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The complete iconic LP + bonus track on 180g vinyl, includes
photographs taken during the album's sessions by William Claxton
The jazz world was amazed when trumpeter Chet baker presented this, his first
vocal album, which showed that his immense talent as a singer matched his
brilliance as an instrumentalist. This icon album includes such hits as "My Funny
Valentine" and "I Fall In Love Too Easily"
This album was initially issued in 1954 as a 10-inch containing eight songs. Its
success soon led to it being reissued as a 12" LP, with the addition of material
from later 1956 sessions. This edition presents all the songs from the 12" LP plus
one bonus track from the same period.

Tropical Disco continue to rewrite the disco handbook as they clock up an impressive quarter century of vinyl releases with a sublime Volume 25 of their series.

Featuring four disco cuts laced with jazz, funk, touches of electro and lots of dancefloor swagger it perfectly continues to build and diversify the sound of the series. Getting in on the party are a trio of Italian disco lovers Musta, an artist whose releases regularly set the disco and house charts alight, alongside the highly rated Corrado Alunni and the mysterious Fun Kool both of whom also hail from Italy.

Opening proceedings, and in stellar form, is co-label boss Sartorial whose ‘Hootin N Tootin’ is a real jazz funk gem. Incessant piano riffs, a groove of a bassline which edges towards acidic in places, guitar licks aplenty and choppy drums all combine for a track which could be played anywhere from a jazz inspired pool party to the funkiest of clubs. ‘Hootin N Tootin’ is as musical as it is dance worthy, two very handy traits which will see it survive the ever onwards march of time.

Musta’s ‘El Matador’ meanwhile has a high energy, fun-filled approach to life. It’s a track which very much defies pigeon holing but which comes from the same effusive family of earworms as Samin’s ‘Heater’ and may well prove to be just as big a breakthrough hit if it lands in the right hands over the summer. It’s very much a track with a big mischievous smile on its sun worshiping face.

Corrado Alunni’s ‘Funk Decision (Dub Mix)’ falls very much into the early Soulfuric camp of Soulful house music, a sound which Tropical Disco has regularly flirted with recently with some fantastic results. Divine live sax, guitar loops and ass shakin’ bass all merge perfectly for a very classy six = minutes of shimmering dancefloor groove.

Fun Kool’s ‘Low Tow’ sees out the EP and takes us off on an 80’s inspired electro journey. Stabby synths, subtle cowbell and Vangelis-esque keys all combine for a track which brings Metro Area’s take on the genre immediately to mind. ‘Low Toe’ deserves all the plaudits which undoubtedly come its way, a future classic for sure.

That Tropical Disco keep conjuring up EP’s of this quality is a major cause for celebration in itself. Disco in 2022 is a progressively more and more interesting place to live given the multifarious avenues which it continues to open up and this EP is a perfect example of the depth, diversity and incredible quality of a genre overflowing with passion. We very much hope that the first 25 volumes are only the beginning.

Emeralds _ musicians John Elliott, Steve Hauschildt, and Mark McGuire _ emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Ash Ra Tempel, Klaus Schulze, and Tangerine Dream. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. The first of an inimitable five-LP run before the band dissolved in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remas- tered Solar Bridge LP release on Ghostly International. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.

Wonky noir specialist, Kercha, is back with five spun-out cuts, merging dubstep, jazz, garage, techno and a whole lot of weird.

‘Disarray’ is as discombobulating as its title suggests, a slinky beat hidden among umpteen odds and ends from Kercha’s cabinet of curiosities. A subby wiggle here, a far-off siren there, the warm tinkling of a Fender Rhodes, and was that someone falling down the stairs? Our only constant allies are a vaguely disturbing vocal and a bass clarinet that’s definitely up to no good.

‘Witness’ employs a similar palette but switches tactics, stripping back to the basics as faint whispers and the ever-growing presence of a whirring alarm suggest something dangerous might be lurking around the corner.

‘Conjugate’ is more direct, the percussion elevated from its usual backseat as thudding kicks and taught snares make their presence felt among the digi-dub wobbles — a theme repeated on digital bonus track ‘New World’, though there, jagged mid-bass lines provide an extra dollop of screwface-inciting muck.

And bringing this leg of DNO’s journey to a close is ‘Long Way’, which rumbles along like a lonely night train, its chugging bassline matched with eerie engine whistles, the rhythmic clink of a cowbell and, somewhere deep in the mix, the familiar clickety-clack of tracks.

Weaving together disparate worlds like some interdimensional architect, Kercha simultaneously places us among the inebriated haze and freewheeling expression of a basement jazz club, and the 10-tonne rhythms that have fuelled DNO’s parent party The Mine for the past decade, and will continue to do so into the future.

Rhythms of postmodern realism at the very bottom of the DNO.

