and I think every transition, known or unknown, carries the weight of new meaning, skittering off the surface tension of life as you know it, creating ripples, sometimes bouncing off and sometimes breaking through. There is a trick you can use to tell if a dough is glutinous enough. You’re supposed to stretch it out as thin as you can without breaking it and hold it up to the light. If you can see through, even if it renders the world murky and uncertain, you should leave it alone. I love this trick. It’s one that Eliza seems to know intuitively: work gently and ask questions and don’t always expect answers, and when you can, take a glimpse at something new, and then leave.

pre-order now04.04.2025

expected to be published on 04.04.2025

29,37 €
Modest Mouste - Good News for People who love Bad news 2x12"

Das Album "Good News For People Who Love Bad News" von Modest Mouse, das in den frühen 2000er Jahren als Alternative-Klassiker galt, findet auch Jahre später noch Anklang bei den Hörern. Zusätzlich zu den Hits "Float On" und "Ocean Breathes Salty" enthält die 20th Anniversary Edition als farbiges Doppelvinyl (babypink & spring green) ein alternatives Albumcover, ein 8-seitiges Booklet und 5 brandneue Remixe von "Poolside", "Jacknife Lee", "Dan the Automator" und anderen.

out of Stock

Order now and we will order the item for you at our supplier.

Last In: 18 months ago
25,17 €
Selena Gomez & Benny Blanco - I SAID I LOVED YOU FIRST LP

Selena Gomez and Benny Blanco team up to release their first project as a couple, "I Said I Love You First" set to be released on March 21st via SMG Music LLC & Friends Keep Secrets under exclusive license to Interscope Records. The album celebrates the pair's love story, giving fans a unique window into their relationship. This album came together organically as a direct result of the comfort that they both felt when working together creatively, allowing them to produce art that authentically reflects their experiences. It chronicles their entire story - before they met, falling in love, and looking to what the future holds.

out of Stock

Order now and we will order the item for you at our supplier.

Last In: 18 months ago
25,63 €
Soulox & Soeneido - FR023

Firstly, I want to thank Soulox & Soeneido for their patience because I have slept on their music for years haha

They have both been sending me music for a long time which I was pretty slack on checking (as a lot of people may have also noticed when sending me music, there's a huge backlog to get through and not enough hours in the day!) but it wasn't until Pete Dev/Null was in London for an event and we met up in person to record a mix for Blog To The Oldskool (our show on Jungletrain) that I realised what these two were capable of. Pete started the show with Lavish and I had to know what it was straight away, he told me it was by Soulox & Soeneido and I felt so bad that I had probably not bothered to check this tune if they had sent it to me, but I knew I had to have it!

I messaged Soen the next day asking about this tune and thankfully it was still available, one thing led to another and this release now exists. Big thanks to both of them for their wicked tunes, big up Comfort Zone on his quality remix of Lavish and a special mention to Jay Vaz (of Dreaming Vinyl) who did the design for the b-side of this release.

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Last In: 18 months ago
17,02 €
Linkwood - Mono LP

Linkwood

Mono LP

12inchAOTNLP048
Athens Of The North
02.04.2025

On a creative roll of late, Linkwoods productions have branched out in many directions, a collaboration LP with jazz Genius Greg Foat, Another with Local Edinburgh Legend Other lands and a load more yet to surface. Linkwood now comes back to solo work with a hyper focused piece of electro goodness. Lo-fi but all the better for it, Mono comprises 14 deeply distilled tracks. After producing some more complex records it was time for a pure palate cleanser so we locked Nick in the Athens of the north studio for a week with his friends Moog and Oberheim to see what might happen. Somewhere between Electro, Early 80s Synth pop and techno the album is an extremely listenable piece as a whole, unpretentious and timeless. Sprinklings ofDave Stewart pop noodles, Newbuild, Early Era Nu Groove but very much Linkwood at the same time, I cant recommend this enough.

