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*INSTOCK AND SHIPPING* The North-West’s legendary electro-prog-pop experimenalists a.P.A.t.T. are back with their first studio album in 6 years. a.P.A.t.T. are an English ensemble generally known for their avant-garde music and multimedia works. Redefining notions of failure and success with electronic art pop. Since their first release, (e.p.) in 2002 a.P.A.t.T. have released over 7 albums, numerous singles, 100’s of music films; received commissions from a Smörgåsbord of leading arts organisations, created a feature-length film and even starred in and composed for a BBC TV Sitcom. The last album Fun with Music (2016) saw the band more refined and focussed than ever… “Their most accessible work yet..in a freaky kinda way” said BBC’s Stuart Maconie. This album discusses the ‘I’ the ‘WE’ and the confusing notion of self. 6 years since the release of the last a.P.A.t.T. album and the world seems to have changed. “It’s different now” muses General MIDI when asked, “We were all doing something pretty similar in some respect. We changed. We struggled. We adapted. We grew. We felt more collective than ever…maybe?” ‘We’ is an adventurous collection of passing thoughts, barely laughable references, pop songs andsonic experiments. It’s a look at people. It’s a look within.

A cult icon on the international film scene, Japanese actress Meiko Kaji, born in Tokyo, has been put into the spotlight internationally by Quentin Tarantino when he heavily based his Kill Bill film on the 1973 revenge genre film 'Lady Snowblood,' one of Kaji's most famous films. By the time she appeared in it, she had already made almost fifty feature films (she began her career in 1965) among which the cult 'Stray Cat Rock' and 'Female Prisoner Scorpion' film series and she was one of the most famous exploitation actresses in Japan doubling as a sex symbol. This gave the studios the idea of getting her to start a singing career and release music closely associated with the films she starred in often singing the theme songs. Thus she began releasing records at the dawn of the 70s, recording several 7" singles and five albums for Teichiku which have become sought-after and almost as cult as her films.
Drawing on her film roles, the music on these albums were an uber-cool mix of kayokyoku (Japanese Pop), traditional Enka Music, Acid Folk and Funky beats arranged by the best producers of the time in a cinematic way that could sound like Ennio Morricone or Jean-Claude Vannier. that explosive cocktail is featured in full blow on the first album from the Meiko Kaji reissue program, 'Hajiki Uta' released by Teichiku in 1973.
The album featured two film songs, namely 'Urami Bushi' used for the film series "Female Prisoner Scorpion" and 'Onna No Jumon' featured in the film 'Female Prisoner Scorpion - Jailhouse 41,' which have been composed by Shunsuke Kikuchi who also composed the score for these films. At first Kaji was unsure of her singing talents as told to Hashim Bharoocha in an interview but she quickly rose to the challenge: "I told Shunsuke Kikuchi that I couldn’t imagine myself singing the songs. He said I could ignore the melody that he wrote, and just sing it the way I wanted to. That really lifted the pressure off my shoulders, and I decided to sing the song as the character in the film. The director was also happy with that idea.”
The rest of the album follows the same pattern with atmospheric songs such as "Onna Hagure Uta" or "Onna Somuki Uta" displaying Meiko's sombre singing over a superb slow-burning groove, which precedes the funkier "Hitori Kaze" featuring a wah wah guitar, a breakbeat-like rhythm section and slick string arrangement, shaping the unique Meiko Kaji signature sound.
Wewantsounds is delighted to reissue "Hajiki Uta" and the rest of Meiko Kaji superb early 70s albums for the first time in fifty years in their glorious original Japanese artwork, with remastered audio, cementing further the actress' reputation as a true international pop culture icon.

LP from 1980 re-release in the Reggae Rewind/17th North Parade series - the one and only album for producer Joe Gibbs that Jacob Miller (r.i.p. 23.03.1980) did.

He got known in 1974 as the main Augustus Pablo protegee, and became the lead singer for Inner Circle in their best times, he is also starring in the Reggae cult movie 'Rockers'.

Since relocating to Brazil some years back, Needs Music co-founder Lars Bartkuhn has returned to his long-held love of musical improvisation. Although it’s a product of his jazz roots and classical training, the German producer has constantly found new ways to apply it to his work in the sphere of electronic music.

‘Dystopia’, his first solo album for almost nine years, was born out of two interlinked ideas: a desire to create improvised music without the aid of computer sequencers or an electronic drum set, and a deeply held love of storytelling through sound. Bartkuhn set to work improvising with modular synthesizers, acoustic instruments and hand percussion, later adding light-touch overdubs to a handful of pieces. When he listened back to the recordings, an aural narrative emerged, and you’ll hear it if you listen to the album from start to finish, as is intended.

As you’d expect from a musician and composer of Bartkuhn’s undoubted ability, ‘Dystopia’ is a stunning album – an undulating, expansive ambient journey packed with emotional resonance. While Bartkuhn naturally sees it as a logical progression of his previous ambient-leaning work with Kabuki as The First Minute of a New Day (and particularly their self-titled 2020 album Séance Centre), ‘Dystopia’ also features subtle nods to many of his long-held musical loves, including John Hassell’s ‘fourth world’ recordings, the impossible-to-pigeonhole 1970s catalogue of deep jazz imprint ECM, and the far-sighted American minimalism of Terry Riley and Steve Reich.

The album’s emotional depth is evident early on, with the slow-burn title track – all bubbling electronics, billowing chords, clarinet-style notes and gently strummed guitars offering the most melancholic and bittersweet of openings. The becalmed ‘A Drop Of Water In The Ocean’ follows, with discordant aural textures and hand percussion mimicking the rolling ocean, before ‘Largo (Calm Before The Storm)’ hints at unsettling times ahead.

‘Water and Warm Air’, the only track on the album whose starting point was not Bartkuhn’s cherished modular set-up, bleeps and bubbles across the sound space, adding a starry and otherworldly slant to proceedings, while ‘Disembodied Journey (Parts 1, 2 and 3)’ is a sublime, slowly unfurling journey in three movements – all Tangerine Dream style synthesizer motifs, Pat Metheny-esque guitars and jazz-fusion instrumentation.

So the album continues, with the poignant warmth and looped motifs of ‘Still Existing’ and the sparse, dubbed-out minimalism of ‘Do You Know How To Get Out?’ – a kind of 21st century jazz-fusionist’s take on sparse electronic hypnotism – giving wat to closing cut ‘Into The Waves’, a gentle combination of undulating electronic arpeggios and echoing instrumentation that offers a hopeful and undeniably picturesque conclusion.

Fittingly, the album cover features a painting by the late Dutch artist Franz Deckwitz (1934-94), whose images of alien landscapes were used by Phillips on a series of music concrete compilations. The image featured on the cover of ‘Dystopia’, depicting a deep blue ocean and shoreline, was painted by Deckwitz in Amsterdam in the late 1970s and inspired by a trip to the island of Ponza, Italy.