Das zweite Album der Indie-Folk-Supergroup um Anaïs Mitchell ("eine der größten Songwriterinnen ihrer Generation" NPR), Eric D. Johnson (FRUIT BATS) und Josh Kaufman (THE WAR ON DRUGS, THE NATIONAL, TAYLOR SWIFT). Produziert von Bandmitglied Josh Kaufman, ist "Rolling Golden Holy" der Nachfolger ihres von der Kritik gefeierten, selbstbetitelten Debüts, das zwei GRAMMY-Nominierungen (Best Folk Album und Best American Roots Performance) erhielt und von u.a. Paste, MOJO, Uncut Magazine als eines der "Besten Alben des Jahres 2020" bezeichnet wurde. Falls sich das Debüt von Bonny Light Horseman jemals wie das Werk einer kurzlebigen Supergroup oder einer einmaligen Abwechslung angefühlt haben sollte (was sie nie war), widerlegt "Rolling Golden Holy" diese Vorstellung mit überirdischer Schönheit, Charme und Fantasie. Diese 11 Songs - allesamt Originale, geschrieben und realisiert vom Trio als Ganzes - folgen den Pfaden der traditionellen Melodien, die die Band schätzt, zu neuen musikalischen und lyrischen Grenzen, und geben den Klängen und Situationen der Geschichte die Schwere und Form der Gegenwart. "Rolling Golden Holy" bestätigt, dass es sich bei Bonny Light Horseman nicht um ein Projekt, sondern um eine Band handelt, die derzeit an der Speerspitze des modernen amerikanischen Folk arbeitet. Die ersten Schreibsitzungen von "Rolling Golden Holy" - und die beiden darauf folgenden Aufnahmesessions, zuerst in Aaron Dessners (THE NATIONAL) Long Pond Studio und dann in dem, was sie als ihr "spirituelles Zuhause" bezeichnen, der wunderschönen und buschigen alten Kirche namens Dreamland - waren eine Reihe von "Ja, und"-Treffen, bei denen jedes Mitglied die anderen ermutigte, eine Idee aufzugreifen und sie ein wenig weiterzuverfolgen, um die Komfortzonen zu überwinden. Auf "Rolling Golden Holy" stellt das Trio eine wesentliche Frage - und beantwortet sie mit jedem Stück: Wo hört die traditionelle Folkmusik auf und wo fängt die moderne Folkmusik an, falls es eine solche Abgrenzung überhaupt gibt? Diese Lieder suggerieren und verkörpern ständig ein unausgesprochenes Kontinuum. Hier zeigen sich BONNY LIGHT HORSEMAN in der vollen Pracht ihres Lebens als komplette Band.

Galaxy Heart is Moss' fourth record for Constellation and the companion album to 2021's Phosphenes. Galaxy Heart features guest appearances by Jim White (Xylouris White, Springtime, Dirty Three) and Thierry Amar (Godspeed You! Black Emperor).Jessica Moss is a violinist and composer based in Montréal. She uses amplified and processed violin and voice to create intricate works of expressive electronic, drone, experimental and post-classical Minimalism; her distinctive melodic sensibility often channels Klezmer, Balkan and Middle Eastern tropes, combined with an ear for the textural grit and timbral noise of post-punk, industrial and ambient metal. Moss played in cult agit-prop post-punk band Thee Silver Mt. Zion (2000-2015), has contributed to countless albums by the likes of Carla Bozulich, Vic Chesnutt and Matana Roberts, and most recently has guested on albums by Sarah Davachi and Big|Brave. She has released three solo albums on Constellation since 2017.

Thrill Jockey Records is proud to present Into This Juvenile Apocalypse Our Golden Blood to Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019 at the Astoria Hotel on Vancouver BC"s notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty and the ecstatic moments of shared brilliance. Japan"s fearless multi-instrumentalist and cultural provocateur Keiji Haino has made a career out of his free-form musical improvisations and diverse collaborations. Whether deconstructing American blues, to a few rogue notes hanging across chasms of empty space in his solo endeavors, sparring with the nebulous fringes of psychedelia in Fushitsusha, or teaming up with musicians like Faust, Boris, Jim O"Rourke, Stephen O"Malley, John Zorn, and Peter Brötzmann for fleeting aural experiments. Haino"s work is never pre-planned or structured, but rather a completely spontaneous exploration of chemistry, texture, and dynamics. SUMAC"s tenure is much younger than Haino"s, though guitarist-vocalist Aaron Turner has covered a similarly large swath of musical territory across numerous projects and collaborations. From the sedated drones of recent projects with Daniel Menche and William Fowler Collins, to the modern compositions of Mamiffer and all the way back to the restless evolutions of post-metal stalwarts ISIS. With his cohorts Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass, Turner has dissolved the rigid forms of heavy music, searching for a balance between disciplined precision and unhinged musical barbarism, crafting music that vacillates between meticulously detailed instrumentation and uninhibited forays into oblique abstraction.