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Last In: 17 months ago
19,75 €
ALIEN SIGNAL - WHISPERS FROM DISTANT SUNS (2025)

After a 30-year interstellar silence, the enigmatic producer Alien Signal—pioneering alias of Italian electronic composer Alex Silvi—reemerges with Whispers from Distant Suns, a transcendent odyssey that bridges retro-futurism and modern electronica. Hailed as a magnum opus, this album transcends genre boundaries, captivating ambient purists, downtempo aficionados, and even experimental listeners with its hypnotic fusion of analog warmth and digital precision.

Cosmic Tapestry of Sound
Drawing comparisons to Vangelis’ Antarctica and Alpha—but reimagined through a 21stcentury lens—Whispers from Distant Suns marries nostalgic synth textures with cuttingedge production. Silvi’s mastery of melody shines through in tracks like “Stardust
Memories” and “Fragile Eden” where shimmering arpeggios and celestial pads drift over robotic, glitch-infused drum patterns and sparse, meditative percussion. The result is a paradox: a retro-futuristic soundscape that feels simultaneously ancient and alien, familiar yet unexplored.

Listener Testimonials
Fans and critics have flooded forums with praise:

“An auditory revelation! It’s like Vangelis met Jon Hopkins in a nebula—vintage soul with a futuristic heartbeat.”
“The textures are gorgeously cinematic. Closing your eyes, you’re adrift in a Tarkovsky film scored for the Andromeda galaxy.”

The Vinyl Experience
Pressed on heavyweight vinyl, the album’s physical release amplifies its immersive qualities. The gatefold sleeve, adorned with surrealist astrophotography and metallic
foiling, mirrors the music’s cosmic ethos. Side A leans into Balearic serenity, with sundappled grooves and aquatic synth ripples, while Side B delves into darker, more
experimental terrain—think Aphex Twin’s Selected Ambient Works colliding with the organic rhythms of Jon Hopkins.

Maturity in Motion
This album is a testament to Silvi’s evolution. Tracks like “Seeds Of Light” and “Message from Andromeda Galaxy” showcase his refined ear for dynamics, balancing silence and sound with surgical precision. Vintage drum machines spar with glitches, while field recordings of crashing waves and interstellar static blur the line between Earth and cosmos. The closing track, “The Star Charts We Shared” crescendos into a 6-minute ambient requiem, leaving listeners suspended in a state of weightless awe.

Final Transmission
Whispers from Distant Suns is more than an album—it’s a transcendent odyssey. Spanning time, space, and the artist’s own creative evolution, this immersive work invites listeners to lose themselves in its ebb and flow. Designed for moments both intimate and expansive, its balearic-tinged atmospheres resonate equally through dawnlit Mediterranean terraces or the solitary glow of headphones in darkness. These are compositions that pulse, morph, and haunt the air long after the final note fades. A living soundscape meant to accompany life’s quiet revelations and clandestine joys—a soundtrack to your most personal moments, crafted as what the artist calls ‘private dance music.’

Tailored for the Discerning Listener
Whispers from Distant Suns is designed with the true connoisseur in mind. This album is a must-have for:

Vinyl Collectors & Audiophiles: Those who value the warmth and tactile experience of heavyweight, limited edition pressings
Electronic Ambient and Downtempo Fans: Listeners who appreciate immersive soundscapes that merge retro analog charm with modern digital innovation.
Retro-Futurism Enthusiasts: Fans of pioneering artists like Vangelis, Boards of Canada, and early Warp Records who seek music that bridges nostalgic synth textures with futuristic experimentation.
Experimental Music Explorers: Individuals drawn to sonic narratives that invite deep, contemplative listening—perfect for both introspective moments and immersive listening sessions.
This release is not just an album; it’s a curated experience for those who desire music as a multidimensional art form, merging the vintage allure of analog sound with a contemporary, cosmic vision.

For fans of: Vangelis, Biosphere, Jon Hopkins, early Warp Records.

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Last In: 16 months ago
26,26 €
Various - ECHOES OF ITALY – THE BIRDS OF PARADISE – EARLY 90S HOUSE VIBES VOL.2 (2x12")

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy."