Matt Anniss

Dutch Eurodance group 2 Brothers On The 4th Floor was founded in 1990, when the two brothers Bobby and Martin Boer started experimenting with music in a small bedroom in their parental apartment on the 4th floor.

In 1995 and 1996, 2 Brothers on the 4th Floor further widened their success with the singles “Fly (Through the Starry Night)”, “Come Take My Hand” and “Fairytales”, changing their style to happy hardcore. These singles topped the charts in various European countries. At the end of 1996, the band released the single “There’s a Key” and their second studio album 2.

2 is available on vinyl for the first time as a limited edition of 1000 individually numbered copies on crystal clear vinyl. It includes remixes by Ferry Corsten and Charly Lownoise & Mental Theo.

Limited Edition Clear 12” Vinyl Single (1 x 12” clear vinyl in sleeve). Soft Cell’s 2022 return with ‘*Happiness Not Included’, featuring hit single ‘Purple Zone’ with Pet Shop Boys, has proven to be well worth the 20 year wait, with the album receiving a deluge of critical acclaim as it raced into the UK Top 10 - making it their highest charting studio set in almost 30 years. ‘Light Sleepers’ was a ‘*Happiness Not Included’ highlight and band favourite, accompanied by a video directed by Charlie Ann Max and starred esteemed performer and winner of season 7 of the American RuPaul's Drag Race, Violet Chachki, as a young Marc Almond. Available on limited edition 12” clear vinyl, this release features new mixes of the track by The Grid. The 12” also features brand new re-recorded brass mixes of ‘Last Chance’, a track from previous album ‘Cruelty Without Beauty’. A huge fan favourite, the track was according to Marc Almond, “the natural successor to Say Hello, Wave Goodbye and one of my preferred Soft Cell songs period, why was this never a single?’. The re-reworked versions by Dave Ball and album producer Philip Larsen are now adorned with a full live brass section.

Inspired by the original Industrial Records release of William S. Burroughs’s Nothing Here Now but the Recordings, Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin.
Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut-up' technique. Sommerville's technical background enabled him to contribute to the early development of sound-and-light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time.



For the 2023 reissue, Dais Records has collaborated with the Estate of William S. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

Inspired by the original Industrial Records release of William S. Burroughs's Nothing Here Now but the Recordings Belgian record label Sub Rosa worked with Burroughs to release another album: Break Through In Grey Room. Originally compiled in 1986 by producer Bill Rich, the album features Burroughs's experimental recordings from 1961 to 1976, featuring field recordings by Burroughs of the Master Musicians of Jajouka, experimental collaborations with mathematician Ian Sommerville and painter/cut-up originator Brion Gysin. Break Through In Grey Room documents William S. Burroughs during his time in Europe and England, working with Ian Sommerville on recording with the 'cut -up' technique. Sommerville's technical background enabled him to contribute to the early development of sound - and - light shows in London, leading to work with gear provided by Paul McCartney in an apartment owned by Ringo Starr. Experimental in nature, the record is as much an exhibition of studio and composition technique as it is a document of underground culture at that time. For the 2023 reissue, Dais Records has collaborated with the Estate of William S. Burroughs on reissuing the album on vinyl and compact disc, fully remastered by mastering engineer Josh Bonati.

Summer Forever And Ever succeeds Blue Gene Stew, 2019’s debut by the Wolfmanhattan Project, a collective unit co-starring three musicians familiar to In The Red listeners: singer-guitarist Mick Collins, front man of the seminal Detroit-bred garage units the Dirtbombs and the Gories, singer-guitarist Kid Congo Powers who played in such legendary bands as the Gun Club, the Cramps, and Nick Cave and the Bad Seeds, and drummer-vocalist Bob Bert, whose skin work has distinguished albums by Sonic Youth, Pussy Galore, Lydia Lunch’s Retrovirus, and Jon Spencer and the HITmakers. The group was founded as a studio project by three musicians who are kept busy by their primary bands. Blue Gene Stew was written and recorded quickly. Powers says, “I think that the new record was much more a group effort. I think there’s more of a group kind of sound, as eclectic as it is. I feel like we all played together, as opposed to playing on each other’s songs.” Bert notes that the band’s music is grounded in spontaneity: “Me and Mick went in and had a couple of rehearsals, and I would come up with a beat, he would come up with a riff. I still have a cassette Walkman, believe it or not, and we’d put it down on that. It wasn’t even a full song. We’d just put down a bunch of ideas. When it came to recording we’d lay down the basic tracks and work out different things, and a lot of it was made up on the spot. It really is a great collaboration.” Recorded and engineered by Mark C. of Live Skull at his studio, Summer Forever And Ever finds Powers playing piano and the Kaoss touch-pad effects unit and Collins playing synthesizer, in addition to their usual instruments. The album reflects the same eclectic mix of musical styles heard on the debut. References and sometimes even direct quotes from sources as diverse as the Andrea True Connection, Captain Beefheart, the Count Five, and Eurythmics leap out of the speakers.

Brazilian singer, guitarist and actor Seu Jorge returns with an intimate and stripped back session and album, a collaboration with his close friend and kindred spirit Rogê, for new UK based, direct-to-disc record label, Night Dreamer.

Recorded and cut direct-to-disc on Thursday 22nd & Friday 23rd August 2019 at Artone Studio, Haarlem, The Netherlands. Brazilian singer, guitarist and actor Seu Jorge turns to brother-in-arms Rogê, for their first ever album recording, celebrating 25 years of friendship and companionship as part of the latest instalment on UK based, direct-to-disc record label, Night Dreamer.

From concept to completion in four days, the Night Dreamer session commits a lifetime of collaboration and companionship to record for the first time, encapsulated by ‘Caminhão’ - the first song the duo ever wrote together 25 years ago.

Similar to his breakout album and Bowie homage, The Life Aquatic Studio Sessions, the new record is stripped back and raw but with an altogether different ambition - to create a 'classic Brazilian record'. Featuring both Seu Jorge and Rogê on guitar and vocals it also enlists the additional talents of two of Brazil’s most sought-after percussionists, Peu Meurray and Pretinho da Serrinha.

The seven original compositions recall the pairs plaintive and idiosyncratic melancholy and draws on the likes of Brazilian greats like Milton Nascimento, Gilberto Gil and orge Ben.

From Rio De Janeiro in Brazil, Jorge’s success has been witnessed by close friend Rogê – a story which has seen Jorge go from humble beginnings in Rio to working with the likes of Beck and Bowie, and starring in major film and television productions. Well known for his acting roles in,

City of God and the current Netflix hit series Irmandade (Brotherhood), it was Wes Anderson’s A Life Aquatic film that global audiences first saw Jorge on the screen performing as a troubadour strumming Portuguese-language covers of David Bowie classics. All in all, Seu Jorge has been a pioneering force in revitalising Brazilian popular music across the globe.