Thrill Jockey Records is proud to present Into This Juvenile Apocalypse Our Golden Blood to Pour Let Us Never, the third collaborative album by Japanese free music provocateur Keiji Haino and expressionist metal trio SUMAC. Into This Juvenile Apocalypse finds the quartet navigating the push-and-pull of creative interplay with bolder strides and stronger chemistry. Recorded on May 21, 2019 at the Astoria Hotel on Vancouver BC"s notorious East Hastings Street as a one-off performance during a short North American tour for Haino, the six compositions comprising Into This Juvenile Apocalypse showcase a musical unit bouncing unfiltered ideas off of one another, mining a trove of textures and timbres from their armory to buoy and bolster these living and breathing pieces. Like so many albums documenting free music, the thrill here is in the tight rope walk, the wavering moments of uncertainty and the ecstatic moments of shared brilliance. Japan"s fearless multi-instrumentalist and cultural provocateur Keiji Haino has made a career out of his free-form musical improvisations and diverse collaborations. Whether deconstructing American blues, to a few rogue notes hanging across chasms of empty space in his solo endeavors, sparring with the nebulous fringes of psychedelia in Fushitsusha, or teaming up with musicians like Faust, Boris, Jim O"Rourke, Stephen O"Malley, John Zorn, and Peter Brötzmann for fleeting aural experiments. Haino"s work is never pre-planned or structured, but rather a completely spontaneous exploration of chemistry, texture, and dynamics. SUMAC"s tenure is much younger than Haino"s, though guitarist-vocalist Aaron Turner has covered a similarly large swath of musical territory across numerous projects and collaborations. From the sedated drones of recent projects with Daniel Menche and William Fowler Collins, to the modern compositions of Mamiffer and all the way back to the restless evolutions of post-metal stalwarts ISIS. With his cohorts Nick Yacyshyn (Baptists, Erosion) on drums and Brian Cook (Russian Circles) on bass, Turner has dissolved the rigid forms of heavy music, searching for a balance between disciplined precision and unhinged musical barbarism, crafting music that vacillates between meticulously detailed instrumentation and uninhibited forays into oblique abstraction.

Alice is one of the most distinctive of all Waits" creations, occupying its own corner in the odd-angeld room that is Tom Waits" body of work. While there are familiar parts-the redoubtable ragged voice, jazz ballads and poignant musings on death and longing-the whole is strange and exotic. A devastatingly beautiful atmosphere made of sorrow and reverie, insanity and resignation, rises like a mist in Alice. It"s a lyrical melancholia, a feeling that creeps in on the arms of Stroh violins and unabashed poetry. These are songs to fall into, and sometimes, to keep falling. There are fragile, haunted musings, and laments, mad ruminations, and tales of unrequited love and anthems from beyond the grave.

New studio album from CMA, due out October 7th, 2022. Produced by Sam Evian. Following Old Flowers' 2020 Grammy nomination, and due to Covid restrictions, Courtney, for the first time in her young nomadic life, was forced off the road and to remain at home. What resulted was the publishing of her first book of poetry, the first gallery showings of her paintings, and a period of self-discovery leading to the new album, Loose Future. Whereas Old Flowers was a beautiful and emotional break-up record, CMA's return with Loose Future is a bright, dynamic, falling-in-love record. Courtney's got a new story to tell, backed by a strong new musical direction, and a show-stopping collection of songs. Loose Future was recorded at Sam Owen's upstate New York Flying Cloud Studios, with musicians Josh Kaufman (Bonny Lighthorseman), Chris Bear (Grizzly Bear), and Sam Owens (Sam Evian). On the honey shores of Cape Cod in a beach shack, Courtney Marie Andrews found self-love and her voice. Every morning, she’d walk 6-8 miles around the back trails of an island and meditate on her life, perusing old memories and patterns like browsing a used bookshop. After more than a decade on the road, the Phoenix-born songwriter, poet, and painter finally had the space to process all the highs and lows of a life of constants. She was finally ready to make a record of triumph, while not completely forgetting the years that made her. That record is the Sam Evian produced Loose Future.

Bobby Weir & Wolf Bros—consisting of Bobby Weir, Don Was, Jay Lane and Jeff Chimenti—are set to release their second batch of live recorded material this year. Bobby Weir & Wolf Bros: Live In Colorado Vol 2 is out October 7 on Third Man Records, a follow-up to the first volume of the critically acclaimed live performance collection. Bobby Weir & Wolf Bros: Live In Colorado, Vol 2 features more songs recorded at the band’s live performances at the historic Red Rocks Park & Amphitheatre in Morrison, Colorado and the Gerald R. Ford Amphitheater in Vail, Colorado on June 8, 9, 11, 12, 2020, including classic Grateful Dead hits, "Ripple" and "Brokedown Palace" along with covers of Merle Haggard and Marvin Gaye. These shows were the group’s first live audience concerts in over a year and featured Greg Leisz on pedal steel, along with The Wolfpack: Alex Kelly, Brian Switzer, Adam Theis, Mads Tolling and Sheldon Brown. “Been too long,” Weir said of the performances, “but I can’t think of a better place to pick it back up…” Live in Colorado, Vol 1, received acclaim from LA Times, Forbes, USA Today, Billboard and more. In their review for Volume 1, Pitchfork Says, "Weir's rootsy trio offer a more intimate reimaging of his former group's historic counter cultural songbook." Weir explains “I’ve been workin’ in my spare time on expanding the sonic coloration of the songs I do. The Wolfpack is basically a step toward full orchestration - and further, I gotta say, these guys are game. We worked on the arrangements a bit but eventually we needed to trot it all out and play it for folks - and right at that moment, the folks in Colorado reached out and told us they were gonna open up. Holy Shit, WTF? Let’s Go.” Bobby Weir and Wolf Brothers will be performing four nights at the Kennedy Center in Washing DC this fall. 8/4 - Announce/Pre-order w/ IG: Ripple 9/2 - 2nd IG: Other One 10/07 - STREET DATE w/ focus track: Brokedown

Rampaging into their 25th year as purveyors of the most ruthless extreme metal, Goatwhore return with perhaps the strongest album of their storied career. Angels Hung From The Arches Of Heaven is 47 minutes of their trademark blend of death, black, thrash and sludge metal delivered with breathless intensity and an unrepentant bloodlust, making for one of the most thrilling records to come out of 2022. Featuring beasts such as the savage “Born Of Satan’s Flesh” that thrashes along relentlessly and drips with evil, the old school crossover flavored “Death From Above” with its guttural chorus, and the epic, chilling title track that is as haunting as it is heavy they cover a lot of sonic territory, everything having that signature Goatwhore feel while constantly doing something a little different. The title of the record - like all Goatwhore releases - is both deep and direct - “It is a basis of human despondency, the arc of life and its relationship with the personal abyss of overwhelming emotion and thought. A mixture of esoteric ideas and biblical scripts and the journey to the places some people care not to venture on mental paths. The rise and fall of the self and how the abyss can be a turning point for some and a passageway to oblivion for others. It is blunt and to the point, just like countless aspects of life.”