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28,99 €
TIM GRUCHY / MICHAEL KRILICH - JUNGLES (ORIGINAL FULL-LENGTH VERSION) / ARNHEM LAND (EXTENDED VERSION)

Limited Edition 12"

Left Ear are delivering two previous unreleased Australian ‘experimental’ electronic tracks from the 80’s and honoring them with a split 12” release.

Side A: Features an unreleased full-length version of Tim Gruchy’s Jungles, a solo electro-percussive piece recorded in Tim’s Lab D’Avoid studio in Brisbane. The track is emblematic of his style during an era when he worked extensively in music, both as a percussionist and primarily with electronics, including early analog synths.

A shorter version was originally released on the Meanjin (Brisbane) art collective ZIP’s Eye Ear EP book package in 1986 and, more recently, on Left Ear’s Antipodean Anomalies 2 compilation.

This original version of Jungles was initially part of the soundtrack for the ZIP Performing Group’s infamous Ironing Board Dances. Footage of the performance was treated through a Fairlight synthesizer, mixed with hand-painted slides, and transferred to VHS for various film festivals.

Side B: Michael Krillich’s Arnhem Land began its journey in 1982 in a shared house in North Bondi. Inspired by Brian Eno and David Byrne’s My Life in the Bush of Ghosts, he experimented with tape loops, cut-ups, and samples, incorporating synthesizers, effects pedals, a drum machine, and an unknown sample from an Australian Aboriginal record. This creation became part of his cassette release, Thematic Variations.

In 2010, Krillich uploaded an unreleased extended version of Arnhem Land from Thematic Variations to YouTube, which was shared by record dealer Matt Bowden with Left Ear Records, who pursued to release it on vinyl. Their search to uncover the sample’s origins led them to Arnhem Land Vol. 1 (1957), recorded by Peter Elkin in the Daly River region.

After years of research and through the guidance of Professor Allan Marrett and local custodians, the sample was verified as a “Wangga” ceremonial song sung by George Morkai, an Emmiyangarl man. Rights to the song had passed through generations to Tobias Worumbu, who granted us permission for its use, bringing Arnhem Land full circle.

pre-order now31.03.2025

expected to be published on 31.03.2025

21,81 €
VARIOUS (Paul Weller) - PAUL WELLER PRESENTS ~ THAT SWEET SWEET MUSIC LP 2x12"
  • A1: GOD MADE ME FUNKY - The Headhunters
  • A2: SPANISH TWIST - The I. B. Special
  • A3: BREAKAWAY - The Valentines
  • A4: TOP OF THE STAIRS - Collins & Collins
  • A5: DONT LET THE GREEN GRASS FOOL YOU - The Spinners
  • A6: BLACK BALLOONS - Syl Johnson
  • B1: SOULSHAKE - Peggy Scott & Jo Jo Benson
  • B2: I CAN'T MAKE IT ANYMORE - Richie Havens
  • B3: YOU GOT TO HAVE MONEY - The Exits
  • B4: PULL MY STRING (TURN ME ON) - The Joneses
  • B5: RUN FOR COVER - The Dells
  • B6: ON EASY STREET - O.C. Smith
  • B7: IT AIN'T NO BIG THING - The Radiants
  • C1: SUMMERTIME - Billy Stewart
  • C2: IN THE BOTTLE - Brother To Brother
  • C3: HARD TIMES - Baby Huey
  • C4: MAGGIE - Johnny Williams
  • C5: WHEN - Joe Simon
  • C6: POURING WATER ON A DROWNING MAN - James Carr
  • C7: THAT'S ENOUGH - Roscoe Robinson
  • D1: BLACKROCK “YEAH, YEAH” - Blackrock
  • D2: GOLDEN RING - American Gypsy
  • D3: SEARCH FOR THE INNER SELF - Jon Lucien
  • D4: LIFE WALKED OUT - The Mist
  • D5: IN THE MEANTIME - Betty Davis
  • D6: BEAUTIFUL FEELING (SINGLE MIX) - Darrell Banks

Soul music has always been in Paul Weller’s blood from early Jam covers of Martha & the Vandellas 1963 classic ‘Heatwave’. Along with other forms of music, soul found its way into Paul’s record collection, nourishing his ears and informing his own songwriting

We don’t need to recap a questing musical career from the Jam to the Style Council and then blossoming into one of the most productive and revered careers of any UK solo artist. Paul has written anthems, standards and a songbook that have always developed from his own feelings.