A songwriter, composer and musician in his own right, Rogê has received a Latin Grammy Nomination for ‘Na Veia’, his collaboration with samba legend Arlindo Cruz. With a strong catalogue of 7 albums and countless collaborations with Brazilian and international producers, Rogê represents the new generation of artists of the Brazilian Popular Music movement and has been instrumental in the pair building an archive of unrealised songs, sketches and ideas, some of which ultimately comprise the backbone of this session.

Like eavesdropping on a campfire session, the one-take direct-to-vinyl process at Artone captures the intensity of the duo’s relationship, setting the conditions for an extraordinarily intimate recording.

Over the course of a 19-year career, Marshall Watson has released all manner of musical treats for a similarly wide array of labels, yet it’s the effortless beauty of his downtempo works – and particularly his ambient and Balearic excursions – that have often left a lasting impression.

It certainly caught the attention of NuNorthern Soul founder Phil Cooper, who brought the West Coast producer to the label in the summer of 2021. That EP, Sunsets on Larkin Parts 1 & 2, was undeniably special. The same can be said about his belated return to the label, Foothills, an EP packed to the rafters with slow-burn melodies, sustained chords, becalmed textures and gently unwinding grooves.

Watson’s distinctive take on Balearic naturally comes to the fore on EP opener ‘High Desert’, a soft-focus delight where languid electric guitars, starry electric piano lines, echoing chords and gently pulsing electronics stretch out across a shuffling groove. While tailor-made for watching the sun set off his beloved Pacific Coast – and over the Mediterranean Sea – ‘High Desert’ offers a dose of hazy sonic sunshine that can brighten up even the greyest of days.

Fittingly, the accompanying remix comes from long-time friends of the label Seahawks, whose textured, layered and atmospheric productions similarly blur boundaries between Balearic, ambient, pitched-down dancefloor grooves and glassy-eyed psychedelia. Employing opaque, shape-shifting pads, effects-laden guitars, subtle spoken word snippets and yearning, almost melancholic chords – all atop a crunchy, head-nodding beat and toasty bassline – the duo deliver a remix that’s as emotive and sonically stunning as Watson’s original mix.

The EP’s three other tracks amply demonstrate the subtle variety within Watson’s downtempo output. Vocalist Julie Childe makes her mark on ‘Sweet Sounds’, a brilliant blend of warming deep house and laidback Balearic nu-disco that sports subtle hints to his work as one half of synthwave duo Causeway, while ‘Open Sky’ brilliantly wraps undulating TB-303 acid lines and echoing Spanish guitars around a hypnotic, locked-in dancefloor groove.

Then there’s ‘The Landscape’, a deliciously saucer-eyed slab of breakbeat-powered, TB-303-sporting genius that evokes the immersive, early morning waviness of the ambient house era, the beach party psychedelia of San Francisco’s free party movement, and the bleeping wonder of turn-of-the-90s UK dance music. Like the rest of the EP, it’s an enveloping, head-soothing and mind-expanding treat.





e B2 High Desert Seahawks High Sky Remix

It is no longer a secret that Lady Linn has a very rich and unique voice with a versatility that is second to none, ensuring that she is right at home in a myriad of styles.

She proved exactly that in her new 'trilogy', a series of three E.P.'s - 'I'm Fine', 'Sea of Trees' & 'Nocturne'- each one telling its own unique story, and now bundled on the album 'Trilogy'.

The common thread throughout the album is her affinity with jazz, soul and dance, but also lyrically, various themes return: the tenderness within family life, melancholy, nature, and the magic of the dance floor.

There is also a clear evolution with the arrangements going from a sober, stripped-down quasi-electronic sound of the JX-03 on 'I'm fine' (with contributions from Gustaph, Gregory Frateur and producer Frederik Segers) to dreamy and warm analog synths by producer Joris Caluwaerts on 'Sea of Trees', to an organic, energetic sixties sound on 'Nocturne' with starring role for her partner and bass player Filip Vandebril and partners in crime: The Magnificent Seven, arranger Frederik Heirman and producer Jan Chantrain.

In addition to a selection of the three EPs, 'Trilogy' also includes the extra song 'Hurricane', one of Linn's personal favorites, recorded at Daft Studios with The Magnificent Seven:

'I had just watched a documentary on Laurel Canyon (on the topic of Los Angeles - the epicentre of the 'counter culture' or better 'hippie culture' - in the late 60's and early 70's and the habitat of The Mamas and the Papas, Frank Zappa, Jim Morrison, etc.) which fed my fascination for the 60's that I already had thanks to my parents. The way in which music was created and recorded in that era is a dream for every musician, me included. With the surplus in time due to the lack of gigs during the pandemic the time was right to follow my dream and record in the Daft Studios with my own band. I felt a bit like Carol King behind my piano, but I was also inspired by Joni Mitchell.'

A quote from the lyrics of 'Hurricane': 'I wanna feel the wind like the birds outside/Dive like a seagull, enter the water from flight/Into the deep I slide'.

'A very personal song about losing yourself and the longing for freedom. I composed this one specifically with 60's songs in mind, with loads of modulations and pretty complex chords.'

Lady Linn wrote a versatile trilogy, inspired by a diverse set of influences that had her digging in music history in a very original and contemporary way. She also made her mark on the sound of the productions. On both 'I'm Fine' and 'Nocturne' she was co-producer.

TEN. KR3 marks the double-figure release, starring David Foster: the man behind the Huren project, which has been churning out influential tracks for the past three decades. Blood Fire Debt – has been described by David with one word: ‘survival’. Indeed, in this tenth release we rediscover an already legendary artist of the power electronics scene, in his most honest and consistent form. Expressing himself through cinematic-noise, harmonised by dark drones and slo-mo rhythms. Still navigating through the chaos, this ride will take us back to the 90s, thanks to the presence of a track (B2. Mytologinen) produced in those years. There will be a unique insert with the HUREN portrayed under one of the twin towers. Written & Produced by David Foster Mastered and Vinyl Cutting by: Tim Xavier at Manmade Mastering Berlin

For its second release, Providenciales Records was able to unearth a previously unreleased album from the Buster Brown Band, featuring Kelly McNulty (from the Tagg/McNulty Band), Roger Burton (from the Bee's Knees), Jim Casey, Gregg Bissonnette (Ringo Starr's drummer), among others ...

Inspired by some of the best Soul, AOR and Funk artists, the band recorded these demos in studio in 1982 thanks to their local success in Dallas, TX, at the popular Popsicle Toes venue (the album title).
“Baby Don’t Lie” starts the album with a beautiful and mellow Soul / AOR introduction, while the following tracks, “Day Or Night”, “Endless Possibilities”, “Shock Proof” and “Say It” complete the LP with their Soul / Funk touch. There is even the first version of "Baby Don't Lie" as closing track, which was recorded 5 years before, in 1977.