Psychedelic Funk: this is the musical mood of the new Sexopolis. For those who enjoyed in the 70s or those who jus discover them today, will find in this last release internationa and very rare historical songs shuch as “Flute Salad” from JuPar Universal Orchestra, “Misty Purple” by Rolf Kühn, “Dove” by Cymande, and also some Italian gem
such as “Fall out” by The Braen's Machine (Alessandro Alessandroni ), “Nebbie misteriose” by Ugo Busoni.

16 tracks, 80 minutes of a music journey between the mystic and psychedelic, funk and afrofuturism, as always original versions gently remastered, and pressed on limited light blue splattered double vinyl.

"Is it too Sam Prekop?", Sam Prekop asked me in an email conversation in which he delivered his wonderful illustrations which would become the front cover artwork. No, it is not too Sam Prekop at all. His drawings as well as the freeform music on this album are subtly different from anything else he has produced in his solo career. Regardless of the style he is working in, Sam Prekop’s music is always imbued with a sense of wide-eyed discovery and unpredictable exploration.

On »The Sparrow« Sam Prekop expands his electronic cosmos with a remarkable expression of timeless simplicity and coherent execution. It's deceptively simple music that feels accessible without abandoning the experimental legacy of the Modular hardware system which serves, besides a polyphonic Prophet 5 synthesizer, as the centre piece of this production.

The side long title track opens this album with unpredictable synth dissonances and broken step sequenced patterns. »Palm« brings the set to a close with its irregular fragility while »Fall is Farewell« is build around a yearning brassy fanfare which resembles the noir romance theme of Michael Smalls soundtrack for the 1971 film »Klute«. The sparkling essence of »Step and Stair« seems a suitable space for unforgotten summer holidays of our childhood.

On his first solo release for Düsseldorfs label TAL, electronic experimentalist Sam Prekop offers his most captivating yet stripped down modular music. All compositions on »The Sparrow« were gradually developed piece by piece. Best known for his jazz-leaning tropicalismo with The Sea And Cake, a key part of the Chicago scene with the likes of Tortoise or Chicago Underground Duo, he has in recent years established himself as a modular synthesist, building his instrument meticulously to create a unique system that allows him to create highly individual music through mechanical patterns, repetitions and chance. In this context his widely acclaimed community forming public tutorials on fb should be noted as well.

»The Sparrow« is an exciting new chapter in his development as a constant creative influence.

Stefan Schneider, Düsseldorf August 2022

Soma proudly presents Functional Designs, the latest collection of nocturnal environments from Deepchord, marking his first full length album release on Soma in 5 years. The enigmatic Detroit based producer once again transports us into his sonic realm via night-walks through numerous cities before being transmuted into aural excellence through field recordings, holographic synth tones, cosmic sounds and the hiss of electric wires. All swimming around in filtered 4/4 beats and subterranean basslines. The album is a perfect example of electroacoustic techno transmitted from undisclosed locations, the amalgamation of swirling tapestries of sound, deeper than night and lifeforms moving around underneath the grid.

The album glistens into existence with the beatless Amber breathing life into the project before the eventide of Darkness Falls offers a beautifully subtle and contemplative atmosphere. The guiding light of Transit Systems continues to offer up melancholy with echoing percussion and drifting soundscapes. The highly processed acoustics of Strangers brings a sense of intrigue to the album's journey as Modell works in the most percussive track so far. Panacast is exotic dub techno at it's finest, with warping and perfectly crafted synth work building gently over the top of sub heavy beats, glued perfectly together by the hiss of the collected found-sounds. In a slight rise in tempo, Cloudsat, makes a journey skyward, collecting mood and feelings from high altitude with its emotive synth work. The reverberating halls of Pressure again work as a testament to Modell's sonic crafting - honing in on specific artefacts from his field recordings, imbuing them with deeper purpose. The perfectly titled Ebb and Flow drifts effortlessly on a tide of evolving, blissful sound waves crashing to shore as each one overlaps the other. Beginning the descent into the final part of the album, you begin your ride across a cosmic plain, lit by the glistening and ethereal Sun. The meditative Memories opens a conduit to other realms as the album closes out with the elysian melodies of Drassanes.

Deepchord once again proves he is a producer like no other. A true sonic sculptor who uses his real world experience to create vast, unparalleled soundscapes that captivate and enthral the listener.

