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Jon Lucien is one of the most amazing vocal soul singers, nicknamed ‘the man with the golden throat’; he also had his own percussive style, and was prolific in the 70’s writing many timeless classics over the years. Dynamite Cuts take four of these wonderful songs from the Mind’s Eye LP – these titles are first time on 7” vinyl and all cut @ 45 rpm. A perfect Soul Jazz funk release, don’t miss out

Forever on My Mind, the new album of previously unreleased Son House recordings from Easy Eye Sound, the independent label operated by Dan Auerbach of The Black Keys, is the premiere release from Dick Waterman’s personal cache of ’60s recordings by some of the titans of Delta blues. His collection of quarter-inch tapes — which are being restored to remarkable clarity by Easy Eye Sound — have gone unreleased until now. The collection is due out March 18, 2022.

When Welsh twins Stewart & Paul Summers (Ten Benson / The Sharp Tongues) started some experimental recordings combining psychedelia, poetry and punk rock, the resulting songs got them thinking….

Recruiting old touring comrades Sam Mansbridge (The Rumblestrips) on bass, Hanna Edgren (Tits Of Death) on keys and vocals and Gui Rujao (Los Pepes) on drums, DaemöniK Fonce were fully formed and some gigs hastily arranged.

"Of the records Ayler made during 1964, the LP New York Eye and Ear Control...is probably the most important link between the epoch-making collective improvisation Free Jazz by the Ornette Coleman double quartet, and John Coltrane's Ascension. Apart from that, it is—in my opinion—one of Ayler's very best recordings. New York Eye and Ear Control owes a large part of its success to the contrasting temperaments of the three musicians used by Albert Ayler in addition to his trio, namely, trumpeter Don Cherry, trombonist Roswell Rudd and alto saxophonist John Tchicai. Don Cherry improvises in broad melodic lines or places sharply accented staccato passages. Roswell Rudd interposes fragmentary flourishes in the highest register, or growl sounds and glissandos in the manner of the old tailgate trombonists. John Tchicai presents the polarity of a slightly 'cool,' linear style and offers motivic linkage by insistently repeating melodic patterns. All three inspire Albert Ayler to a breadth of expression which is too often missing in his improvisations with smaller groups. There is less limitation to his sound-span playing, more contrast, more punch and rhythmic accentuation, and with quick response Ayler takes motives from Cherry, Rudd and Tchicai, transforms them
into his own musical idiom, and in turn gives a new direction to the flow of ideas." - Free Jazz by Ekkehard Jost

"The music is fiery but with enough colorful moments to hold one's interest throughout." - Scott Yanow, All Music Guide

"...a valuable window into the music's early history as well as what might have happened outside record dates, more than one is usually privy to." - Clifford Allen, AllAboutJazz

The Velveteers, ein Rock-Trio aus den Bergen von Boulder, CO, bestehend aus Sängerin/Gitarristin Demi
Demitro und den Schlagzeugern Baby Pottersmith und Jonny Fig, werden am 8. Oktober ihr Debütalbum
”Nightmare Daydream” über Easy Eye Sound-Concord veröffentlichen; Produziert von Grammy-Preisträger
Dan Auerbach, ist das Album das lang erwartete erste Statement einer Band, die sich 2014 gründete und
seither sorgfältig an ihrem Sound und ihrer Identität gefeilt hat.
Aufgewachsen in Boulder, rebellierte Demitro durch ihre Gitarre, übte bis zu neun Stunden am Tag und
vernachlässigte die Schule, um einen Spielstil zu entwickeln, der schwer, aber beweglich ist, theatralisch,
aber nuanciert, in der Rockgeschichte verwurzelt, aber völlig eigenwillig. Mit Pottersmith und Fig, die
an einem gemeinsamen Drum-Set spielten, entwickelte die Band einen Ruf für ihre mitreißenden Auftritte.
Clips von den Live-Shows und DIY-Videos der Band schafften es bis zu Auerbach, der sie in sein Studio in
Nashville einlud, um ”Nightmare Daydream” zu produzieren.
”Ich mochte sie sofort”, sagt Auerbach. ”Sie sind live unglaublich, und ihre Videos sind so kreativ. Und
sie klingen einfach so kraftvoll. Jedes Mal, wenn man Schlagzeug auf einer Platte doppelspurig aufnimmt, klingt es so heavy. Wenn man das dann noch mit Demitros Baritongitarre kombiniert, klingt es so
bombastisch. Es gibt nichts Vergleichbares.”

"On October 15, 1965, tenor saxophone master and composer Wayne Shorter recorded The All Seeing Eye, a brilliant and ambitiously multi-layered album for Blue Note. Shorter’s goal for the album was to use “a wider range of colors and textures” while continuing his explorations of “life and the universe and God.” Joining Shorter in his quest are Freddie Hubbard on trumpet, Grachan Moncur III on trombone, James Spaulding on alto saxophone, Herbie Hancock on piano, Ron Carter on bass, Joe Chambers on drums, and, on one track, Wayne’s brother Alan Shorter on flugelhorn.
Blue Note Records’ Tone Poet Audiophile Vinyl Reissue Series is produced by Joe Harley and features all-analog, mastered-from-the-original-master-tapes, 180g audiophile vinyl reissues in deluxe gatefold packaging. Mastering is by Kevin Gray (Cohearent Audio) and vinyl is manufactured at Record Technology Incorporated (RTI)."

The album was recorded over a series of nights in Sept. 2019 in NYC at Sony Hall with a live audience The album also contains new recorded material.
The release date is set for September 10th because on September 14th the worldwide tour will start in US and will last until 2022.

The album was written and recorded in Nashville with GRAMMY® Award winning Producer of the Year, Dan Auerbach, at his legendary Easy Eye Sound studio this past year, fronted by Shannon Shaw and Cody Blanchard on lead vocals. It is an endlessly vivacious, ebullient, and clever album from the kings and queen of the Bay Area garage punk scene. Fresh off of their supporting tours with the likes of The Black Keys and Greta Van Fleet, they returned to the studio with their unique vintage sound that incorporates wonderfully strange elements of doo-wop, classic R&B, garage psych and surf rock to produce this timeless gem from these perennial favorites. Includes a Limited Edition Midnight Wine Coloured LP version for High street and own website stores

To mark the 40th anniversary of Yello this year, a series of highly sought after classics will be re-released on vinyl on July 9th, including the cult albums “Baby“, “Zebra“, “Pocket Universe“, “Motion Picture“ and “The Eye“.nNot just interesting for collectors, but also a chance for Yello fans who would like to own the rare albums “Baby“ (1LP), “Zebra“ (1LP) and “Pocket Universe“ (2LP) on vinyl. As a special surprise, the two albums “Motion Picture“ (2LP) and “The Eye“ (2LP) will appear on vinyl for the first time. All pressed on 180g vinyl, with original artwork and limited to this one-time reissue edition.

Amsterdam producer Kaap steps forward on his own De Lichting imprint with three twisted jams of deep and playful techno. The passionate gearhead, known for his dubby takes on house and techno, started his Working Titles playground back in 2017 by running a niche cassette outlet Yield on the side. In late 2018 he merged into the prolific De Lichting collective and is a frequent guest on Indigo Aera's AEX series. After many years of hard work, Kaap's new solo EP is surfacing, and it's worth the wait. Over the course of three tracks, Kaap shows high levels of creativity. The first track 'Razor' is a bouncy bass wobbler, its rubbery acid lines and crispy percussion make it an ideal party starter. Title track 'Omen' reaches for deeper grounds, a deep and murky groover enlightened by tactical bleepy rhythms. Kaap's love for dub-techno triumphs on the lengthy b-side as a closer on this EP. With over ten minutes of hazy atmospheres and mesmerizing pads, it builds and builds towards the rolling fields of euphoria.