Whilst Paul has talked about his love of soul music he has, before now, simply been too busy to sit down and curate a collection of his favourite tracks and get it into the record racks.

Ace Records are honoured and delighted to finally release that Paul Weller curated collection which he has aptly titled, “That Sweet Sweet Music”.

This 2-LP set and CD open the curtains on 26 tracks that are some of Paul’s favourite soul records most of which nestle on vinyl in his own collection. He can still recall paying £70 for his copy of Jon Lucien’s 1971 ‘Search For The Inner Self’ 7” at a record shop in Leicester in the 90s. Some of these tracks are soul classics like James Carr’s 1966 ‘Pouring Water On A Drowning Man’ and Brother to Brother’s brilliant take on Gil Scott Heron and Brian Jackson’s ‘In The Bottle’ from 1974. Others are deliciously obscure wonderous gems like the A-side of Blackrock’s sole 1971 single ‘Blackrock “Yeah, Yeah”’, ‘Life Walked Out’ from the same year by the Mist or Syl Johnson’s ‘Black Balloons’ taken from his 1970 album “Is It Because I’m Black?”.

There are plenty of big vocal hitters such as Darrell Banks, Spinners, Joe Simon, O.C. Smith, the Dells and Betty Davis. Whilst the core is vocal soul the music does branch out with Paul selecting a wicked instrumental from the flipside of the Isley Brothers’ ‘Twist & Shout’ from 1962 and the funky jazz of the Headhunters ‘God Made Me Funky’, the A-side of their first 1975 seven-inch.

pre-order now31.03.2025

expected to be published on 31.03.2025

32,48 €
CHIMERS - THROUGH TODAY

Chimers

THROUGH TODAY

12inch12XU163-1
12XU
28.03.2025
  • 1: 3 AM
  • 2: Timber
  • 3: People Listen (to the radio)
  • 4: Everything's Green
  • 5: Generator 6. Gossip
  • 7: Shadow Boxing
  • 8: Glossary
  • 9: An Echo
  • 10: Common