Emeralds _ musicians John Elliott, Steve Hauschildt, and Mark McGuire _ emerged from the rust-pocked, post-millennial Midwest drone/noise scene seemingly unable or uninterested in keeping up with themselves. Their proliferation of material was intimidating; mountains of improvised, home-recorded music were released on limited-edition tapes, CD-Rs, and split LPs. There is and was a sense that the Ohio trio was after something beyond physical mediums. By 2008, their sprawling live sets were a known can't-miss at any underground experimental event. Tiny Mix Tapes reviewed that year's appearance at No Fun Fest: "No one's sawtooths, sines, and other various waveforms were so beautifully sculpted and beamed out into the Plejades as Emeralds'." These basement dwellers were shaping meditative, psychedelic, arpeggiated electronic music in the veins of German kosmische forebears like Ash Ra Tempel, Klaus Schulze, and Tangerine Dream. Made primarily with synthesizers and guitar, Emeralds' music possessed the same astral psyche with a home-crafted punk edge, a distant descendant of that pioneering era, and a bridge to someplace new, someplace scorched. Released on Aaron Dilloway's (Wolf Eyes, etc.) Hanson imprint, Solar Bridge was the first Emeralds album to receive any kind of proper distribution and represents the first attempt to archivally preserve their fluid craft. The first of an inimitable five-LP run before the band dissolved in 2013, Solar Bridge is a moment of glistening primacy that boots up a catalog and legacy that the heads still grapple with. Emeralds begin to make sense of it in the fall of 2022 with a remas- tered Solar Bridge LP release on Ghostly International. Emeralds materialized as a fully formed entity radiating cosmic potential. Their discography evolved and incorporated different qualities and vocabularies, but hearing where it started will always feel different. The density, the patience, and the sheer refinement presented on Solar Bridge legibly demonstrates how and why Emeralds has become a legendary part of the contemporary electronic music canon.

"Formed more than three decades ago in 1989 only to fall into a slumbering hibernation lasting until last year, Swedish hard rock outfit NESTOR decided to reunite, reinvent the iconography of rock and restore its glory in 2021 with their debut album – yes, their debut album – Kids in a ghost town. With friendship as the fundament of this unique, seemingly unbreakable bond, NESTOR are back for good and better than ever! Upon its initial release, NESTOR’s acclaimed first album, Kids in a ghost town, sent their fans on a journey back in time to the 80s, both in sound and spirit, as well as with their completely self-produced music videos – all of which spurred a nomination for a Swedish Hard Rock/Metal Grammis-Award! This is an album of such impressive scale in fact, that Napalm Records has decided to re-release Kids in a ghost town in various exclusive edition, set for release on September 30, 2022! NESTOR embraces influence from the 80s with a sense of nostalgia and authenticity. With glossy production, NESTOR takes you straight back to the golden age of rock music, openly displaying their influences – from Bon Jovi and Aerosmith to Journey and Foreigner. With over 30 years of existence, NESTOR turn back time while being one of the hottest newcomers of modern rock music, with millions of streams on Spotify and hundreds of thousands of views on YouTube to boot, even having shared stages with the almighty ALICE COOPER, hard rock powerhouse H.E.A.T. and supporting the legendary KISS in Stockholm on their 2022 stadium tour! The re-release of Kids in a ghost town includes the critically acclaimed full-length album as digital album, CD, Black Vinyl LP and cassette tape, as well as a limited edition wooden boxset (+ exclusive 7"" sun yellow transparent vinyl, 3 guitar picks, CD - Digisleeve & wristband) and Die Hard red transparent vinyl (+ exclusive 7"" vinyl & patch)." Single Blurb: "Swedish rock ambassadors NESTOR embrace influences from the 80s with a sense of nostalgia and authenticity on their single ""Signed in Blood""! With glossy production, NESTOR takes you straight back to the golden age of rock music - openly displaying their influences - from Bon Jovi and Journey to Aerosmith. NESTOR turn back time while being one of the hottest newcomers of modern rock music with millions of streams on Spotify alone! "

Obscure congregation SPECTRUM MORTIS was formed in somber MMXV and under the sign of Baal. The gates of hell were opened to emerge their malevolent entrails to the black spell of death and destruction. Among the shadows arise Aataa and Aath to celebrate a black mass and closed with the arrival of Sheram and Ta’ao. These four reptiles complete to the perfect black circle for the enhancement to the necrosophia and the arts of the occult sciences.?The band released two mini albums : "Blasphemare Nomen Eius" in 2016 and "??????" in 2018 and a split album with Mexico's Hacavitz. SPECTRUM MORTIS played many live ceremonies as an authentic celebration of the fall of light and the cult of black fire under the sign of Baal. After signing with Listenable records, SPECTRUM MORTIS focused on the writing of their debut full-length album, immersed in ancient worlds between infinite passages buried in the sands of time, going back to the Sumerian saga of Apkallus and Ziggurats. Under that primordial influence, the band entered The Empty Hall studios in Madrid in 2021 and recorded “BitMeseri - The Incantation” scheduled for a September 2022 release. The band elaborates about 'Bit Meseri -The Incantation‘ : "We wanted to recover the essence of both mini albums and translate them into an authentic black celebration to continue enhancing the obscure arts and dimensions that we have managed to create with these works. This congregation will continue to write cold riffs of death under the path of ancestral rites and traditions, always low extreme care and obscure dedication. " SPECTRUM MORTIS transcends the listener with its inspired ceremonial occult death metal and their ‘Bit Meseri - The Incantation’ deeply masters that genre with great atmosphere and conviction. For fan of early MORBID ANGEL, IMMOLATION, NECROS CHRISTOS, DEAD CONGREGATION

"Exile on Mainstream" ist das erste und einzige
Compilation-Album der amerikanischen Rockband
Matchbox Twenty. Diese Veröffentlichung aus dem Jahr
2007 enthält 7 neue Songs, die in einer von Steve
Lillywhite produzierten Session entstanden sind, sowie 11
der größten Hits der Band. Diese Wiederveröffentlichung
markiert die erste Farbvinyl-Edition (weiß) des Albums
und die erste Neuauflage seit 2007.