‘Sharecropper’s Son’ is a soulful masterpiece and career-defining album
from Robert Finley, “the greatest living soul singer”, written by Finley and
co-written and produced by Dan Auerbach.
With songwriting by Finley, Auerbach, Bobby Wood, and contributions from respected country songwriter Pat McLaughlin, ‘Sharecropper’s Son’ also features
an all-star band, who have worked with everyone from Elvis to Wilson Pickett,
including guitar expertise from Auerbach himself.
Recorded at Easy Eye Sound studio in Nashville, Finley’s formidable vocals and
lyrical stylings take centre stage, sharing personal stories inspired by his Louisiana country childhood during the Jim Crow era south. His tales of pain and joy
uplift as Finley reflects on his belief that you are never too young to dream and
never too old to live.
The fire behind the conflagrant performances on ‘Sharecropper’s Son’ is ignited by 67 year old Finley, who has cited a range of vocal influences, including
Al Green, Jimi Hendrix, Ray Charles, Elvis, James Brown and The Beatles, all
inspiring his genre diverse approach. Finley stated, “I want people to understand that I can’t be kept in a box. I like to do all kinds of music - everything that
means anything to me, from gospel to blues to soul to country to rock ‘n’ roll.”
“A blind carpenter and army vet is revealed, belatedly, to be a herculean soulman.” – UNCUT

From the rampaging start of the EP, "Eternal Remorse", not a single note, guttural vocal, or fierce drum hit is out of place. The emerging greek artist Boris Barksdale, portraits the overall feeling of militaristic order encompasses music and vocal samples. The musical equivalent of that image, industrial society's restless march to oblivion rendered as an infinite dance track, as aggressively vibrant as it is alienated.

‘The Watchful Eye Of The Stars’ is Adrian’s ninth studio album.
Produced by luminary John Parish (Aldous Harding, PJ
Harvey), this sublime collection of ten songs invites us to join
Adrian at his storytelling best, regaling us with tales of travel
and wonder, by sea, by road, all quietly transfixing,
transformative and wholly captivating.
Suffused with a hazy and surreal quality, Crowley describes
‘Watchful Eye’’s poignant narratives as those which insisted
themselves upon him. After the fact, it seemed these songs
came to him more or less fully formed. “It’s a beautiful and
mysterious thing,” he says. Perhaps it is a tendency to hold onto
memories (“It’s taken me so long to write to you / Well I just
couldn’t find a pen,” he laments in ‘Bread And Wine’), that
allows him to unleash them lyrically in completion. For Crowley,
the creative process is an organic event rather than a practice
he feels compelled to regulate or control. He approaches lyrics
much like he does short story writing. “The songs straddle the
conscious and subconscious world and some are even
psychedelic in my mind, but to me they are all at once true
stories and born of another place,” he shares.
In making the album, Crowley moved between studio and at
home recording, while John Parish produced. The pair worked
from tracks made initially by Crowley on a charity shop ¾ size
nylon string guitar or Mellotron: “In this way, John wanted to
keep some of the magic of that first take,” says Crowley.
Contradictions and complexities are left intact, initial recordings
were limited to one or two takes and the songs feel more like a
dream recounted upon waking.
Jim Barr of Portishead contributed double bass and was
brought in to engineer parts of ‘Watchful Eye’ in Bristol. Nadine
Khouri and Katell Keineg were invited in as guest backing
singers.
The heavyweight vinyl includes a digital download card.

THE EYE OF TIME ist das Solo-Projekt des französischen Musikers Marc Euvrie. Wesentlich geprägt wurde Euvries musikalische Entwicklung durch die DIY-Punk und Hardcore-Szene Frankreichs, obwohl er ebenso eine klassische Musikausbildung genossen hat. Mit 9 Jahren begann er Klavier zu spielen, komponierte mit 15 erste eigene Stücke und studierte später Cello am Konservatorium. Inspiriert durch Claude Debussy, Philip Glass, Eric Chopin, J.S. Bach, Michael Nyman als auch Godspeed You Black Emperor, A Silver Mt. Zion oder Portishead, fing Euvrie an, seine ganz persönliche Reflektion des komplexen Weltgeschehens in Musik zu übersetzen. Acoustic II ist das sechste Studio Album von Marc Euvrie, und sein zweites, das sich komplett auf Klavier & Cello konzentriert. Über den Entwicklungsprozess seines neuen Albums sagt Euvrie: "Klavier und Cello nahmen in den letzten Jahren einen immer wichtigeren Stellenwert in meinem kreativen Prozess ein. Nach Acoustic (2014) stieg in mir das Bedürfnis nach weiteren Akustik-Songs."

Für "No Eye Has An Equal", einer "Reflektion darüber, wie Vielfalt einen Sinn für Unendlichkeit kreieren kann", gräbt der italienische Komponist Giulio Aldinucci tief in sein umfangreiches Archiv electroakustischer Kompositionen und präsentiert vier radikale Rekonzeptualisationen seines eigenen Materials. Jede ist für sich ein Blick in tiefe, persönliche Atmosphären, die Aldinucci seit über einer Dekade mit seinen Kompositionen kreiert und perfektioniert. Empfohlen für Fans von Steve Reich, Kara Lis Coverdale, William Basinski, Tim Hecker und Deepchord.

Crazy Australian speedcore will never surrender !

Another ride in the producer's unique sonic tale where digital vocalisms and fragmented musical thoughts push the listening to the edge of the brain dancefloor.car commercials are blown on repeat by the wind of conscience. Panoram long awaited return, Anova, sis an hymn to the vacant mind

12". LP pressed on 140g Vinyl.
Stealth Mission returns for it's fourth drop with four tracks of red-raw cuts from Postbhuman, Naked Eye People, HVL pres. Kiyadama and Do the Du. Also fearturing a Ben Sims edit, this is essential dancefloor weaponry.

Christopher Joseph is back on his Flexxseal label with four enthralling tracks entitled "Eye in the Sky".
He's an emerging talent from from Massachusetts who now resides in Berlin. His productions encapsulate, his vast musical background which includes studying Jazz percussion and living in the vibrant musical hubs of New Orleans and Berlin.

"Eye in the Sky" sees Christopher return to his invigorating Flexxseal imprint following releases from himself and Philadelphia's DJ Richard which together garnered heavy support from the likes of Ben UFO, Call Super, A Made Up Sound, I-F and many more.

"Eye in the Sky" kicks off proceedings with ethereal leads floating underneath electro-fuelled percussion and swirling synths together sending the emotions skyward while vigorously, resonant drums fused with rave- induced modulations and twisted melodies lay the focus in "Lick The Honey".

On the flip, "Nothing69" delivers growling resonations, breaks-tinged drums and otherworldly arpeggios that keep you enticed throughout until "Leaving Ringworld" rounds things off with a vintage, warehouse techno track featuring an effervescent, rolling groove sequence, spiralling oscillations and industrial feels throughout.

Radio Slave and Bushwacka! remix ‘Eye Of The Storm’ featuring vocalist and
drum ’n bass royalty Onallee, with label boss Archie Hamilton serving up a fresh VIP mix.

Taken from Hamilton’s debut album ‘Archive Fiction’, which dropped earlier this year on Moscow Records, ‘Eye Of The Storm’ featuring Reprazent artist Onallee, gets the remix treatment from two renowned producers with a reimagined garage inspired mix from the boss himself. Two acclaimed British artists, Rekids boss and esteemed remixer Radio Slave leads the release with Hamilton’s VIP mix alongside Olmeto and Plank Records owner and artist Bushwacka!

Radio Slave’s remix of ‘Eye Of The Storm feat. Onallee’ opens with a thundering kick, haunting effects, rolling vox-cuts and rattling hats with an ecstasy inducing breakdown. Archie Hamilton’s VIP mix then goes down a classic bubbling bassline route, featuring crunchy cymbals and phasing synths when Bushwacka! then goes on to close the release with break styled drum programming, rumbling toms, zapping flute like samples and jungle shakers on his remix.

Check! Brand new EP by The Abstract Eye, the L.A.-based producer also known as GB (Gifted & Blessed), Frankie Reyes and a few other monikers, **Very LTD release !**

Although he is known to have an incredibly wide range of stylistic approaches, he is probably best known for the music he makes for the dance floor. His classic releases Cool Warm Divine (Valentine Connexion) and GB Presents: The Abstract Eye (Eglo) have solidified a unique analog electronic sound of his own as The Abstract Eye that he further explores and expands on in these six pieces. This record displays a diverse range of emotions, textures, rhythms and colors, sounding like it could have been made any time, past, present or future. While simultaneously staying open to the ever-changing world of music and also observing the current record industry in which many factors besides the quality of the music itself seem to take precedence, The Abstract Eye asks the question, what's real anymore? For him, it comes down to the feelings this music evokes. That is as real as it gets.