'Through Today' is the sophomore album for rising Australian band Chimers. A husband / wife duo comprising life partners Padraic Skehan (vocals / guitar) and Binx (drums / vocals). Recorded by Jono Boulet (Party Dozen) over two days at Stranded Studios, Wollongong and mixed at Boulet’s Sydney home studio, produced by the band and veteran manager / promoter / producer Tim Pittman (Feel Presents), 'Through Today' features ten tracks of tightly-coiled intensity that barely lets up for all of its 34 mins. In enlisting Boulet, the band were confident that due to his own experience of being one half of Party Dozen, they had someone who understood the confines of working within the structure of a two-piece but also the possibilities that creates. Boulet, in turn, rewarding that trust by capturing a powerful bedrock of sound that allowed the band's taught rhythms to circle and permeate and yet give full breathing space for the melody within. For Pittman’s part, having a third ear on hand to devote serious listening time and critical commentary was an added bonus. It’s a major step forward from the band’s 2021 self-titled debut. A twelve track effort that snuck out during covid and only hinted at the power within. "Our debut felt more like just trying to capture the songs we had at the time, we weren’t sure if we’d even release it or if it would be our only album" "This time around we were intent on capturing the energy and intensity of our live show on the recording but with a more produced sound than self-titled. We worked more on song structure previous to the sessions. We rehearsed a lot playing quietly so we could actually talk to each other whilst playing the song and iron out any kinks.” “Jono turned the whole live room into a drum room, mics everywhere. The guitar amps were situated outside to prevent too much spill but still recorded live along with about half of the vocals. Second guitar and the rest of the vocals were recorded the next day. Jono was super quick and had the same work ethic and mindset, get in, get it done. If the first take was good enough, move on.” - Padraic Lyrically Chimers maintain the intensity as they tackle the themes of love, life, death and relationships, distance from home (Padraic is Irish, moving to Australia in 2001) and the current political climate providing enough drama to fuel a forest fire. Guest musicians on the album include saxophonist Kirsty Tickle - also of Party Dozen - and violinist Jordan Ireland of The Middle East. Both of whom were invited in on short notice adding their respective parts in just 1-2 takes each without any prior knowledge of the material. Binx too showing added versatility contributing lead vocals to An Echo and sharing lead across 3AM, Generator and others. “Singing is not something that comes naturally to me, and it was at the last minute before we went into the studio that Padraic suggested I sing the lead in An Echo. Having very minimal musical instruments within the band I think having the two different vocals adds a nice dynamic to the record.” - Binx 'Through Today' is a great album. Solid and confident from the get go. No waste. No unnecessary fat. Should it be Chimers last it would remain a defining statement of originality and intent. But it’s not the last, it’s just the beginning. And there’s plenty more where that came from. BIO Like many good bands Chimers are a band born of isolation, not geographically though, via the pandemic. Irish born Padraic Skehan and his life partner Binx, formed the band in their Wollongong backyard during the initial lockdown of 2020. Veterans and drummers both of the ‘Gong’s vibrant garage-scene – The Pink Fits, The Drop Offs, Evol and more – Chimers is an altogether different beast, Padraic taking a giant leap forward by removing himself from the back-seat and assuming the role of driver; singing, playing guitar and writing the songs that would eventually become their 2021 self-titled debut album. It’s a sound and album that draws heavily on Skehan’s time as a youth in Ireland and the post-hardcore sounds of Dischord Records, Husker Du, The Wipers and which has seen the band find friends and favour in like-minds The Mark Of Cain, Henry Rollins, Guy Picciotto and Mudhoney. This is no mere nostalgia though, the band instead landing at the vanguard of a new generation of Sydney and surrounds bands – Body Type, Second Idol, Dust, Private Wives, R.M.F.C – borrowing from the past in order to create a future.

pre-order now28.03.2025

expected to be published on 28.03.2025

32,56 €
Who's Who - Who's Who (LP)

Who's Who

Who's Who (LP)

12inchBEWITH186LP
Be With Records
28.03.2025

"Daft Punk brought me here, he brought me Daft Punk"

Just knowing that this slice of hyper-rare disco dynamite was crafted by Thomas Bangalter's dad should be enough for you to buy this on sight, if only to understand a little bit more about Thomas and Daft Punk's background. But this is so much more than a Daft Punk family curio.

Born Bangalter in 1947, Daniel Vangarde is a French songwriter and producer. In 1975, Vangarde founded his label, Zagora Records, who we have worked closely with on this lovingly curated reissue. For years, Vangarde wrote and produced songs that remained underground, under several pseudonyms and for various artists. Dubbed "the secret father of French disco" this here groove-fulled firecracker - using his Who’s Who moniker - is for disco-funk, library music and cosmic beat lovers.

The intense, evocative opener "Palace Palace" positively throbs with raw energy and sounds, honestly, like something off Daft Punk's Discovery. The title refers to the fashionable Parisian club Le Palace, essentially the Parisian Studio 54. "I’d been to a nightclub in New York, a big ring where people were roller skating with a whistle. The atmosphere was great. The music was all disco. I made this song when I came back. A vocoder transformed my voice. Back then, it wasn’t used much." The track rides a killer groove and is deceptively complex, with layers of fantastic percussion and ace synth work going on all over it. Listed to on repeat, it's brilliance is simply undeniable.