Band members have collaborated with artists such as Lee Ritenour, Ringo Starr, Harvey Mason, The Isley Brothers, Smokey Robinson, Kenny Pore, Eric Tagg, and much more…

Liner notes (including exclusive pictures) and full story of the band by the one and only Grammy awarded David Ritz (co-author of "Sexual Healing" with Marvin Gaye)!

Limited edition of 500 copies, fully remastered!

8 Mile – Music From And Inspired By The Motion Picture (Expanded Edition) the soundtrack to Eminem’s semi-autobiographical legendary film of the same name was released 20 years ago (on 10/28) and spawned one of the biggest hits of his career, Lose Yourself, which has been certified 13x Diamond. 8 Mile is also famous for launching 50 Cent’s musical career with his first hit “Wanksta.” This new expanded edition features all of the songs from the album in an instrumental format alongside the demo version of “Lose Yourself.”

DMX Krew announces his return to Peggy Gou's Gudu Records with a new four-track EP, sharing the dreamy, Detroit-inspired title track, ‘Return to Jupiter’.

The full EP - out 14th April 2023 - will be his second release for the label and Gudu’s first release of 2023, set to be the label’s busiest year yet.

Ed DMX made his debut for Gudu with 2019’s Don’t You Wanna Play? EP, becoming the first artist to release on the label outside Peggy herself. Ed and Gudu have retained a regular working relationship ever since: he mastered Indonesian crate-digger Dea’s ‘Glazer Drum’ release for Gudu, contributed a pair of remixes to the reissue of Riff’s South African electro curio ‘Jacks Jive’, and now returns to the label with Return to Jupiter, a new original four-track EP.

Ed has been one of electronic music’s most respected faces for over 25 years. Debuting in the mid-1990s, he released his first decade of music almost exclusively through Grant Wilson-Claridge and Aphex Twin’s Rephlex label and his own Breakin’ imprint, but recent years have seen him ply his trade across a who’s who of dance music’s most respected underground labels: including Hypercolour, Balkan Vinyl, Central Processing Unit and, of course, Gudu.

Inspired by the futurist funk and vivid synthesiser epics of classic Detroit, ‘Return to Jupiter’ is dripping with richness and colour, driven by the sort of thick analogue basslines and distinctive melodies that have come to define Ed’s catalogue. The EP’s title track sets the tone for what’s to follow, introducing a language of sorts for the record - before ‘Altered Chords’ turns the funk up to 11, ‘U Ain’t Down’ aims its distorted kicks and wiggy, manipulated lead straight at peak time dancefloors, and ‘I Love Juan’ closes the EP on a star-gazing tip.

Founded by Peggy Gou in 2019, Gudu releases music from a global roster of artists, including DMX Krew, Maurice Fulton, Hiver, Dea, Mogwaa, Brain de Palma, Dukwa, JRMS and Peggy herself (including the hits ‘Starry Night’, ‘I Go’ and ‘Nabi’). 2023 will see Gudu’s busiest year to date, with new releases scheduled from the current roster and some exciting new faces.

'...So Unknown..., das fasst unsere Band zusammen', sagt JESUS PIECE-Frontmann Aaron Heard, als er über den Titel des mit Spannung erwarteten zweiten Albums der Philly-Metal-Hardcore-Truppe nachdenkt. Alles an uns war immer eine sehr unbekannte Situation. Wir wussten nicht, wie wir klingen sollten, wir wussten nicht, mit wem wir auf Tour gehen sollten, und das hat uns von Anfang an begleitet. Wir sind eine sehr rätselhafte Band.' Sieben Jahre nach Beginn ihrer Karriere, die auf einem kompromisslosen Ethos und einem sorgfältig ausgearbeiteten, brutalen Sound aufbaut, verschmelzen JESUS PIECE Intelligenz und Aggression auf eine Weise, die nicht nur die starren Grenzen des Genres verschiebt. Es setzt den Standard für die Form des Hardcores in der Zukunft.'So Unknown' ist der Klang von artikulierter Brutalität, die sich jeder Kategorisierung entzieht. Es sind 28 Minuten voller Wut und Introspektion, die in den roten Bereich vordringen. Vom explosiven Opener 'In Constraints' über die dissonanten Klänge von 'Tunnel Vision' bis hin zum bissigen 'An Offering to The Night' - JESUS PIECEs Century Media-Debüt und ihr erstes Album seit dem 2018er Meilenstein 'Only Self' belohnt das Warten. Co-produziert und gemischt von Randy LeBouef (Every Time I Die, Orthodox), ist '...So Unknown' ein spektakulärer zweiter Akt und ein Übergang zu etwas Intensiverem und Persönlicherem für die fünf aus Pennsylvania stammenden Musiker.Ihren Namen haben sie von einem beliebten religiösen Schmuckstück übernommen - 'Es hatte einen Hip-Hop-Vibe', sagt Aaron. 'Wir wollten keinen dummen, nach Metal klingenden Namen, also sind wir den umgekehrten Weg gegangen und haben es einfach gemacht.

Black Swan is a 2010 American psychological thriller film directed by Darren Aronofsky and starring Natalie Portman, Vincent Cassel, Mila Kunis and Winona Ryder. The plot revolves around a production of Tchaikovsky’s Swan Lake ballet by a prestigious New York City company. Usually described as a psychological thriller, Black Swan can also be interpreted as a metaphor for achieving artistic perfection, with all the psychological and physical challenges one might encounter.

The original score for the film was composed by Clint Mansell, an English musician, composer, and former lead singer of the band Pop Will Eat Itself. Mansell was introduced to film scoring when director Darren Aronofsky hired him to score his debut film, Pi. Ever since Mansell wrote the score for many of Aronofsky’s films. Notable additional film scores include The Fountain, Moon, Smokin’ Aces, Requiem for a Dream, The Wrestler, Doom, and High-Rise.

Black Swan is available as a limited edition of 750 individually numbered copies on silver and black marbled vinyl and includes a 4-page booklet.

Nearly five years on from their acclaimed debut, Bennett Wilson Poole reveal the follow up. It's been a long time coming, but...

That eponymous first album was only ever intended as a one-off collaborative project — a serendipitous series of events which began with a late evening session where the trio wrote ‘Hate Won't Win’. A response to the murder of MP Jo Cox, it was something of a fresh take on Crosby Stills Nash and Young’s classic protest song ‘Ohio’. The release saw Bennett Wilson Poole embraced by the Americana community, playing live on the Andrew Marr show and crowned as ‘UK Artist of the Year’ at the 2019 UK Americana Awards, in front of a watching crowd including Graham Nash himself.