The Black Keys’ long-awaited ninth studio album, “Let’s Rock”, their first in five years, is a return to the straightforward rock of the singer/guitarist Dan Auerbach and drummer Patrick Carney’s early days as a band. Auerbach says, “When we’re together we are The Black Keys, that’s where that real magic is, and always has been since we were sixteen.” The album includes the hit single ‘Lo/Hi’. The Black Keys’ touring begins in North America in September, with further international dates to be announced soon.



“Let’s Rock” was written, tracked live, and produced by Auerbach and Carney at Easy Eye Sound studio in Nashville and features backing vocals from Leisa Hans and Ashley Wilcoxson. “The record is like a homage to electric guitar,” says Carney. “We took a simple approach and trimmed all the fat like we used to.”



The “Let’s Rock” Tour will hit cities including Chicago, Nashville, New York, Los Angeles, and Austin. Special guests Modest Mouse will provide support on all dates, and Shannon & The Clams, Jimmy “Duck” Holmes, *repeat repeat, and Jessy Wilson will each open select shows on the tour. The band also headlines 2019’s Life Is Beautiful festival in Las Vegas on September 21.



Rolling Stone named ‘Lo/Hi’ a “Song You Need to Know” and said, ‘the Keys have officially returned, louder than ever’ and the New York Times calls the song ‘the kind of garage-boogie stomp that the band never left behind.’ In the words of the NME, ‘It’s the soundtrack to the type of party that doesn’t exist anymore, but one you still wish you were cool enough to get the invite to.’



Formed in Akron, Ohio in 2001, The Black Keys have released eight studio albums: their debut The Big Come Up (2002), followed by Thickfreakness (2003) and Rubber Factory (2004), along with their releases on Nonesuch Records, Magic Potion (2006), Attack & Release (2008), Brothers (2010), El Camino (2011), and, most recently, Turn Blue (2014). The band has won six Grammy Awards and headlined festivals including Coachella, Lollapalooza, and Governors Ball.



Since their last album together, both Auerbach and Carney have been creative forces behind a number of wide-ranging artists:



Dan Auerbach formed the Easy Eye Sound record label, named after his Nashville studio, in 2017, with the release of his second solo album, Waiting on a Song. Since its launch, Easy Eye Sound has become home to a wide range of artists including Yola, Shannon & The Clams, Dee White, Shannon Shaw, Sonny Smith, Robert Finley, and The Gibson Brothers; it also has released the posthumous album by Leo Bud Welch as well as previously unreleased material by Link Wray.



Patrick Carney has produced and recorded new music with artists such as Calvin Johnson, Michelle Branch, Damns of the West, Tobias Jesso, Jr., Jessy Wilson, Tennis, *repeat repeat, Wild Belle, Sad Planets, Turbo Fruits, and more. He also created the theme music for the Netflix TV show BoJack Horseman with his late uncle, Ralph Carney.

Recorded in 1972 at the legendary Landsdowne Studios in London, Cosmic Eye is an extraordinary piece of recorded music. Led by Indian born guitarist Amancio D'Silva, Cosmic Eye was a highly innovative studio experiment in which 'Jazz Meets World'. Following in the footsteps of other pioneering Landsdowne jazz recordings such as Joe Harriott & John Mayer's Indo Jazz sessions, Cosmic Eye is modal, but is also under-pinned with traditional Indian instrumentation and structure, resulting in a hypnotic, psychedelic jazz excursion.
Constructed into two conceptual pieces (Dream Sequences), two side-long jazz ragas showcasing D'Silva's soulful guitar playing reminiscent of his earlier 60s sessions, Hum Dono and Integrations, as well as his session work for the Bollywood film industry under the musical directors Laxmikant-Pyarelal. Featuring a host of UK and Indian musicians, Cosmic Eye is a Singular recording from a fervently rich period of British modern jazz. Finally this phenomenal jazz recording sees a legitimate reissue.

The result of a Polish Crooner (Byczkowski) and Canadian Producer (Holland) enjoying a summer studio session in the heat of 2018: "All I Need" fixates on the importance of a good time. Influenced by euro dance classics, the two forged a 140 bpm melodic overload, dramatic builds and all. The flip sees Holland ride solo for 9 minutes and 9 seconds. An eyes closed trip through dubbed out chords, melancholic strings, and slamming percussion.... full steam ahead.

Soft Machine is a surreal wander through the mystical sonic forest. A vision curated and designed by Chicago native Justin Aulis Long. A Cyclopian point of view while gazing through a wide lensed scope, which exists in the liminal spaces where light meets dark and angelic forces bath in the sludge and stardust of unfiltered eroticism.

Eye of the Minotaur - collage 001 is a collection of artists working in varying musical practices that are channeling the solitude of mutantness, strolling through the familiar yet unfamiliar halls of the uncanny, refusing ordinary structures of the mundane, grasping the cold humor of cynicism, basking in the dichotomy of cosmos and chaos, and invoking the energies of Eris and Eros.

Setting the ground is Ciarra Black, a Berlin based New Yorker who makes no apologies for her bare knuckled soundscapes. DuPont Street is a ritualistic unification of discordant entities that summons visions of Pazuzu (lord of the demons) and Inanna (goddess of love) fornicating beneath The Tree of Life. Razor edged synthesizers slice through the atmosphere with the precision of an avenging angel’s flaming sword, while a psychedelic drum code activates ritual movement of the body.

As the needle passes beyond the next threshold it is met by a towering totem, bristling with the illuminated light of the sonic astral plane. Erected from the foundational matter that birthed the Detroit electro punk sound, Eyes Up continues to add to the narrative that is drenched in deranged electronics intuitively mangled in a post punk tradition. Dystopian percussive rhythms generate an unorthodox domain where muffled utterances present an aural Rorschach test. Could this be the riddle of the Sphinx, or an ancient spectral being that possesses secret knowledge? Only its creator, Stallone the Reducer, holds the key.

Fixed at the axis of the journey, Perfect Headache Forever, a mystic operating within the DIY spaces of Chicago, levitates on a transcendental mass that is equally melancholic and optimistic. Her voice hosts a strength equal to a pantheon of titans. Armed with a magical electronic musical box, she weaves narratives that are prophetic. Itself Ecstatic is a voyage through a misty soundscape that begins at one point, but ends in a distant other, in accordance with a system of divination.

Gazing into the murky waters of the oracle’s cauldron, Circling Vultures, (a collaborative effort by Justin Aulis Long and Kenneth Zawacki) channel and evoke the spirits of Antonin Artaud and Geroges Bataille. The poet’s voice, engaged in an act of mutilation and self cannibalization, howls while projecting visions of sacred conspiracies, sensations of vertigo while peaking over the edge of the abyss, and the looming weight acquired from the solitude of the Minotaur alone, sitting silently at the center of the labyrinth. Accompanying the mystical bard’s verbal declaration is a triggered mechanized synth that roars with the vitality of Cold War era Wave music, which is then juxtaposed against applications of loose keyboard playing. The artist’s hand is revealed against the calculated actions of machines.

Bringing the document to its finale, Libby Del Barrio, a multi disciplinary artist based in San Antonio, performs a closing ritual in a manner that only she knows. Setting fire to the Elysium Fields while personified as Moze Pray, Del Barrio rejects plastic narratives that aim to pacify. No Tears, is an unapologetic account of life’s feedback loop around the Wheel of Fortune. Sacrificial actions through ceremonial performance reveals a gateway founded on truth and torment. Moze Pray’s ability to combine musical production, poetic vocalization and ritualistic body performance is charged by chaos and amalgamates into a product of pure expression that defies the rose colored filters aiming to conceal harsh realities.

Headz up! Guti's current club cutter 'Red Eye' continues to wriggle and writhe its way hypnotically into our sets and psyches with these two crucial versions from one of house and techno's most respected gentlemen... The one and only Kenny Larkin.

Weighing in at a combined length of 20+ minutes, both remixes capture the Detroit legend at his deepest and most cosmic with his hands glued to the dials. Not just part of the biggest single from Guti's 'Year Of The Conga' album so far, they also tell a unique tale of their own...