The louche, slo-mo heater "Hypno Dance" is, in Be With's opinion, *the* deadly dancefloor track. A svelte slice of ace space disco again geared towards the roller skating dance mania of the day. So deep, so disco, so instrumental. An unreal track and, as the title hints at, totally hypnotic. The side closes with the somewhat throwaway "Popeden" - it's a jaunty number that you're probably best skipping, in all honesty. Have we ever steered you wrong?

The B-Side opens with the frankly enormous "Roll Jacky Roll" is another thrilling, high class roller-rink jam with beautiful melodies that's adored the world over. The wonky, abstract "Ad Libitum 80" is a super dope, swirling, staccato electro-funk bounce which sounds light years ahead of its time. This might be the real lowkey sleeper gem on this record. CHECK! This remarkable LP rounds out with the huge "Dancin' Machine". It's got sleek drums that emit an absolutely ace swagger and elements of Italo synth funk feels. A relaxed, slow rhythm throughout ensures you can't help but get your funk on when this crashes soundsystems. We'll leave the final word on this to Daniel: "It amuses me to think that my son Thomas was influenced by "Dancin’ Machine" for "Around The World", he says. Both songs being based on an hypnotic repetitive refrain. Both songs being, of course, timeless pieces of Euro genius.

Who's Who really is a fantastic late-70s-early 80s roller disco-funk essential. The audio has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland.

When it came to the sleeve for this we were presented with an unusual problem: we usually have to rely on an original sleeve as the starting point for the restoration, but instead we were able to scan the original 35mm transparency of the front cover photo. The problem is that with a modern scanner the results were far sharper than when they made the original sleeve. We’ve played around with the exposure and the colour grading but we’re sorry to say that our version of the front cover still ended up looking too good! Don’t hate us.

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Last In: 18 months ago
26,85 €
Rinder & Lewis - Seven Deadly Sins (LP)

Laurin Rinder & W. Michael Lewis's Seven Deadly Sins is a hugely influential, synth-powered, atmospheric space-disco masterpiece. It's arguably the best American Disco LP ever made. It's certainly one of the most important albums in the history of dance music. And, like its innovative producers, it's absolute genius.

During the mid to late seventies the production team of Laurin Rinder and W. Michael Lewis helped to define the Disco sound that was coming out of Los Angeles with studio projects such as El Coco, Saint Tropez, Le Pamplemousse (with vocals from The Jones Girls), In Search Of Orchestra and many others.

Like all of their work, Seven Deadly Sins comprises beautifully arranged and incredibly well produced deep disco that is revered by aficionados. A seven track, largely instrumental concept album covering each of the sins, it was recorded for AVI in 1977. It's a brilliantly conceived, groove-fuelled album that layers moogy keys and druggy synths over club-ready rhythms. The idea that this record is celebrating rather than condemning the sins is said to be another factor that made the record a big one in the underground clubs.

Opening sin “Lust” is an intense, swelling, seven minute blockbuster synth journey. An ethereal Loft/Garage classic, it's a sprawling, brooding slice of epic dancefloor dynamite that remains a firm favourite of discerning disco heads like Harvey. So ahead of its time, it still sounds ridiculously fresh today, drifting through a multitude of melodies over a smooth, lightly percussive mid-tempo beat. A slow-mo sexy killer.

Up next, the sprightly-manic “Sloth” is nothing like its title. A driving, swaggering instrumental incorporating the same Euro-disco elements as our Daft Parisian friends did a few decades on, it's certainly not for the faint-hearted.

A clear highlight, the cosmic, throbbing proto-techno of “Gluttony” gets things firmly back on track. Pure industrial vibes with dark synth bass punctuated by uplifting melodic sequences that brilliantly utilise guitar and horns, is this the sound of Wax! Trax being born? You won't be able to get enough of this.

Opening up the B-Side, “Pride” is a breezy slice of classic late seventies jazz/funk with deft Hammond and clavinet grooves and expansive horn sections. It's absolutely fantastic. The wicked leftfield vocal cut “Envy” provides more disco pump with squelchy acid synth flourishes, funky guitar and neck-snapping percussive breaks.