The new album came together in similar fashion; Robin (Bennett) and Danny (Wilson) started writing new songs late into the night whilst on tour to promote the first record — a tour which unfolded from a three-night residency in a London pub into a year-long odyssey culminating in a headline show in Hall One at King’s Place — and before they knew it, there were enough songs to begin recording an unplanned second album.

Where the first record drank deep from 70s US west coast folk-rock, the second has been heavily spiked with 1960s British psychedelia, even featuring a cover by legendary counterculture artist John Hurford (whose credits include 60s artwork for Oz Magazine and International Times).*

Tony Poole’s meticulous and inspired production has spun Robin and Danny’s fresh batch of songs into a delicate web of musical delight. Fans of the ‘spot the reference’ game Tony started on the first record won’t be disappointed this time either, as there are plenty more to be found here.


As with the first album, the lyrics don’t shy away from current affairs – by the end of that year of touring, the band were already playing “I Wanna Love You (But I Can’t Right Now)”, reflecting on the state of US politics, yet optimistic that the problems are only temporary.

Many of the tracks on the new album feature live rhythm section Fin Kenny (drums) and Joe Bennett (bass) for the first time on a BWP record.

The title of the album comes from the lyrics of ‘Help Me See My Way’, the first single, a prayer for strength in difficult times, the trippy animated video for which was originally issued during lockdown. The dreamy positivity of the line "I saw a star behind your eyes" is tempered with the plea "don't let it die away", a message which feels as important as ever two years on.

All three collaborators have had critical acclaim in their own right. Danny Wilson’s credentials go back to his days in Grand Drive with brother Julian, and his consistent high calibre output with his Champions of the World led them to sweeping the board at the first UK Americana Awards with Album, Artist and Song of the year awards richly deserved; Tony Poole’s Starry Eyed and Laughing were hailed as “the English Byrds” on the back of their two CBS-released albums in the mid-seventies and he has since built an enviable reputation as producer and engineer; Robin Bennett has been relentlessly turning out timeless songs from his Oxfordshire base in bands from Goldrush to The Dreaming Spires

As a solo artist and as a member of the duo Perrey and Kingsley, Jean-Jacques Perrey was one of the leading innovators of earlyelectronic music, and a trailblazer of the Moog synthesizer. Alongside composers like Wendy Carlos, Bruce Haack, and frequent collaborator Gershon Kingsley, Perrey was among the first to introduce the world to the synthesizer as a compositional instrument,via notable tracks such as "Musique de L'infini", "Gossipo Perpetuo", and "Baroque Hoedown", famously used as the theme music to Disneyland's Main Street Electrical Parade. Along with many of his contemporaries it was inevitable that such an influential instrumental composer would eventually be sampled into hip-hop tracks. His 1970 Moog composition "E.V.A." was especially popular among producers, making its way into tracks by Gang Starr, Dr. Octagon, Lord Finesse, Pete Rock, and innumerable others. To pay tribute to this prominent composition, Kay-Dee Records is proud to present this loving tribute to "E.V.A." on a 7" single, courtesy of French producer DJ Paikan, who also played sitar, guitar, kobol synth, and monopoly synth on the track & Mixed by Kenny Dope !

Laima Adelaide's new 12" on Shahr Farang is as deft as sound design gets. The hugely limited 12" is all about quiet artistry and mastering the small things. The A-side 'Empty Mind' is a delightfully sparse and empty yet potent piece with supple, suggestive rhythms and sustained chords that are grainy and lo-fi. It's amazing just how absorbing such little sound can be. 'Pattern' then takes up the whole of the flip with a more pulsing and dynamic rhythm but the whole tune still seems to float through space with distant starry twinkles, deep space energies and a hopeful sense of melodic beauty.

By the time Lalo Schifrin composed the soundtrack for Frank Perry's psychological thriller in 1974, starring Cliff Robertson and Joel Gray (who'd just won an Oscar for his role in Bob Fosse's Cabaret) he was Hollywood royalty having worked on such iconic films as Bullitt and Dirty Harry. Perry on his side, had caused a stir with The Swimmer in 1968 starring Burt Lancaster (although he would dismiss the film after being fired from the production) and followed up with a string of great cult movies including ‘Last Summer’ (1969), Diary of a Mad Housewife (1970) starring Carrie Snodgress - whom Neil Young famously fell in love with upon seeing the film and "Play It as It lays" in 1972, adapted from Joan Didion's eponymous novel.

Breaking from the social dramas from of his previous films, Perry decided to shoot a thriller based on journalist William Arthur Clark's book "The Girl on The Volkswagen Floor." The film follows a police officer investigating a murder with the help of a strange ambiguous clairvoyant played by Gray. For the score Perry went to Lalo Schifrin who'd just come out of a bad experience on The Exorcist working with William Friedkin who'd rejected his music in favour of Tubular Bells by Mike Oldfield! The score was recorded in LA with the Wrecking Crew and, although the full line up is not known, it included Emil Richards, Howard Roberts, Bud Shank and of course Schifrin on piano.

'Man on a Swing' is pure undiluted Schifrin from the early 70s. The score plays like a long suite alternating Bossa Nova ("Juke Box Source"), Lounge Jazz ("Trip to LA") and groove ("FM Groove") with superb "suspense” soundscapes like "Rosehaven Hotel". The label has gone back to the Paramount 3-track tape transfers and come up with an updated tracklist (a CD version briefly appeared in the 2010s) - re-sequenced and augmented with a handful of bonus tracks and alternate takes. A highlight is certainly "Radio Source Rhythm" which, losing the guitar and organ, reveal a jaw dropping funk breakbeat that is in the league of Dirty Harry and Enter the Dragon. This and the whole soundtrack, will ravish all the funk diggers and Lalo Schifrin fans around the world.

Critically acclaimed rock group EELS announce
vinyl reissues of earlier records ‘End Times’, ‘Hombre Lobo’ and ‘Tomorrow Morning’, released via E Works / PIAS.
EELS will hit the road this Spring for the longawaited Lockdown Hurricane tour of Europe and North America, starting in March in Nottingham. The reissues follow EELS’ critically acclaimed
2022 record, ‘Extreme Witchcraft’, which found
praise at MOJO, NME, The New York Times,
Stereogum, SPIN and more. EELS have had one of the most consistently acclaimed careers in music. The ever-changing
project of principal singer / songwriter E (Mark Oliver Everett), EELS have released 14 studio albums since their 1996 debut, ‘Beautiful Freak’. In 2008, E published his highly acclaimed book,
‘Things the Grandchildren Should Know’, and starred in the award-winning ‘Parallel Worlds, Parallel Lives’ documentary about the search to understand his quantum physicist father, Hugh
Everett III. Single LP on standard weight black vinyl in a
gatefold sleeve with matt machine varnish.