These mixes were originally meant for the full release earlier this year, alongside killer mixes from Loco Dice and Priku. But when Larkin received a shiny new Moog One he rang Guti and label bosses the Martinez Brother and told them that they'd have to wait... He was about go back in with a whole new modular perspective.

You can feel it, too; that deep throb on the subs and trippy psychedelic swirls of his 'Black Eye' mix and that wobbling voluptuous bassline in his 'Pink Eye' mix are just two examples of Kenny's attention to sonic detail and pure analogweight on these two immersive, alluring remixes.

Well worth the wait, and another precision chapter to the beautiful back-to-roots adventure that is Guti's third artist album 'Year Of The Conga', don't sleep on these... They're going out strictly as Record Store Day specials. Vinyl crew, this one's for you.

Transversales Disques presents KSHATRYA, (The Eye Of The Bird), never released before
recording by french avant-garde electronic composer Igor Wakhevitch, who composed a bunch of
major experimental albums in the 70's such as Logos, Docteur Faust, Hathor, Les Fous d'Or,
Nagual and Let's Start.
During this 10 years period, Wakhevitch was close to Jean-Michel Jarre, the Pink Floyd, the Soft
Machine, and legendary choreographer Maurice Bejart having with him many conversations around
dance and music, human body and soul, spiritual path, collective life, new society, human evolution.
As a composer Igor Wakhevitch collaborated with Salvador Dali, Carolyn Carlson, and Terry Riley to
name a few. He's considered as one of the first French composer using synthesizers like Synthi
AKS, ARP2600 or Moog modular systems.
After spending almost 30 years in India, Igor Wakhevitch dug in his archives this unreleased work
recorded in 1999 on his 'Mysterious Island 88' system. Esotheric, sacred and cosmic, KSHATRYA,
(The Eye Of The Bird) is the logical follow up of Igor's early works and a monumental piece of
electronic music. A must!

Rooted in Swedish psychedelic folk music, Hanna Ostergren (Hills, Trad Gras och Stenar) takes a creative new grip on the genre. Under the name of Laughing Eye, Ostergren creates spiritual Nordic raga, or nature music that stems back to prehistoric ages. Hoga Nord Rekords now releases her debut album.

Laughing Eye is more than just music, this is a distillate of ancient superstition, fear, euphoria and nature romanticism. The sound edges on the upper tree line and in the closing track, 'Agnetero / Huset' Ostergren takes a step off the mountain top, into space where the flute melodies float weightless to the outer rim of our solar system.

Laughing Eye is deep, warm and embracing sounds for cold urbanized souls, a buzz or a murmur from the far past, translated to music we can interpret.

More than anything, Pablo's Eye is a temporary atmosphere, like a taste or a dream... Last one in the trilogy...

A Credible Eye Witness teams up with enigmatic Ghost Ride to create a new aesthetic and musical identity to his ACEW project. Loud yet energetic "Stellar Tunes" introduces four dancefloor electro cuts characterized by European noir tones and US funk sororities. From the Detroitish influences of opener "Sound Odyssey" to the ultimate 90's groove of synth pop 'Political Collapse', passing through the cosmic analog style of emotional "Purple Sky" or the hammering vibes of psychedelic "Obsidian", the 12' brilliantly combines acid abstract sounds, experimental and structural elements that underline the mastery of Emilio Urbano in developing original and intricate electro music. 'Stellar Tunes' sees the Italian moving on a bit from his first productions to explorate funkier landscapes. Expect nothing but electro at its finest!

Following the success of 'Stellar Tunes', Italian maestro A Credible Eye Witness and his partner in crime Ghost Ride have returned into the studios to bring you this very special phenomenon. Top notch 'Random Research' introduces four tracks of pure electro madness, starting off with well named 'Synthesis', a fusion of both producers creative talent into one of a kind track that celebrates their immoderate taste for mind blowing electro modulations! Pounding 'Magnetic Force' offers a powerful electro monster based upon hammering beats and hypnotic vocals. A pure Dj tool, perfect to drop in the middle of set exactly when you want to lead your crowd into harder areas. Textured 'Metis' on the flipside continues where 'Magnetic Force' stopped to offer more psychedelic and urban melodies. Combined to a groovy bass line, the track appears to be a real winner while 'Leda' slows down the rhythm for more relaxing and no-nonsense electro tinted with acidic loops. The 'Random Research' EP sees two uncompromised artists explore uncharted territories, unusual dancefloor paths to take the listener to a higher level of electro. A must have 12'' ahead of its time, even better than 'Stellar Tunes'. Are you prepared enough for that

Coasting into the nebula from parts unknown, Admiral takes the helm with a debut LP release coming on Panoram's Wandering Eye Imprint. Ommitting rhodes licks, cosmic lunar drones and warbled space-funk, it exists in an ameobic state between the past, future and present, distilling down ideas of genres and musical innovation once played in clubs across the 9th planet. Alien terms such as "jazz", "brazillian music", "boogie and "left-field pop" could be said to grace it's bows - past ideas and innovations that would be eventually lost to glacial shifts, pacific waste dumps and rise of industrialised states.

Coming 14th October, it's the last ride out, with the final destination The tumescent aural seascape of the inner mind

Hot on the heels of Rapid Eye Movement's journey of discovery and growth comes the EP 'Split: Remixes' featuring reworks of the quartet of cuts originally signed by label founders Memorial Home and VII Circle.

Invited to apply their own reflections onto the material are rising producers Nur Jaber and Wrong Assessment as well as renowned artists on the underground experimental scene Edit Select and Reggy Van Oers.

First up is Nur Jaber's take on VII Circle's 'Metaphysical Functions' showing how the young Berlin-based Lebanese artist is as much inspired on remix duties than in crafting her already much acclaimed productions. The perfect mixture of dark and intense driving techno beat with haunting ambient-driven melodic motifs and dramatic breakdowns encompasses much of what her sophisticated sense of sonic exploration is about.

Up next on a heavier kicking note is 'Dogma' refashioned by Milanese fellow Wrong Assessment who transmits his vision of both minimal and hard pounding techno by merging a strait rugged beat with undulating synth lines and bouncy cymbals that will drive the audience to an insane rave-spirited dance floor venture.

Following the path, Tony Scott a.k.a Edit Select's interpretation of Memorial Home's 'Second Floor' is a clear example of the unique and forward-thinking sound that the Scottish techno scene 'veteran' has developed throughout the years. Deftly combining a tension-building drum and bassline work with layers of hypnotic synth textures that makes the track both suggestive and trippy-hitting in equal measure.

Concluding the journey is Reggy Van Oers (RVO)'s rework of Memorial Home's 'Ampere' which evinces this quest for organic and mental techno soundscapes inspired by classical and cinematic music, characterising the both complex and powerful crafting signature of Dutch Telemorph label's owner.

Between dark shadows and brightness, REM confirms with this new release that quality and free-minded artistry are the key pillars of the platform's curation philosophy.

Written and produced by Maurice Fulton Hanna Sarkari ,all guitars. Mim Suleiman all drums and percussion. Maurice Fulton. All keyboards bass and drum programming. Recorded and mixed at BubbleTease Communications Sheffield UK

With the Split EP, the fourth release of their own label Rapid Eye Movement, Memorial Home and VII Circle head the way with two original cuts both and sign another stunning dark and hypnotic techno odyssey with a strong emotional pattern.

The opening track 'Metaphysical Functions', starting with a slow building atmospheric overture, encompasses much of what the VII Circle's sophisticated sound is about. A combination of compelling and dark pulsing kick drums with deep and melodic synth lines and dramatic ethereal breakdowns.

'Dogma' is stamped by a strait cavernous and rugged beat, powerful and catchy basses as well as propelled by uplifting and immersive melodic motifs that have a fierce cosmic appeal.

Following the path, Memorial Home delivers with 'Second Floor' an intense ambient-driven piece, harnessing haunting and misty cinematic textures with a tension-building repetitive bassline which provides a rising magnetic and powerful effect.

Closing the journey or rather keeping the flame high and firm till the deep end, 'Ampere' evinces a more pin-sharp and frantic percussive techno approach overlaid with highly suggestive atmospheric swirling synth effects.

Four captivating weapons which display an aesthetic quest focused and driven both by dancefloor-orientated climax and underground-rooted emotive escapism.