The dark proto-techno/house cut “Anger” is a fully on top tour de force of drums. With heavy African percussion throughout and a short Afrobeat section towards the end, it was sampled by Carl Craig and Laurent Garnier for their Tres Demented project and was also a massive Ron Hardy / Music Box favourite. The album is rounded out by the hard-grooving “Covetousness”, another driving jazz-funk workout par excellence with liberal use of the syndrum.

As Laurin Rinder recalled in an interview with Dream Chimney, the duo essentially lived in the studio: “we really had cots, beds and the whole thing, we were just pumpin’ them out. 7 days a week, 3 different projects at the same time. I played drums on everything but had to play a little differently. I had to ask the engineer ‘What’s the name of this group?‘”.

Evidently, their prolific output was the result of a crazy cocaine-fuelled production schedule: “The amount of coke we did, to do all this, you can’t even imagine. $300 a day. I had to have plastic inserts in my nose so I could do more.” Looking at the frankly terrifying cover, you'd have never known!

Be With is beyond delighted to present the first ever legit vinyl reissue of Seven Deadly Sins, carefully remastered by Be With's engineer Simon Francisco to ensure it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The unforgettable cover artwork has been reproduced here at Be With - dare you stare back at it for too long?

out of Stock

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Last In: 10 months ago
26,85 €
Tuomo & Markus & Verneri Pohjola - Music For Roads

"Music For Roads is a new immersive instrumental collaboration between Finnish psychedelic indie folk group Tuomo & Markus and jazz trumpet virtuoso Verneri Pohjola. It's a cross cultural collaboration between Nordic jazz and indie folk/Americana players, who created a unique, cinematic soundscape. They brought in some established guests in the studio, inc. NYC guitar legend Marc Ribot and French saxophone player Sylvain Rifflet. The inspiration for these tracks came from the many tours these Finnish musicians have had in America over the years. American landscape, history, Americana culture and the current political turmoil created a common thread for these tracks. The title for the album is a nod to Brian Eno’s Music For Airports. All the immersive tracks were captured live in the studio onto 2” tape and mixed in 7.1.4. format back onto magnetic tape, making it the world’s first fully analog Dolby Atmos master. The musicians used the immersive format in a creative way to enhance the music and arrangements."

pre-order now28.03.2025

expected to be published on 28.03.2025

37,77 €
Gregor Schwellenbach - Der Wald in mir LP
 
20

VINYL COMES IN A HIGH-QUALITY SCREEN-PRINTED COVER!
LIMITED TO 200 COPIES!

Coinciding the cinema release of ‘Der Wald in mir’, the soundtrack by Gregor Schwellenbach is being released in an exclusive edition in high-quality screen-printed covers by director and artist Sebastian Fritzsch. Microtonal strings in dialogue with electronic sounds, noise music, drones and ambient, complemented by improvisations by experimental string wizards Emily Wittbrodt and Matthias Kaiser. These different worlds of sound are linked by melodic motifs that come together in the final end credits song. This closing track was created in collaboration with indie artist Jungstötter, 'a singer, whose intense aura I associate with the sensitivity and emotional depth of the main character Jan, just as I hear the strength and unflinching devotion of the character Alice in co-singer Isabelle Pabst.’ (Gregor Schwellenbach)
Pünktlich zum Kinostart von „Der Wald in mir“ erscheint der Soundtrack von Gregor Schwellenbach in einer exklusiven Schallplattenedition in hochwertigen Siebdruck-Covern von Regisseur und Künstler Sebastian Fritzsch. "Um Jans Innenwelt gerecht zu werden, wollten wir uns einer enormen musikalischen Vielfalt bedienen: Mikrotonale Streicher im Dialog mit elektronischen Klängen, Geräuschmusik, Drones und Ambient, ergänzt durch Improvisationen von Emily Wittbrodt und Matthias Kaiser, bis hin zu New Wave und zur Indiepop-Ballade. Diese verschiedenen Klangwelten werden durch melodische Motive verbunden, die im finalen Abspannsong zusammenfinden. Dieser Schlusstitel entstand in Zusammenarbeit mit Jungstötter, einem Künstler, dessen intensive Aura ich mit der Sensibilität und emotionaler Tiefe der Hauptfigur Jan verbinde, so wie ich in Co-Sängerin Isabelle Pabst die Stärke und unbeirrte Zugewandtheit der Figur Alice höre." (Gregor Schwellenbach)