Critically acclaimed rock group EELS announce
vinyl reissues of earlier records ‘Hombre Lobo’,
‘End Times’ and ‘Tomorrow Morning’, released via
E Works / PIAS. EELS will hit the road this Spring for the longawaited Lockdown Hurricane tour of Europe and
North America, starting in March in Nottingham. The reissues follow EELS’ critically acclaimed 2022 record, ‘Extreme Witchcraft’, which found praise at MOJO, NME, The New York Times,
Stereogum, SPIN and more. EELS have had one of the most consistently acclaimed careers in music. The ever-changing
project of principal singer / songwriter E (Mark Oliver Everett), EELS have released 14 studio albums since their 1996 debut, ‘Beautiful Freak’. In 2008, E published his highly acclaimed book,
‘Things the Grandchildren Should Know’, and starred in the award-winning ‘Parallel Worlds, Parallel Lives’ documentary about the search to understand his quantum physicist father, Hugh
Everett III. Single LP on standard weight black vinyl in a
gatefold sleeve with matt machine varnish.

Critically acclaimed rock group EELS announce
vinyl reissues of earlier records ‘Tomorrow
Morning’, ‘End Times’ and ‘Hombre Lobo’,
released via E Works / PIAS. EELS will hit the road this Spring for the longawaited Lockdown Hurricane tour of Europe and
North America, starting in March in Nottingham. The reissues follow EELS’ critically acclaimed 2022 record, ‘Extreme Witchcraft’, which found praise at MOJO, NME, The New York Times, Stereogum, SPIN and more. EELS have had one of the most consistently
acclaimed careers in music. The ever-changing
project of principal singer / songwriter E (Mark Oliver Everett), EELS have released 14 studio albums since their 1996 debut, ‘Beautiful Freak’. In 2008, E published his highly acclaimed book,
‘Things the Grandchildren Should Know’, and starred in the award-winning ‘Parallel Worlds, Parallel Lives’ documentary about the search to understand his quantum physicist father, Hugh
Everett III. Single LP on standard weight black vinyl in a
reverse board gatefold sleeve.

Così come sei" is a 1978 film directed by Alberto Lattuada, a sentimental drama starring Marcello Mastroianni and Nastassja Kinski, still very young but already an acclaimed actor
The soundtrack was composed, orchestrated and directed by Ennio Morricone and was infused with romance and ethereal melodies played with wind instruments but set like a symphony. With the contribution of I Cantori Moderni di Alessandro Alessandroni's choir and Oscar Valdambrini's trumpet. Unusually within Morricone's repertoire is the presence of funk-rock and disco songs "Dance
On" and "Space 1999", reflecting the late '70s pop sound.

Originally released in 1978 and subsequently reissued a few times, the
soundtrack of "Così come sei" was not released on vinyl for almost 40 years and is now finally re- released with remastered audio and a new sleeve layout, on 180gr. solid pink vinyl

As Deutsche Grammophon celebrates its 125th birthday this year 2023, the Yellow Label marks the occasion by releasing a selection of vinyl LPs for the first time ever.
Nadine Sierra’s childhood intuition – that she was born to sing opera – has proved correct in every way and is reflected in the title of her second solo album for DG. The dramatic presence, searing passion and technical brilliance for which the American lyric soprano regularly scores rave reviews are captured in Made for Opera, which trains the spotlight on three of the most demanding roles in the repertoire – Verdi’s Violetta, Donizetti’s Lucia and Gounod’s Juliette. Recorded with the Orchestra Sinfonica Nazionale della Rai and Capella Cracoviensis under Riccardo Frizza, the album not only reflects Nadine Sierra’s command of bel canto technique and rich range of vocal colours, but also documents her insights into the psychology of the ill-starred heroines of La traviata, Lucia di Lammermoor and Roméo et Juliette.

Nebraska is a 2013 American comedy-drama road film directed by Alexander Payne, written by Bob Nelson and starring Bruce Dern, Will Forte, June Squibb and Bob Odenkirk. Shot in black- and-white, the story follows an elderly Montana resident and his son as they try to claim a million-dollar sweepstakes prize on a long trip to Nebraska. The film was nominated for the Palme d’Or (Grand Prize) at the 2013 Cannes Film Festival, where Dern won the award for Best Actor. In addition, Nebraska was nominated for six Oscars and became a commercial success.

The film score was composed by Mark Orton, who is part of the acoustic chamber music group Tin Hat (formerly the Tin Hat Trio). For parts of this soundtrack, Orton is joined by other members of Tin Hat, which was the first time they reunited since 2005. They’re known to combine many genres of music, including jazz, southern blues, bluegrass, neoclassical, avant-garde and eastern European folk.

Celebrating its 10th anniversary, Nebraska is available on vinyl for the first time. The soundtrack is available as a 10th anniversary edition of 500 individually numbered copies on black & white marbled vinyl and includes an insert with movie stills and liner notes by director Alexander Payne.

First Word Records is extremely proud to welcome the legendary New Sector Movements to the label, and the first new release from this moniker in 15 years! A 5-track EP for 'These Times', comprised of street soul, hip hop, jazz and bruk-tinged vibes.

Founded, headed and produced by DJ & musician IG Culture (CoOp Presents / LCSM), this all-new quasi-group project also features the vocal talents of Allysha Joy, Mike City and Natalie May with additional accompaniment from Wonky Logic, Wayne Francis, Alex Phountzi and the NSM Fusion Starship!

New Sector Movements (aka NSM) were the first out the gate at the dawn of the original broken beat movement, releasing their first single 'Groove Now / New Goya' on the People label in 1997, then releasing several singles and EPs through to the late noughties, and dropping a classic album on Virgin entitled 'Download This'. The previous incarnation featured several other artists from the bruk foundation era, including Kaidi Tatham, Izzy Dunn, Julie Dexter and Eska Mtungwazi amongst others.

Awarded a 'Lifetime Achievement Award' at the 2019 Worldwide Awards, NSM's IG Culture is a hugely pioneering prolific artist in the UK music scene. His catalogue of releases over the years has seen numerous aliases, collaborations, remixes and productions. Appearing on the scene in 1990 as part of Dodge City Productions, to producing several solo albums throughout the noughties, to recent years with his hugely-acclaimed cosmic jazz outfit LCSM (Likwid Continual Space Motion), additionally to co-running the CoOp Presents label, continuing the legacy of the award-winning club night whilst showcasing new artists, IG Culture has been omnipresent at every corner of British black music for three decades deep, influencing many a sound.

This is all additionally to projects like NameBrandSound, Likwid Biskit, Da One Away and Son of Scientist to name just a few. His work has appeared on releases by Roots Manuva, Young Disciples, Les Nubians and Monday Michiru, while remix work over the years has included Gang Starr, Femi Kuti, José James, Miraa May, Slum Village, Digital Underground, Luniz, Naughty By Nature, Airto Moreira & Flora Purim.