Stealth Mission returns with another four track of weighty, warehouse grooves from Naked Eye People, K'Alexi Shelby (with a Ben Sims Edit), Scott Franka and the mysterious Barrow Boy.

Grey Report welcomes breakthrough producer W.I.R.E. who has released several strong EPs on Mord Records and his own W.I.R.E. imprint. Effective and mind blowing techno.

On this record we find Kit Geary & Israel Vines (here as KGIV) exploring the subtleties of slow change within a techno track with the outstanding heady Mockingbird' and through the rocker From Fragments'. The B Side features an unsung hero of American techno - Borrowed Language veteran Jeff Pietro - with the sonic masterpiece of his hypnotic Mockingbird' remix.

This new series on Expansion explores classic and exceptional 70s and 80s 'modern soul room' tracks making them available on 7' single for the very first time.

The Moments were a prolific sweet soul group in the 70s, signed up by Stang Records and regularly in the charts. They comprised vocalists who would later become Ray, Goodman & Brown. As The Moments their first US R&B No.1 was Love On A Two-Way Street' in 1970 and in the UK were best known for Nine Times', Dolly My Love' and Girls'. When they changed labels, a handful of songs were left unissued including the incredible Sleep Won't Come', first released as a CD bonus tracks on a 2CD Moments anthology Moments To Remember'. Interest in the songs has become high since that time resulting in an inevitable debut release on vinyl here on Expansion.

The B side is one of the group's most underrated gems.

LTD. FULL COLOUR SLEEVE 12' (500 COPIES ONLY) INCLUDING FULL RE- LEASE DOWNLOAD
Fantasma, the latest project of South African innovator and creatve pioneer Spoek Mathambo, is a fve-man collectve which weaves together electronica, hip-hop, traditonal Zulu maskandi music, shangaan electro, South African house, psych-rock and punk to form a unique, original and fresh hybrid.The godfather of 'Bacardi House', producer DJ Spoko joins with former Machineri guitarist André Geld- enhuys, drummer Michael Buchanan and maskandi mult-instrumentst Bhekisenzo Cele to complete
the line up. Fused by Spoek Mathambo's futurist vision, Fantasma pulls inspiraton from all corners of South Africa:
the sounds and spirits of townships and cites as well as the rural countryside. It is diverse not only in its membership but also in its forward-looking music. The band will be in the studio this summer recording their debut LP set for release early 2015. Watch
this space.

Driving weirdo techno, warm melodic acid and daring sound experiments - Killekill welcomes a new duo on board: SKEW & SATIRIST are Max Cooper and Gareth Williams who met in the Not- tingham, UK club scene in the early 00s, living together for a number of years, leading to an effec- tive collaboration.
Max learnt production from sitting and watching Gareth in the studio, Max helped show Gareth the way with his DJing. Both became successful in their solo projects, Max as a regular guest
on stages all over the world, Gareth starting a music technology business with partners such as Richie Hawtin, John Acquaviva or Daniel Miller.
Over the years the musical collaboration between the two friends has continued in the background and they've finally found the time to bring it to fruition and start this project for their darker, more extreme and twisted techno which has been lying dormant over the years.

Mint copies direct from the Knotweed vault, originally released in 2014, still relevant today

2025 Repress

Midnight In Tokyo 2, the second installment to the compilation series that rounds up hidden gems by Japanese artists that's perfect for listening at night in Tokyo, is here. This time the collection brings together some tasty electric jazz fusion from the '80s , compiled by Dubby, the man behind the online record store Ondas.

The compilation begins with "Hikobae," a dark and slow cosmic jazz by saxophonist Genji Sawai, followed by "Danza Lucumi," an odd Caribbean-style jam by Today's Latin Project, a band fronted by Tadaaki Misago of Tokyo Cuban Boys, with arrangements by Yasuaki Shimizu. "On The Coast" is a soulful and mellow vocal track arranged by Ryuichi Sakamoto, from guitarist Shigeru Suzuki's album White Heat, and fusion boogie cut "In The Hot City" is by Mr. Theodore, which was a one-off project by a mysterious artist.

The melancholic soul jazz number "So Long America" is the title track from the album Yasunori Soryo released in '82, following a stint in America with the band Brown Rice. "Twisty" is a tropical reggae tune from the album Samba Kathy, an underrated classic by Jugando which was released on Trash, a sublabel of one of Japan's finest jazz labels, Trio. "Samarkand" is an electric Latin jazz jam that sounds like something Miles Davis and Santana could have played on, performed by a Latin funk band from Fussa. "Imagery" is a primal African fusion track by Katsutoshi Morizono, a member of the prog rock band Yoninbayashi.

"Windmill" is the most acoustic sounding tune on this compilation, a breezy Brazilian affair with a Hermeto Pascoal feel. "Mystery Of Asian Port" is by the band Parachute, which consisted of Japa-nese fusion giants like Akira Inoue, Tatsuo Hayashi and Masaki Matsubara. The cosmic jazz record sounds like something Daniele Baldelli would play in his sets. "Bay Sky Provincetown 1977" is a classic Japanese fusion tune by guitarist Yuji Toriyama.

The set also features the mellow but danceable "Heatwave" by keyboardist Keiichi Oku, featuring a female vocalist (which some have identified as Rie Ida), and last but not least, closing out the 13 track compilation is "Day Dream At The Bob's Beach," a wonderful urban fusion with a beautiful vibraphone melody, from the Japanese fusion classic album that was a one-off project by studio musicians

In the world of electronic dance music, Âme stand apart. Since 2003, the duo of Frank Wiedemann and Kristian Beyer have cut a singular path through techno, house, minimal, ambient and more with their anthemic singles and mixes. But 2018 reveals their finest achievement yet, their debut full-length album Dream House. It both sounds unmistakably like Âme and unlike anything you've ever heard from the duo, an evocative home listening journey enacted after 15 years spent crafting dancefloor weapons.

The sixth and final part of Eel Behaviour is here. Opening up with the pacy, acid-tinged power of Panmella Calix's "Tip", you could be forgiven for thinking that this dancefloor destroyer out of Scandinavia was made in the mid-nineties (and you could be right!). Suneel Shark's "Blunt But Fair" got lost in the Irish Sea many times before we finally reeled in the DAT on a fishing trip close to Portmarnock. The Arctic Ocean resident sprung out of the water on this one, in naturally fast and slippery style.

On the flip, French techno supremo Zadig delivers an acid-rave-breakbeat combo on "Red Eye", recalling the early era of labels like UR, Missile and Synewave, and creating a massive bomb in the process. That then brings us to Jon Hussey, who wraps up the record with an expert slice of bubbling, trippy acid. "Engine Brood" and its hypnotic properties transport us to another dimension, and the end stop on our Eel Behaviour journey. As ever, artwork is from Adult Art Club's Jonny Costello, with this one coming on clear vinyl.

What if we took you back to your untroubled teenage days, when all seemed complicated and easy to reach at the same time That is exactly what Cassius managed to transpose in 15 Again: a carefree music, coloured by some deep songs; like an emancipated soul, but always tormented. The hit 'Toop Toop", sampled by Madonna or David Guetta, among others, and the intense 'La Notte' illustrate perfectly this state of mind of the youth. Pharrell Williams is present on the song 'Eye Water", a beautiful ode to our planet and its natural resources, and Cassius has got further exciting surprises for you. We're releasing their third album once again for this summer, a real shot of freshness to relieve you from the heat!

The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist/singer Anton Newcombe. Since 1995 The Brian Jonestown Massacre has released numerous albums, first for Bomp! Records, the label which gave them their start, and later for TVT and Tee Pee. BJM has been essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of The Black Rebel Motorcycle Club.