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

Includes :

• Exclusive, ltd. Deluxe Earbook CD of "Helloween"
• 3-Track Bonus-CD
• Black 2LP Vinyl incl. 2 bonus tracks
• Unique Helloween wall clock
• Album Cover Art Print
• Six pins
• Logo Necklace
• Patch
• Certificate of Authenticity

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

Includes :

• Exclusive, ltd. Deluxe Earbook CD of "Helloween"
• 3-Track Bonus-CD
• Transparent Orange 2LP Vinyl incl. 2 bonus tracks
• Unique Helloween wall clock
• Album Cover Art Print
• Six pins
• Logo Necklace
• Patch
• Certificate of Authenticity

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

After the release of their highly successful self-titled album in summer 2021 (#1 in Germany and Spain etc.), HELLOWEEN -- one of the most respectable German metal exports and pioneers of German melodic speed metal -- are finally bringing their new anthems to the packed arenas, leading them all around the globe with their »United Forces« tour. The creators of the albums »Keeper Of The Seven Keys, Pt. I & II« (87‘/88‘), which are considered to be among the most successful German metal records of all time and are reckoned internationally as absolute milestones of power metal, haven’t only cemented but even expanded their status as giants of the scene. Caused by the pumpkinheads‘ aforementioned triumphant wave of success, the group’s back catalogue albums are also more in demand than ever which is why Atomic Fire are now set to release a series of brand new vinyl editions including the following hot HELLOWEEN records: »The Dark Ride« (2000), »Rabbit Don’t Come Easy« (2003), »Keeper Of The Seven Keys - The Legacy« (2005), »Gambling With The Devil« (2007), »Straight Out Of Hell« (2013), »My God-Given Right« (2015), and last but not least their latest offering »Helloween« (2021).

• On Vinyl for the very first time, the debut solo album from ex Virgin Prunes vocalist • Remastered for vinyl • New artwork • Virgin Prunes catalogue is now being issued by BMG with Benelux & France being a stronghold for fans • Limited to 450 copies Side 1: 1. Loaded in a Crazy Dream of Hell 2. Sick for Her Love 3. Trapped in A Web 4. Cry Like a Rainy Day 5. Lost in The Ozone 6. Oh, Sweet Baby 7. Wedding Day Side 2: 1. Sol Sunset 2. The Night the Rain Pissed Down 3. Rainy Day (Reprise) 4. Mother Forgive Me 5. Man Falls Down 6. Kiss Before Betrayal 7. Who Wants To Look Like Dave-id?

George is Lord is a celebration of all things George Harrison - What began
as an exercise inlearning to play the drums, became a band - Anna
Pomerantz quit her job as Interior Designer to the stars and called upon
old friend Lindsay Glover, to teach her to play the drums
Lindsay, who has played in local LA favorites, Whiskey Biscuit and Future Pigeon,
began by teaching Anna the fundamentals and quickly it turned into learning
songs. "One of the first songs we learned was 'Something.' I've actually spent
most of my life hating the Beatles, but hearing them again for the first time
through the drums, made me fall completely in love, especially with George and
Ringo" recalls Anna. "I began teaching Lindsay the guitar and we started playing
together." The duo went on to learn a number of songs like, "Long, Long, Long," "All
Things Must Pass," and "Give me Love" when they realized they were ready to play
with other people. Lindsay asked friend Cody Porter of Pearl Harbor and Puro
Instinct to come play bass. "In our lessons, Lindsay had taught me how to sing
while playing the drums to keep my place in songs. I didn't think I was going to be
a singer in a band, it just happened." The missing ingredient was a lead guitar
player, and the trio invited Sam Blasucci of the popular LA folk duo Mapache if
he'd be willing to jam with us. He brought his magic and completed George Is
Lord. George is Lord recorded their first album of covers with producer Jason
Quever (Beach House, Cass McCombs). Dean Wareham (Luna, Galaxie 500)
appears as a guest. The ten song record includes a variety of George favorites
from the Beatles catalogue and throughout George's solo career.

A heady and adventurous experience with ever-shifting elements of jazz,
fuzz guitar, blues rock and psychedelia! Graffiti's origins can be traced
back to 1967 and the dissolution of The Hangmen, a popular Washington
DC area garage rock act well noted for the proto-punk stylings of their
singles € What A Girl Can't Do € and € Faces
€ Singer Tony Taylor, a late addition to the band's lineup, recruited guitarist
George Strunz to the group and soon announced the band would pursue a more
psychedelic direction. It didn't take long for Graffiti to attract label attention, and
by August of 1968 the band signed to ABC Records and released their debut
single, € He's Got The Knack. € In November of 1968 they released their one and
only album.
The juxtaposition between Graffiti's smooth vocal harmonies and their intricate
songwriting is stark. One moment the group is immersed in all of the feel-good
pop songwriting tropes of the era, oftentimes quite reminiscent of acts like The
Association and The Mamas & The Papas. Meanwhile, the next moment sees the
band vamping into extended passages, odd chord sequencing, and off beat time
signatures, highlighted by Strunz's frequent fuzz laced soloing and the energetic
drumming of Richie Blakin. The legacy of Graffiti's self-titled debut was seemingly
hampered by the fact that that it is often lumped in with the plethora of other oneand- done psych releases of the time, an era in which major labels were falling
over one another in an attempt to capitalize on the psychedelic sounds
popularized by the Summer of Love. This is unfortunate because Graffiti's
approach to songwriting and blending together of jazz, classical, and rock
elements are rather groundbreaking, precursors to the arrival of progressive rock -
proto-prog pioneers, if you will.