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Last In: 17 months ago
41,30 €
IMMERSION W/ SUSS - NANOCLUSTER VOL. 3 LP 2x12"
  • KHAMSIN
  • IN BETWEEN US
  • LUMINOUS
  • CROSS POLLINATION
  • IN THE FAR AWAY
  • THE NAMELESS
  • STATE OF MOTION
  • ALTITUDE

Colin Newman & Malka Spigel's Immersion project sees the 3rd Volume of their Nanocluster collaboration series. The third album in the Nanocluster series is a mid-Atlantic melting pot of ideas that have created a brand new third way. The album sees a collaboration between the European post-punk electronic discipline of Immersion meeting the American ambient country band SUSS and their big sky, new world, Americana cinematic soundscapes to create a perfect Nanocluster! It's a perfect combination that fits the Nanocluster vision. Immersion's open-minded approach sees their music spark new textures with the American band who were once described by UNCUT magazine as "Eno's Apollo Atmospheres crash-landed in America's Sonoran Desert," and by Pitchfork as "Neither rawboned nor ramshackle _ their elegantly composed brand of ambient country stands as tall and clean as a brand-new pair of cowboy boots." Suss are composed of veteran musicians Pat Irwin (the B-52s, Raybeats, 8 Eyed Spy), Bob Holmes (numun, Rubber Rodeo), and Jonathan Gregg (the Combine, the Linemen), SUSS combine Pedal Steel, National Steel Guitar, Mandolin, Harmonica, Baritone Guitar, and the Harmonium, which they weave with synthesizers and loops to create their big, lonesome sound.

pre-order now28.03.2025

expected to be published on 28.03.2025

28,53 €
Spy - Seen Enough
  • 1: On The Brink
  • 2: Stay In Your Lane
  • 3: Dim
  • 4: Void of Passion
  • 5: Overlord
  • 6: Quit The Act

Formed in Oakland just before the pandemic's onset in late 2019, SPY has built on the foundation of bands like Bad Brains and Poison Idea rather than following the current wave of metallic hardcore. They’re set to unleash their latest EP, Seen Enough, on Closed Casket Activities, out February 21. No song on Seen Enough ever overstays its welcome, instead embodying what makes hardcore frenetic. Burning through six songs in under ten minutes, every track is a testament to the energy the band has built up through relentless touring. SPY worked with Jack Shirley at Oakland's Atomic Garden to record the EP. Shirley captured their essence by recording live to tape, eschewing the modern practice of individual tracking in favor of a more immediate, visceral approach that better represents their explosive live show. That in-room chemistry is immediately apparent – songs like "Stay In Your Lane" maintain the texture and grit you'd get at a show in between every huge riff. Seen Enough doesn't hide what it's about: society's continued descent with diminishing hope for course correction. From the jump, SPY has followed in the lineage of Bay Area punks like Dead Kennedys and Ceremony in both attitude and awareness. Their latest offering maintains the critical edge of their earlier material while expanding their lyrical scope, delivering a streamlined punch that hits hard through its runtime. By staying true to themselves, SPY has carved out their own niche in the modern hardcore landscape. After touring with legends and contemporaries alike including Gel, Full of Hell, Ceremony, Municipal Waste, Sunami and playing basically every fest worth caring about including Sound and Fury, Outbreak, Sick New World and LDB, 2025 is set to be a monstrous year for SPY.

pre-order now21.03.2025

expected to be published on 21.03.2025

23,11 €
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