XL Recordings is proud to mark the 10th anniversary of Archy Marshall’s (aka King Krule) A New Place 2 Drown with the release of a newly remastered instrumental edition.
Originally released on 10 December 2015, A New Place 2 Drown remains a singular entry in the Archy Marshall catalogue. Known to many for his work as King Krule, Marshall released A New Place 2 Drown under his own name, highlighting a different facet of his creative identity. An atmospheric blend of submerged beats, woozy textures, and diaristic storytelling, the project earned widespread acclaim upon release, including Pitchfork’s Best New Music.
Developed in parallel with a visual world shaped with his brother and longtime collaborator Jack Marshall, the quietly influential project stands as a multidisciplinary love letter to their home of South London, originally released alongside a Will Robson-Scott–directed short film and a book of artworks, photography, and poetry by the Marshall brothers.
The 2025 instrumental edition offers a newly illuminated perspective on the record’s sonic core, drawing fresh attention to the production craft that underpins the project. By stripping the songs back to their foundations, the release highlights the intricate textures, rhythmic detail, and atmospheric depth that have helped A New Place 2 Drown grow into a cult favourite over the past decade.
“A New Place 2 Drown evokes a septic world filled with flickering halogen bulbs, sticky synth keys, and corroded outputs. Marshall has made tremendous strides as a producer, gorgeously reproducing the gloom and loneliness of early '90s hip-hop and finding a way to integrate it into his own style.” - PITCHFORK

repressed !

Repress!

Classic set of Lloyd Coxsone produced tracks by Fred Locks & The Creation Stepper. Heavy late 70s roots hammered by the likes of Coxsone and Shaka in their heyday.

- 180 GRAM AUDIOPHILE VINYL
- RANKED FIRST IN ALL-TIME TOP TEN LIST OF SHRED ALBUMS BY GUITAR WORLD MAGAZINE
- LIMITED EDITION OF 1.000 NUMBERED COPIES ON GOLD VINYL

Rising Force is the first studio album by guitarist Yngwie Malmsteen, released on 5 March 1984 through Polydor Records. The album reached No. 14 on the Swedish albums chart, No.
60 on the US Billboard 200, and received a nomination for Best Rock Instrumental Performance at the 1986 Grammy Awards. It is regarded as a seminal release in the shred and neoclassical metal genres.

Steve Huey at AllMusic gave Rising Force four stars out of five, calling it 'a revelation upon its release' and 'The true inauguration of the age of the guitar shredder'. He praised Malmsteen's technique and 'blinding virtuosity', as well as highlighting 'his obsessions with Bach, Beethoven, and Paganini'.
In a 2009 article by Guitar World magazine, Rising Force was ranked first in the all-time top ten list of shred albums. The staff wrote: 'Yngwie J. Malmsteen was, is, and always will be the greatest shredder of all time. Hell, he invented the genre with his debut.'

Black Star' and Far Beyond the Sun' have endured as two of Malmsteen's most popular songs, as well as being staples of his live setlist. In a 2008 Guitar World interview, Malmsteen said of the two songs: 'I'll probably play Far Beyond the Sun' and Black Star' until the day I die.'

Warp have announced a vinyl reissue of The Other People Place's Lifestyles Of The Laptop Café.

The much sought-after LP from Drexciya's James Stinson has been hard to come by for many years, and is rightly considered to be one of the very best electronic albums of all time.

'Hear what happen now! We used to punch the juke box lunchtime... Me and me friends had a kinda thing like the juke box was our sound system and we'd use our lunch money to play the baddest tunes on the juke box.

We were aided and abetted by a kinda dodgy little shop keeper cause we were kids and we were in the rum bar punching the juke box when we weren't supposed to be allowed! So we were breaking all the rules... punching the juke box and taking turns to play the wickedest tunes in the juke box...' - Ossie Thomas.

Breaking rules from the outset Ossie Thomas had furthered his childhood fascination with music while still attending Oberlin High School and many more rules would be broken when together with Phillip Morgan he set up the Black Solidarity label in 1979 on Delamare Avenue deep in the heart of the Kingston ghetto...

'I used to tell people that dance hall was like styles and fashions, if you have a wicked style and you have the fashion you go make it in the dancehall... You understand... - Ossie Thomas.

New 9-track EP and inaugural release from Detroit label 100 LIMOUSINES.

A fixture in the Detroit DJ world—Todd Modes has spent the last decade quietly releasing music on Going Good, FIT Sound, Golf Channel, M1 Sessions, Still Music, Fat Finger Cosmic, and Detroit Electronic Quarterly. Inspired by the birth of his son and the death of his grandfather—New Life is a deeply personal meditation on the cycles of life and time. An examination of the past and present assembled from recordings spanning the last 20+ years—this EP is an outstanding representation of Modes musical depth and artistic purpose—a prime example of the quality to be expected from 100 LIMOUSINES in the future.

Out now for the first time on vinyl! The world first heard Pill on their self-titled cassette release on Dull Tools. And the world took note. Evan Minsker, writing for Pitchfork, says 'they are loose with form, they pack in a lot of ideas, and they successfully deliver an emotionally complex narrative where joy is accompanied by an impossible-to-ignore undercurrent of danger. The band's debut outing is enigmatic—a Dull Tools record through and through—but it's also well crafted, full of stellar performances and unflinching lyrics.'
The band then signed to Mexican Summer, releasing their debut LP. Shortly after, prolific in a way that has become a hall- mark of Dull Tools artists, they release another cassette, 2017's 'Agressive Advertising'. If one thought the self-titled cassette couldn't get more acerbic and confrontational, Agresstive Advertis- ing proved them wrong.
Now both releases are available on one LP. This LP is an important document of New York City's DIY scene and one of the best bands to emerge from it. Pill are an ever present force in NYC's scene. Playing small clubs like Baby's All Right, DIY spaces like Silent Barn and even the Museum of Modern Art. When the art and culture of New York is examined in, much in the way we examine culture from the past, you can bet that Pill will be a shining example of this moment in time.

With a hybrid jazz based on African grooves, Ethio-oriental melodies and psychedelic dub this Belgian five-piece creates an atmosphere where ancient and modern sounds fuse into a powerful, hypnotic and groovy sensation.

Receiving critical acclaim for their second album 'Artifacts' (2017), the Belgian quintet are pleased to announce the release of their much-anticipated third album entitled 'Future Flora', released 12th April via Sdban Ultra on vinyl / cd / digital.

Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Echoes of Zoo), the input of notorious musicians, drummer Simon Segers (MDC III, De Beren Gieren, Stadt), cornet player Jon Birdsong (dEUS, Beck, Calexico), keyboardist Wouter Haest (Voodoo Boogie) and bassist Filip Vandebril (Lady Linn, The Valerie Solanas) leads to the specific universe that only Black Flower is able to create.

Where debut album 'Abyssinia Afterlife' (2014) and 'Artifacts' (2017) bathed in an atmosphere of psychedelics, mythical figures, ancient sounds and modern cultures, new album 'Future Flora' refers to the power of plants and their importance for the future.

"'Future Flora' is a metaphor for the importance of feeding and watering powerful and revolutionary ideas and initiatives that can save our world. You can compare it with plants that fight between the paving stones of the city for their future. These "urban warriors" need water to survive and grow. Their future and ours depends entirely on how we look at the plant world", says Daems.

Black Flower's musical cross-pollination of sounds and rhythms remain on 'Future Flora', but there is still room for a more Western touch with Romanian and Maloya (Réunion) influences. Daems developed his own arrangements where Western, Oriental and Ethiopian scales and chords are fused together to create a real mix of traditional instrumentation and modern electrical vibrations.

The strong underlying groove is omnipresent, but the room for psychedelics, folklore and experimentation grows. Songs like new single 'Hora de Aksum' combine modern western rhythms with doses of Balkan eccentricities while 'Future Flora' takes you on a psyche-delicious 21th century Ethio-dub-jazz trip with echoes of Mulatu Astatke and Fela Kuti.

"The general feeling that dominates is that of strength and perseverance. The feeling that we have to fight for our future and that we have to do it now! The whole album is interspersed with this atmosphere and sounds swirling, haunting and ecstatic. For those who once saw Black Flower live at work, this energy will be extremely recognizable", he adds.

The story of 'Get Tragic' can be traced way back to the relentless gigging off the back of their 2014 self-produced and self-titled record, when the heels finally fell off of Blood Red Shoes at the end of that same year. A near-decade of incessant road time and a non-stop pace of life finally took its toll, with the band stopping only to quickly hammer out 'another ten songs' to release as their next record, before ploughing straight back into touring. The pair exhausted themselves to the point of collapse. 'We didn't, at any point, have a breather,' says Steven Ansel (drums and vocals), 'We probably didn't see each other for about 10 days a year, tops, for six or seven years.' Understandably, such incessant close proximity led to implosion. 'We got the to the end of the fourth record and were like, 'F**k you, I never want to see you again','Steven adds, half-laughing, half-sighing.