On their new album Looming, The Spindle, The Pleasure Majenta shape a
terrifying and sublime mix of noise, broken electronics and guitar
feedback that begs to remain untamed
From New Zealand by way of Berlin, these dystopian goth punks take their cues
from the harsh and heavy energy of The Birthday Party, Swans and The Fall
€"casting bummer vibes into the void to create the pain- soaked statement so
many albums want to make but wind up missing the mark.The lead single € Full
of It € fills the screen with flashes of cinematic post-punk savagery up to its ears
in swampy distortion and sleazy funhouse skronk. Velvety € 70s exploitation flick
saxophones hustle with devilish no-wave spaghetti western guitars and a slippery
bassline like a coffin dragged through mud in a grungy post- punk dirge. It's a
waking tour through a dysfunctional late- capitalist bardo where disassociation
becomes an effective coping mechanism for the cyclical, paralyzing grind of
clock- in, clock- out psychosis. € I felt okay when I wasn't myself "when I was
making music or playing onstage, so I decided I would contact myself in this way,
says The Pleasure Majenta's Lawrence Loz Fergus Goodwin. It's a dangerous
game to play.
Tracks: Satellite / Fabric / Sad2say / Smiles Through A Sneer / Anxious Patient /
Osc / Full Of It / It's Ten / Erik Satie / Gardens

Chronophage’s third LP is a scarcely anticipated revelation full of poise and delicacy. Tough,tender, precise and unconstrained, it concentrates the tragic ingredients of the past two yearsinto ten songs. Each one is a decisive, well-cut crystal: sharp, clear, weighted. Can you envisiona midpoint between Big Star and the Homosexuals? Imagine Nick Lowe constructing defiantrejections of the civil structure? Chronophage’s unconstrained melodies and gleefullyimaginative structures enact such original, liberatory music.Chronophage began five years ago in Austin, Texas. Stout participants in the transgressive DIYpunk community patchworked throughout the world, the band have released two LPs and ahandful of cassettes, always demonstrating a kind of risk-taking that feels both gleeful and dire.It’s clear that they delight in making hard, unexpected decisions, but there’s a colder sense thattheir existence depends on this daring.Defying the band’s scratchy, 4-track history, ‘Chronophage’ blooms, distilling the warmest, mostcompelling, most vulnerable qualities of their music. It’s a product of their unhurried approach torecording this album, a six-week process of tinkering and clarifying. It’s also a product of thematerial conditions of their songwriting phase—”the pandemic making it where we just saw eachother all the time and were less influenced by scenes,” as explained by guitarist/singer ParkerAllen. Undoubtedly their most immediate record, but without sacrificing the mortalconsequences or thrills of their past. The danger and vigor remains, the spring is wound eventighter. It’s evidence of the band’s growing confidence, but speaks most clearly to the strength ofthe songs. Producer Craig Ross articulated this strength through his own experience of workingon ‘Chronophage’: "When I would run into a block, in terms of arrangement, the narrative of therecord told me exactly what to do. I realized I just had to stick to the record, it has all theanswers."‘Chronophage’ is released simultaneously by Post Present Medium (US) and Bruit Direct(Europe). TRACKLIST: A1 Love torn in a dream A2 after a storm A3 swimmer A4 summer to fall A5 cop in psyche B1 spirit armor B2 old city back again B3 black clouds B4 burst the shell B5 fear + agony Dooms horn

'Ella & Louis Again' pressed on limited edition 180g premium vinyl for
super fidelity and presented in a deluxe gatefold sleeve
This was the second album pairing Ella Fitzgerald and Louis Armstrong produced
by Norman Granz for his Verve label. After recording a series of duets in the late
1940s for Decca, Ella and Louis were invited by Granz in 1956 to make a series of
sessions which would result in the memorable 'Ella and Louis'. Such was the
commercial success of the LP, the formula was repeated the following year with
the making of 'Ella and Louis Again'. Like its predecessor, it received both critical
acclaim and commercial success.

Vex Is The Debut 12" From Nazamba, A Fire And Brimstone Dub Poet From Kingston, Jamaica Who Will Drop A Full Album With France's O.b.f. Sound System In The Fall. The Riddim Is Produced By G36, An Anarcho-dub Collective From Nagasaki, Japan Who Also Have Their Own Ep Incoming On Pressure.

The Spirit Of Prince Far I Reincarnated, Riding A Sci-fi Steppa That Relentlessly Aims To Flatten All Floors. Nazamba's Angry Rant Against The Global Epidemic Of Morally Bankrupt, Indelibly Corrupt Politicians, Is A Straight Shot To Babylon's Head...