As a DJ, he's shut down dances all over the world, recently at places like Fabric, We Out Here festival and Summer Dance Forever in Amsterdam, as well as regularly rocking the airwaves on Worldwide FM and combining the two at BBC 6 Music's All Points East stage in the Summer. IG Culture also founded Selectors Assemble; a collective of forward thinking DJs and producers.

So, as we head towards Winter 2022, New Sector Movements has returned (but don't call it a comeback!). After a turbulent few years in the world, it seemed a poignant moment to reinvigorate the soul, and reflect upon 'These Times'. Here we have five brand new tracks, each illustrating a pertinent mood and attitude representing the current climate. Allysha Joy leads the vocal on EP opener 'These Times', a sumptuous slice of street soul with a deeply infectious horn hook. 'Stand' is next - uptempo boom bap for the dancers, this one featuring the soulful pipes of Mike City. 'Hope' is a midtempo jazz-funk dub again feature vocal licks from Allysha, and introducing the mysterious NSM Fusion Starship into the fold. 'H.E.A.T.' picks up the pace with some infectious jazz-bruk business, this one lead by Natalie May on the vocals, who explains "heat = movement, motion". And finally 'Bless' with closes the set on a four-four riddim with bruk sensibilites, inviting Mike City back with an uplifting vocal requesting we "bless the people just trying to make it".

An essential EP of cross-genre vibes to resonate cross-generations, New Sector Movements do not ramp. IG Culture and crew proceed to give you what you need for 'These Times'.

'These Times' is released on vinyl and digital worldwide via First Word Records late February 2023.

Chocolat is the 2000 British-American romantic comedy-drama film directed by Lasse Hallström (The Cider House Rules) starring Juliette Binoche, Judi Dench and Johnny Depp. The movie was adapted from the novel written by Joan Harris and is about a woman and her daughter opening a chocolate shop - with Sunday hours - across the street from the local church in a small French village.

The music is composed by Rachel Portman and the soundtrack also includes “Minor Swing” from Django Reinhardt/Stéphane Grappelli and the 1936 jazz standard “Caravan” from Duke Ellington and Juan Tizol.

Rachel Portman has written over 100 music scores for film, television, and theatre. She was also the first female composer to win an Academy Award in the category of Best Musical or Comedy Score for Emma in 1996 and in 2015 she received the Primetime Emmy Award for Outstanding Music Composition for the HBO TV series Bessie.

Chocolat is available as a limited edition of 500 individually numbered copies on white coloured vinyl and includes an insert.

Local Action is proud to present Cyclorama, the long-awaited debut album by Ariel Zetina.

A resident DJ at Chicago’s iconic Smartbar, a long-standing Discwoman family member and a key part of the city’s dance music and LGBTQ+ communities, Ariel has established herself as one of the most exciting electronic artists operating today - through releases such as 2020’s acclaimed MUAs at the End of the World and 2017’s Organism, and her meticulous approach to DJ mixes - as recently evidenced on Sestina, her 2020 contribution to Mixtape Club.

Written across 2021 and honed this Spring, Cyclorama is Ariel’s most impressive and all-encompassing work yet, showcasing her as a producer, vocalist and also curator, pulling together an ensemble cast of her peers in Chicago (Cae Monāe, Mia Arevalo, DANNN) and some of the most exciting names in contemporary club music (Violet, Bored Lord).

Conceptually, Cyclorama draws heavily from Ariel’s background as a theater writer and producer. Popularized in 19th century German theater, a cyclorama (or cyc) is a large curtain, placed on the back wall of the stage. This creates an illusion of extra depth in the background, and often is used to represent the sky. In Ariel’s words, “I imagine all the tracks on this as the lights and action projected onto the cyclorama. The whole album is like the cyc, a representation of the sky. Or an imagined sky. An imagined dancefloor. An imagined theatrical production.”

As well as drawing conceptually from Ariel’s background in theater, the album draws on a personal level from Ariel’s journey as a trans woman of color - most directly on Cyclorama’s three vocal tracks, ‘Gemstone’, ‘Slab of Meat’ and lead single ‘Have You Ever’.

On ‘Have You Ever’, Ariel collaborates with Cae Monāe, a dear friend and fellow trans woman of color. “‘Have you ever been with a girl like me before?’ and all the lyrics refers to the fear and anxiety that cis men who are attracted to trans women feel, and also any woman that doesn’t fit the mold of a stereotypical woman”, Ariel explains. “Cae and I - and many trans women - have been in so many situations where society tells cis men they cannot be with trans women and this explores that and gives power to all trans women in this situation. The techno reflects that, as well as the “Spell my name” section at the end, showing the true power of trans women.”

On ‘Slab of Meat’, Ariel delivers a hypnotic solo vocal performance that builds in intensity with each line (“I am treated like a slab of meat both emotionally and sexually sometimes, especially one left in the freezer on the back burner. Why did you bring this meat home from the market? For what? You’re wasting meat!”), while ‘Gemstone’, a collaboration with Mia Arevalo, continues the empowering themes of ‘Have You Ever’ in a different context:

“‘Gemstone’ is a call for trans women to take time with your transition because it will all happen eventually. As two girls who have started our transition almost a decade ago, I think we have both seen that we have always needed to take our time to take our time. Reminders not to rush or compare yourself to other girls. I love the metaphor of gemstone months representing different periods of transition. I’ve been so many different women in recent years, and I'm excited to continue my journey.”

It’s immediately followed by album closer ‘Tropical Depression’, the title of which is a reference to Ariel growing up with tropical depressions, storms and hurricanes affecting her hometown of Jacksonville, Florida as well as her family in Belize City:

“This track for me is about living day to day and continuing while dealing with my really intense clinical depression. The sample comes from “Why can’t you let me go?” but is supposed to be transformative and not necessarily legible. How we hold on to our trauma and depression like a protective shell. This is an attempt to deal with it in a different way.”

The Cyclorama album cover, directed by Dylan Bragassa, stars Ariel alongside Monāe and Arevalo in an imagined theater production. In Ariel’s words, “a theoretical performance starring only trans women of color - I wanted an ensemble shot to represent the ensemble nature of this album! Love how Dylan combines so many ideas to create a very unique image that asks so many questions.”