In the last few years London has become the centre of the Jazz Renaissance. A

new burst of energy and attitude brought by young musicians, equally inspired

by the likes of John Coltrane, Pharaoh Sanders or Sun Ra, as well as

Madvillain, J Dilla, Flying Lotus and Floating Points, has brought a welcomed

freshness to the London Scene. This exciting new environment brought a group

of young musicians together, all with a mutual desire to discover a new form of

expression. Together they created Cykada.

A selection of demos, remixes, bonus tracks and practice sessions (including revealing recordings of the very first band rehearsal) from Corduroy. Some thought lost, some over-looked but all very rare.

Due to overwhelming demand for our 5LP boxset which sold out on the day of release, here are the first ever official individual re-issues of all five of the iconic Lansdowne recording sessions by the legendary UK jazz combo, the Don Rendell/Ian Carr Quintet.
The five albums; Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969), have reached almost mythical status in the collector's world. Regarded as holy grail artefacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000.
The complete Don Rendell & Ian Carr Lansdowne recording sessions are now available as individual LPs. We located and acquired the original analogue master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180g pressings replete with replica artwork - shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labour of love to the highest possible standard! Inside is a link to a printable online pdf which contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Don Rendell, trumpeter/composer Ian Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest and is a treasure not to be missed.

Als in den Neunzigern Punk durch Bands wie Green Day und The Offspring sein großes melodisches Revival
erlebte, bedeutete das auch den endgültigen Durchbruch für NOFX. Das kalifornische Trio hatte sich schon
1983 gegründet, schuf 1994 mit "Punk In Drublic" einen bis heute unvergesslichen Skatepunk-Klassiker und
avancierte spätestens mit seinem siebten Studioalbum, "So Long And Thanks For All The Shoes", zum
Punkrock-Schwergewicht. Im Gegensatz zu vielen anderen Formationen weigerten sich NOFX jedoch
resolut, Kapital aus dem wieder erwachten Interesse an Punk zu schlagen. Angebote von Majorlabels wurden
daher konsequent ausgeschlagen. Bis "Pump Up The Valuum" im Jahr 2000 auf den Markt kam, standen
NOFX bei Epitaph unter Vertrag, dann wechselten die Kalifornier zu Fat Wreck Chords, dem Label von
Bassist und Sänger Fat Mike. Zum Ausstand veröffentlichte Epitaph 2004 die Kompilation "The Greatest
Songs Ever Written (By Us)". Die Zusammenstellung enthielt Evergreens wie "Linoleum", "Reeko", "All Outta
Angst", "Bob", "Leave It Alone", "180 Degrees", "Kill All The White Man" oder "The Longest Line" in neu
gemasterten Fassungen. Epitaph bringt die Sammlung nun erstmals auf Vinyl heraus.

Special remarks : 12' Vinyl +Downloadcode Tracklist 12: A1 Take A Moment A2 Action And Reaction B1 Eye Contact Info text: Dub and acid are the words as Marlon Hoffstadt goes deep on 'Simple Communication' the sixth EP in his Midnight Themes series. The Berlin producer has maintained a busy release schedule in 2018 and is intent on carrying through into 2019, starting with three tracks that fly the flag for his current sound: deep, dubby and subtly euphoric. Opener 'Take A Moment' is a finely tuned piece of weighty dubbed out techno with whiffs of vintage pool parties and a lonely acid line creepin'n'bleepin on the horizon. 'Action and Reaction' harks back to the 90s, rolling out waves of pads and melodies that ascend and descend while a mean old bassline keeps proceedings on track. Clocking in at 11 minutes, the two act play of 'Eye Contact' closes the EP on a blissed out note.

In 1991 Baritone Tiplove released the highly acclaimed 'Young Ladies Drive Me Crazy' 12' on Easy Street
Records introducing the world to the bizarre minds of this fictional duo. The 12' was well received and
followed up by the cassette only LP 'Livin Foul' which has gone on to be a highly sought after rarity and has
even been called the greatest cassette only rap album. In 2017 Diggers With Gratitude released the first of a
planned three part series of unreleased Baritone Tiplove material, recorded across the late 80's and early 90's.
Now, in December 2018, In Effect Recordings and Diggers With Gratitude are proud to announce the second
EP in this series.
Many people know Baritone as the alter ego of the multi-talented Phill Most Chill (aka Soulman) who has been
enjoying somewhat of a resurgence in popularity of late amongst hip-hop vinyl fanatics. Recent collaborations
with DJ Format ('The Foremost') and Paul Nice ('The Fabreeze Brothers') have been widely acclaimed, as
have his numerous guest appearances, and our previous release of vintage material from Phill, 2011's 'All
Cuts Recorded Raw', remains our best selling release to date and is now highly sought after. Suffice it to say
we expect these to sell out quickly, don't say we didn't warn you!

'I'd always wanted Midlake to experiment more
with the arrangements, or to get more into
psychedelic textures,' says Paul Alexander, the
bassist from Denton prog-folk voyagers Midlake.
Those ambitions are fulfilled on 'Astropsychosis',
Alexander's debut album as Two Medicine,
released via Bella Union.
Richly ambitious in its sonic colour and conceptual
reach, 'Astropsychosis' is an album of luminous
space and mindful grace, its depths and details
coaxed into orbit with the lightness of an artist in
his element.

Authors of the 4th release of the Mosaique label are the project Savage Ground, known for its works on Lux Rec, Pinkman Broken Dreams and Enfant Terrible. The project hides two people - Daniele Cosmo (owner of Lux Rec) and CCO (who's already participated in the first V/A ""Universe""). ""In not"" is a mixture of synth wave, analog distortion, experimental dance electronic music and vocals. The EP contains 4 tracks that divided the two sides of the plate into two different moods. This is a vinyl release without digital sales and repress.
Limited edition, vinyl only, A&B Sides - 33RPM.

Black Helicopters is Agnarkea (Keaton Transue); a 20 year old producer from Richmond, Virginia, whose debut album is forthcoming on Manchester-based label, Natural Sciences.

Originating out of the WaistDeep Clique (a cell of emerging hip-hop crews operating out of the Southern United States) and recorded on budget equipment, across it's near two hours and extended 23 tracks, the project seeks to un-package homegrown 'conspiracy theories' (MK Ultra, Black Helicopters, The Deep State, Black Sun, Waco Texas) and use this web of extended source material to make sense of day-to-day life in Trump's America, police oppression of black neighbourhoods and the systematic suppression of mind-enhancing drugs.

Anders Trentemøller's career is a travel-heavy one, with his touring schedule taking him pretty much all over the world. But it's his home port that's inspired his latest project, the sprawling, stunning compilation mix 'Harbour Boat Trips Vol. 02: Copenhagen'. Clocking in at just over an hour long, the compilation sees Trentemøller curate and craft sixteen songs into a heavy, hazy mix that ranges from shoegaze to electronica, featuring both familiar and celebrated artists like A Place to Bury Strangers (with a new Trentemøller remix) and Slowdive to more obscure finds, as well as Trentemøller's own tracks and remixes, most notably a brand new Trentemøller cover of Neil Young's classic 'Transformer Man'. The mix sees him pick up a thread he left off earlier in his career. In 2009 he put together 'Harbour Boat Trips - 01: Copenhagen', a compilation mix comprised of his favourite music, both Danish and international, from across four decades, loosely inspired by the motion and movement of Copenhagen's busy harbour. Closing in on a decade later, we're getting the second edition, with 'Harbour Boat Trips - 02' arriving this November.

Bastard Jazz is proud to present the next installment of our long running Tempo Dreams compilation series. As with previous volumes of the compilation, we've tapped an established artist that we're big fans of to shine a light on their personal favorite producers, and compile an album up of all unreleased music from emerging & underrated young talent. And with Volume 5, we're happy to welcome in the Los Angeles based but globetrotting selection of Free The Robots.