Kicking off with direct, subtle and in-tune basement dust, Skudge has managed to capture two weekend modes. This is a soundtrack for either those apprehensive moments, where things start to fall into place and the crowd is rest assured that this will be a time to remember. But Soundworks is also the soundtrack for those areas that turn party-goers into altered silhouettes, captured between strobe light flashes. All-in-all, what we have here is a return to form for Skudge, with a capital S.

Sniffany & The Nits are a deranged, genuinely troubling punk band
from London featuring members of Joanna Gruesome, Ex-Void and
The Tubs. Their debut album, ‘The Unscratchable Itch’, is released
via PRAH Recordings.
Drawing a through line between the British post-punk of The Fall and
the new wave of insolent hardcore typified by bands like Lumpy &
The Dumpers, The Nits have developed a knack for writing unhinged
punk earworms.
But it’s Sister Sniffany, and her singular lyrical and performance style,
who elevates the band beyond the sum of their influences. Her lyrics
inhabit the same world as her “macabre, visceral” (It’s Nice That)
cartoons - a world of hidden humiliations, girl abjection, crumpled
lager cans, clam chowder and lumpy, over-stuffed dollies.
Over the course of ‘The Unscratchable Itch’, Sniffany ventriloquises a
cast of pathetic, unbalanced characters: A secretarial administer tails
her Casanova husband to a suburban swingers party: “I can smell
him from here: a mix of Vaseline, foot cream and Stella beer.” A poor
old grandmother’s glasses fog up as she chastises her
granddaughter: “You self-entitled selfish little twat! / Left me to die in a
popcorn-walled flat! / Spotty little smelly little prick! / Making your poor
grandmother sick!”
But these characters aren’t detached, impersonal creations. As
Sniffany explains: “In Sniffany & The Nits I like to exorcise and exhibit
the deeply shameful parts of myself that I see as the toxic aspects of
my own femininity.” These are confessional songs about love
addiction, jealousy, possession, self-loathing and “egg smashingfury.” Though occasionally they are literally just about Sex & The City,
red-pilled incels or grandmothers.
O Williams (drums), Max ‘Wozza’ Warren (bass) and Matt Green
(guitar) have been entrenched in the UK DIY scene for years, having
played in the aforementio ned bands, as well as countless others.
Warren also runs the influential left-field label Gob Nation - a home
for ‘egg punks’ across the country. As such, the band veer between
atonal no-wave guitar assault, straight-up hardcore, goth/anarcho or
whatever takes their fancy, while remaining identifiably Nit-like.
Always grounded by a pounding, pogo-ing rhythm section, The Nits
provide the perfect backdrop for Sister Sniffany’s wild, relentless live
performances. See them live at 2022’s End of the Road Festival.
Cream vinyl LP.

Joke Lanz and Sudden Infant once again return in their razor-sharp trio setting whereby the absurdist nature that Joke’s work is already cut with is reconfigured in a gnarled and beefy punk-fucked contorted rock setting. Short bursts of angular flex are heavily propelled by depth-charge rhythms, wry lyrical musings on modern living, and sensibilities hatched from years of experience in the worlds of sound art, abstract music, industrialised junk-noise and related areas have manifested in the perfect follow up to 2018’s Buddhist Nihilism album on Harbinger Sound. Aided by Christian Weber on bass and Alexandre Babel on drums, Joke lays on a battery of electronics, loops, field recordings and samples to complement mostly semi-spoken vocals that appear like they’ve been swept from the overflowing gutters of a shopping centre into a huge ball of malaise that can only be laughed at as world leaders look on perplexed. Exactly as the title suggests, 'Lunatic Asylum' depicts a world in absolute disarray as the seams binding it together slowly fall apart to reveal jesters whose best attempts to glue everything back in place are built on bigger lies more transparent than ever. Meanwhile, citizens of the developed world turn on each other for the stupidest of reasons or grow fatter with their descent into an ignorance nourished by half-baked cultural nuggets pre-packaged and sold as great and awe-inspiring work. And everything has to be recorded, photographed and shared as brain cells are decimated by false ideals, propaganda, exaggerated lifestyles and a huge tub of popcorn swimming in indiscernible yellow gloop. Such are the snapshots that resonate as Lunatic Asylum takes some well-aimed swipes at the human condition of the 21st Century. Featuring a fantastic guest appearance by Franz Treichler (The Young Gods) on ' Il y a des Enfants', each of the 12 songs that constitute Lunatic Asylum are bold, heavy, playful and rife with surprising twists and turns Joke’s mostly English splatter-poetry helps guide into a space that’s about as accessible as the outer reaches of rock can get. In a perfect world, this is the stuff even daytime airwaves should be pregnant with but, since the world is presently tripping over its own feet more so than ever, we will have to suffice with wherever this can nudge with the help of Fourth Dimension Records. One day, hopefully, more will catch up. The CD version of Lunatic Asylum features two exclusive bonus tracks. It was released in April 2022. TRACKLIST 1/Good Morning! 2/Head 3/I Ghore Es Gloeggli 4/Mood Swings 5/Damage Control 6/Happiness to Go 7/Pain is a Pain 8/Il y a des Enfants 9/The Lived Body 10/Ah-Ah-Ah 1921 11/Mika the Dog 12/Tuba Manifesto

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music, jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special
guest and today is still considered one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:

Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.

After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam Recordings, !K7.