Nach der erfolgreichen "The Stadium Tour" von MÖTLEY
CRÜE mit DEF LEPPARD, bei der sie in diesem Jahr vor
über einer Million Fans in Nordamerika gespielt haben,
kündigt BMG die Veröffentlichung des limitierten Box-Sets
"Crücial Crüe: The Studio Albums 1981-1989" mit den
ersten fünf Platin-Alben von MÖTLEY CRÜE auf farbigem
Vinyl an: "Too Fast For Love" (weiß/schwarz Splatter),
"Shout At The Devil" (gelb/schwarz Splatter), "Theatre Of
Pain" (pink/schwarz Splatter), "Girls, Girls, Girls"
(cyanblau/schwarz Splatter) und "Dr. Feelgood" (Coke
Bottle Green/Oxblood Splatte). Die 5LP Box kommt in
einem edlen schwarzen Schuber

[i] B1. WATER, YEAST, FLOUR [INSTRUMENTAL]
[j] B2. MOUNTAINS [INSTRUMENTAL]
[k] B3. DOLLAR DOLLAR BILL [INSTRUMENTAL]
[l] B4. IT MEANS A LOT [INSTRUMENTAL]
[m] B5. THIN PATIENCE [INSTRUMENTAL]
[n] B6. THE BEST IN IT [INSTRUMENTAL]
[o] B7. SEQUENCE [INSTRUMENTAL]
[p] B8. HOW YOU GETTING YOURS? [INSTRUMENTAL]

THE CARSTAIRS, Cleveland Horne and Ray Evens, from Detroit, were first known to the UK soul scene for their storming cover of Motown’s “He Who Picks A Rose”, originally by Jimmy Ruffin and Edwin Starr. But, it is their legendary 1973 recording, “It Really Hurts Me Girl” that elevated them into the Northern Soul Hall of Fame. DJ Ian Levine first chanced-upon the song while on a trip to Miami and it is thanks to his foresight and determination that the Northern Soul scene embraced the new contemporary sound of Seventies soul and would consequently change forever. OUTTA SIGHT proudly present the original 1973 Gene Redd Jr. production coupled with the Tom Moulton remix.

Carolina’ is the Brazilian virtuoso Seu Jorge's debut full-length album from 2002. Originally released under the title ‘Samba Esporte Fino’, its release and subsequent international acclaim dovetailed with Seu Jorge’s ascent into movie stardom. He is probably best known outside of Brazil for his work on Wes Anderson’s 2004 film 'The Life Aquatic with Steve Zissou’, in which he played a starring role and his Portuguese covers of David Bowie records were a highlight of the soundtrack. Having initially found fame thanks to his standout performance as Knockout Ned in the revered movie ‘City of God’. ‘Carolina’ would cement his global fame and launch an illustrious musical career that has earnt him a Grammy nomination.

Co-produced by Mario Caldatto of Beastie Boys and Planet Hemp fame, the album presented a vibrant, contemporary combination of samba and funk, backed by guitar, bass, drums, percussion, and horns. It kicks off with one of Seu's most loved tracks 'Carolina', an anthemic feel-good classic with timeless energy, ending in a sing-along crescendo. Other highlights included the Brazilian-Funk of 'Mangueira' reminiscent in places of Tim Maia with its 80s inspired vibe, and the catchy jazzy-samba of 'Tu Queria' which always ignites the dance floor.

2023 Repress
2x12"

'They hit the limit. The limit hit back!'

Vision Recordings presents 'Dead Limit' starring Noisia & The Upbeats

'Jones' depth of character is mouth-watering 9/10 RuPaul LeSnack, Variety

'Great stunt sequences hampered by a terrible soundtrack' 2/10 Mario van Peebles 2015 Shark Documentary Festival Awards Honorary Mention

'Depicts gravely the ongoing struggle between man and wild insects' 7/10 National Geographic

2023 Repress

***
Fragments of our mighty voice,
our blood is like tears.
Above us shook the starry sky.
Desolate are the hours
into which we are rising.
***

Waxwork Records is thrilled to announce the release of GET OUT Original Motion Picture Soundtrack Music By Michael Abels. Written and directed by Jordan Peele, GET OUT is a critically acclaimed 2017 American horror film starring Daniel Kaluuya and Allison Williams. The film received numerous accolades and won the Academy Award for Best Original Screenplay. It was also nominated for Best Picture, Best Director, and Best Actor for Kalluya. GET OUT is the directorial debut of accomplished actor and long time horror-fanatic, Jordan Peele. The film's music was scored by composer Michael Abels, and it also features his debut as a film composer. Included in the new deluxe double LP release of GET OUT are exclusive liner notes in the form of an in depth essay by Peele that illustrates the director's first meeting with Michael Abels, their approach to the film's music, and how it all came together to conjure a new sound. "I had some ideas. I envisioned distinctly black voices harmonically creating an unnatural sound. The absence of hope. The void of the voiceless. A disembodied Negro spiritual. The Sunken Place." GET OUT Original Motion Picture Soundtrack features the complete soundtrack by composer Michael Abels, deluxe packaging, new artwork by Leslie Herman, a printed insert with exclusive liner notes by Jordan Peele, 180 gram black and white splatter vinyl, and old style tip-on gatefold jackets with satin coating.

Waxwork Records is proud to present the Us Original Motion Picture Soundtrack featuring a score by composer Michael Abels. Us, released in March 2019, is an original nightmare written, directed and produced by Academy Awardr-winning visionary Jordan Peele (Get Out). Set in present day Santa Cruz on the iconic Northern California coastline, the film, starring Oscarr winner Lupita Nyong'o and Black Panther's Winston Duke, pits an ordinary American family against a terrifying and uncanny opponent: doppelgängers of themselves. A blockbuster that earned raves from critics and audiences alike, Us earned more than $250 million at the worldwide box office to become one the highest grossing R-rated horror films of all time, buoyed by an unexpected and innovative soundtrack and by a groundbreaking, terrifying original score by Abels. Us marks the second collaboration between composer Abels and Peele, who first worked together on Peele's 2017 Oscar-winning horror film, Get Out. For the Us score, Abels explored themes of duality and discord. "Sonically, what defines 'scary' is the unfamiliar," Abels says. "It is the things that we can't place, and that we don't expect, that take us to that place of fear. We wanted to really strike terror into the audience." Central to the score was the opening track, an anthem for the doppelgängers, known in the film as The Tethered. Abels hit on the idea of using choral elements. "Jordan really loves the sounds of voices, and the human voice is an incredibly expressive instrument that anyone can relate to," Abels says. "The anthem sounds a little like a march of people preparing for battle, like an uprising maybe, but the sounds are not in a recognizable language. In other parts of the film there are vocal effects, just these strange sounds. They're designed to really freak people out." Abels featured a 30 person choir, a third of them children, in the "Anthem," and implemented Eastern European instruments, violins, percussion and a virtual instrument called a Propanium drum. "It makes this trashy metal sound, but you can also play melodies on it," Abels said. "The Propanium drum has a sound that's both otherworldly but not electronic or like science fiction. It's a sound you can't quite put your finger on, which is why it works well in this film." Also included on the soundtrack is the 1995 hip-hop hit "I Got 5 On It" by Luniz and the stand-out track "I Like That" by Janelle Monáe. Abels also helped with a new arrangement of the Luniz hit, which is featured on the soundtrack as the 'Tethered Mix from Us'.



































[xi] 35 I GOT 5 ON IT (FEAT. MICHAEL MARSHALL) [TETHERED MIX FROM US] - LUNIZ