Rooted in Santa Ana, CA, Chris Alfaro aka Free the Robots has spent over a decade taking his craft to audiences around the globe. Known as one of the pioneering artists to come out of LA's infamous beat movement, the energy and technical skill behind his live performances have landed him among the greats, sharing stages with Dj Shadow, Prefuse 73, Flying Lotus, to Afrika Bambaataa. Crafting stories to tell with his ever-evolving solo project Free the Robots, he has always had the ability to jump in and out of other worlds inspiring a unique signature sound that hints at jazz, psych, electronic, and hip hop, while remaining un-genre-fiable.

Staying almost permanently on the road, Chris has come across an array of artists and scenes around the world. Different tours and temporary living situations have landed him in the middle of both the DIY underground and more mainstream clubs and stages. Some artists he's connected with have either kept it proudly local or breached international borders. Underrated, unknown, or already on the brink; these are just a few of the people that have crossed paths with Free The Robots. He's chosen these songs as a representation of some of the vibes that inspire his music: Jazz, Psychedelia, Dirtwave, Beats, and a little bit of Future Funk make up Volume 5 of his Tempo Dreams series.

As with all previous volumes, the compiler has produced a track exclusively for the album, which Chris delivers in the bass heavy, South East Asian vibes of "Nasi Goreng" (also available on a limited edition 7" with another unreleased FTR track). Other producers included on the album include Mophono, Never Ending Echo, Kuromoji, RSI-MSK, The Breathing Effect, Cazal Organism, Lefto, Chubby Boss, Caliph8, TITLE, Nois IV, The Heavy Twelves, Mu. and Markey Funk.

The neon lights that decorate a dive bar's window cast a vivid reflection in rainwater on the pavement outside, as steam rises from deep beneath the ground. A slow pan across the scene, past alleys cast in shadow, twilit corners & glass doorways streaked with the mist of humid bodies fuming inside: the camera catches the denizens of an unnamed city, studying faces heavy with secrets too sad to bear. Cut to the motorway. Sleek cars barrel through the night. Sirens moan. Engines rev. You're behind the wheel, over the edge as the credits roll.

This film does not exist — but the soundtrack does. Symmetry is Johnny Jewel & Nat Walker, & Themes For an Imaginary Film is their two-hour cinematic opus pokus, a sprawling score for a movie that screens only in your mind. A 'conceptual tangent between Glass Candy, Chromatics, Mirage, & Desire's more abstract sides,' as Jewel himself describes the project, Symmetry is a vigorous, electric, restless exploration of ideas on the bleeding edge of instrumental sound. Analog synthesizers roll and crest, drums collide, keys cascade clear & crystalline. These themes evoke the phantasmic images that inspired them: urgent and ethereal, sinister & romantic. It's a neo-noir epic of pink fog & femme fatales hidden behind rain drenched windshields after dark.

Produced By Johnny Jewel & Nat Walker

Beautiful 1 Lp Edition With 140g Vinyl, Stoughton Tip-on Sleeve, Liner Notes (english & Japanese) By Chee Shimizu, Sticker Official Reissue Of Diggers' Favorite Colored Music Available On Vinyl And Cd Or The First Time Since 1981. Genre: Electronic, New Wave, Pop, Synth, Experimental Wrwtfww Records Is Deliriously Happy To Announce The Reissue Of The 1981 Self-titled Album From Cult Japanese Duo Colored Music, Available On Vinyl (housed In A Stoughton Tip-on Sleeve) And Digipack Cd, With Liner Notes By Digger, Curator, Connoisseur, Writer And Legend Chee Shimizu. An Incredible Mix Of Cosmic New Wave, Unconventional Disco, Avant-garde Synth Pop, And Hybrid Electronic Funk, Colored Music Is Enchantingly Unique, A Sort Of Experimental And Magnetizing Take On David Bowie's Berlin Trilogy With A Psychedelic Haruomi Hosono Touch. From The Groovy Post-punk Glam Title Track To The Proto-house Dance Floor Killer heartbeat", Ichiko Hashimoto And Atsuo Fujimoto Hit All The Right (and Sometimes Not-exactly-right-but-truly-genius) Notes To Create The Odd And Beautiful, An Unparalleled Audio Escape To The Best Elsewhere You Can Think Of. Also Playing On The Album Are Celebrated Musicians Mansaku Kimura, Shuichi ponta' Murakami (pacific, Ki-motion By Mkwaju Ensemble, Collaborations With Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono...) Kiyohiko Semba, Tamio doyo' Kawabata, And Tatsuhiko Hizawa.

Ltd Edition!

Battle Lines Ist Das Zweite Album Von Bob Moses. Es Folgt Dem Debütalbum "days Gone By" Das Ende 2015 Veröffentlicht Wurde Und Zu Einem Auftritt In Der Ellen Degeneres Show, Zwei Nominierungen Bei Den Junos Und Den Grammys (und Einem Grammy-gewinn) Und Einem Top 15 Us Alternative Radio-hit Mit Der Single "tearing Me Up" Führte. Ineinandergreifende Gitarren-licks, Dancefloor-ambiente Mit Lyrischer Tiefe Und Klassischem Songwriting, Der Sound Von Tom Howie Und Jimmy Vallance Spricht Clubbesucher Und Rockmusik-fans Gleichermaßen An. Das Neue Album "battle Lines" Baut Natürlich Auf Dem Vorgänger Auf, Verstärkt Aber Den Groove Und Die Unmittelbaren Chöre, Um Eine Platte Mit Zukünftigen Hymnen Zu Liefern.

Battle Lines Wurde Von Bob Moses In Los Angeles Geschrieben Und Aufgenommen Und Von Lars Stalfors (health, Local Natives, Cold War Kids) Koproduziert.

- Keyfacts: Bunt Marmorierte Heavyweight Doppel-lp In Gatefold Sleeve Mit Mp3-downloadcode

MTD comes back on his own Methodical, with an 8 track album, 6 on white colored vinyl and two digital bonus. 'From The Heart' represent MTD in all his potential, from mental to deep to heavy. Enjoy the journey.

Ein Schlussakt voller Dissonanzen, Spannungen und Unklarheiten mit süchtig machendem Potenzial.

Der aus Kanada stammende und in Europa lebende Pianist, Entertainer und Grammy-Gewinner Chilly Gonzales ist für den innigen Klavierklang seiner Erfolgsalben "Solo Piano" (2004) und "Solo Piano II" (2012) ebenso bekannt wie für seine Selbstdarstellung auf der Bühne und Kompositionen für preisgekrönte Stars wie Jarvis Cocker, Feist und Drake. "Gonzo", wie ihn engste Weggefährten nennen, strebt stets danach, ein Mann seiner Zeit zu sein. Er nähert sich dem Klavier auf der Basis einer klassischen und jazzmusikalischen Ausbildung - aber mit der Haltung eines Rappers. Wie die beiden vorangegangenen "Solo Piano"-Alben findet auch die dritte Folge ein glückliches Ende in C-Dur, doch auf dem Weg dorthin finden sich mehr Dissonanzen, Spannungen und Unklarheiten als früher. Denn mittlerweile ist es Chilly Gonzales egal, ob seine Musik gefällt oder nicht, und damit werden falsche Noten auch nicht mehr glattgebügelt. Dadurch erhalten seine geheimnisvollen Akkorde und seltsamen Strukturen einen solchen Suchtfaktor, dass sie schließlich wie unvermeidlich klingen. Im Gegensatz zu den ersten beiden Editionen ist die musikalische Reinheit von "Solo Piano III" kein Gegengift für unsere Zeit, sondern reflektiert all das Schöne wie auch Hässliche, das uns umgibt.

Halleluja Mystic Garden contains two long sides of blissed out, super tight AMT jams that somehow stretch into the future while staying strongly rooted in the group's celebrated psychedelic history. Hallelujah!, another essential AMT classic including vocals from Cotton Casino ! First pressing of 500 copies. Packaged in a heavy duty single pocket sleeve with silver metallic inks. Part 2 will be released later this year on Important Records.Cotton Casino : voice, astral mama
Kawabata Makoto : guitar, fretless bass, bouzouki, organ, rhythm machine, electronics, tapes, speed guru Higashi Hiroshi : synthesizer, noodle king Mitsuko Tabata : guitar, guitar-synthesizer, voice, kisses & hugs Satoshima Nani : drums, another dimension S/T "Wolf" : bass, tapes, space & time recorded at Acid Mothers Temple, Jun. 2016 - Mar. 2017 produced and mixed by Kawabata Makoto