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Rex’s seminal 1996 sophomore album, ‘C’, now on
deluxe double vinyl for the first time.
Every one of ‘C’’s 66 minutes is a delightful
exploration at the intersection of slowcore and alt
country, weaving heartfelt Americana, stately
strings, progged-out rhythms and crashingly heavy
climaxes into captivating epics.
Remastered from the original analogue tapes, ‘C’
has been given a second life beyond the CD era,
and comes housed in a tip-on jacket with restored
artwork from guitarist Curtis Harvey.
Available on Rose coloured vinyl.

Especial presents a 2 EP live concept collaboration with Berlin's Giraffi Dog. With live tours cancelled due the on-going changing world, the idea of bringing their live set to vinyl - an opera for your innerspace, while constrained from outerspace - was born.

Setting up Doom Chakra Tapes with DJ Deflektorschild in 2016, Max Webber's project first released the L'Existence Du Reve cassette album as a blueprint for the Giraffi Dog sound, with some tracks appearing on the acclaimed vinyl debut for Aiwo Recs, before a split 7" for the WARNING label series followed.

Teaming up with friend Max Heesen (Dessous, Poker Flat) to take the project live, their backgrounds in punk and hip-hop shine in their take on breakbeat driven club culture.

Recording live in the studio, as a different state of meditation, MCPs trigger drum machines, the duality of live synth and vocoder, while tape machines, reverb and FX looped, twisted and filtered for an inter-mind festival

Cut as a continuous mix, tracks like Concorida, Jam X and Multiverse, are a manifestation of their sets dropped from small basements in Berlin to fields in the outskirts of Paris, this first EP acts as a hypothesis for the parallel, the other, the alternate, the infinite.

Twisting and contorting the English language to fit the meter and his every whim, Lupe Fiasco uses his superb lyrical skill to process the changing world in which he lives. Drawing connections between the concrete and spiritual in his hometown of Chicago, Lupe announces DRILL MUSIC IN ZION, his next album. The product of a burst of thoughtful spontaneity, Lupe created the new album over a short period, diving into a folder of beats sent by his longtime producer Soundtrakk and emerging with a fully-realized album in just three days. “Soundtrakk is the swordmaker, I’m the samurai," says Lupe. "He’s the mechanic, and I’m the driver.” Armed with Soundtrakk's soulful sounds, Lupe creates a focused statement that reflects on the past and paves a way forward, preaching strength through mindfulness and self-sustaining community. DRILL MUSIC IN ZION arrives digitally on June 24th via 1st & 15th/Thirty Tigers. The physical release is set for August 26 (CD, Black Vinyl, and Indie-retail exclusive blue vinyl). His first new album since 2018's DROGAS WAVE, DRILL MUSIC IN ZION marks the start of another chapter in Lupe's illustrious career. The proud Chicago native has already had a busy 2022, marked with sold out shows, new music, and much more. Lupe recently closed out his "Food & Liquor Tour," a series of performances in which he plays his debut album in full. He paid tribute to his hometown in the reflective, self-produced "100 Chicagos," and dug into the archives to share "Hustlaz," a previously-unreleased song originally recorded before the release of the now-classic debut album Food & Liquor. Beyond music, Lupe continues to focus on the community organizations he founded, including We Are M.U.R.A.L, The Neighborhood Start-Up Fund, Society of Spoken Art, and his cross-cultural content venture, Studio SV.

The recordings on this album constitute the material from a June 20th, 1968 studio session recorded by Hans Georg Brunner-Schwer (HGBS) and Joachim-Ernst Brendt in Germany's Black Forest. This is no ordinary recording. This enthralling Bill Evans session was recorded five days after a famous performance at the 1968 Montreux jazz festival by Evans, bassist Eddie Gomez and drummer Jack DeJohnette. Verve's Montreux live recording won a Grammy, but this studio session has been in the vaults ever since.

For the first time this album was mastered in all analogue (AAA), from the original analog master. Mastered by René Laflamme at 2xHD Mastering lab and cut at Bernie Grundman at 45 RPM.

The 2xHD Fusion Mastering System is an innovation in audio restoration for a virtual audio reality. In the constant evolution of its proprietary mastering process, 2xHD has progressed to a new phase called 2xHD Fusion, integrating the finest state-of-the-art analog Nagra-T tape recorder modified with high-end tube playback technology, wired with OCC silver cable for better transparency and 3D imaging. 2xHD Vinyl are sourced from first generation analog recordings without any digital corruption. The cutting is done at Bernie Grundman Mastering Lab on tube cutting equipment.

As one of the three co-founders of Washington D.C. production and DJ trio Black Rave Culture, James Bangura is no stranger to situating electronic music within its most purposeful and potent contexts. With this new duo of tracks, however, Bangura taps into a deep, personal internality, metabolising visceral experiences and personal transitions into unexplored phases of his musical life.

The bass-forward “Harrar” is a complex organism which operates on two planes: a sweat-drenched 150pm symphony of synth pulses, fidgety percussion, shimmies and distorted vocals, that falls into lockstep with a
meditative, dubby bass tone that calmly swells and recedes. Emerging out of Bangura’s high intensity hardware jam sessions with friends and collaborators, both the depth and energetic fizz of “Harrar”’ are signified by its name, borrowed from Harrar Coffee & Roastery--a beloved Ethiopian coffee house and community meeting place in Washington D.C. that radiates warmth and familiarity.

“Witness Dub” occupies less of the senses, exploring a state of liminality through a contemplative deep house signature. Having emerged from an extended period of active duty in the military, Bangura had to navigate civilian life for the first time, causing him to process multiple culture shocks that stretched across culture, language, communication and identity. “Witness Dub” finds Bangura at this crossroad, juxtaposing the steady propulsion of kicks and drums with pensive minor key chords, as he begins to explore the other side of the self, letting the energy guide the music.

Limited Loser edition on dark green vinyl. There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Tape

There are times in our life when we feel magic in the air. When new love arrives, or we find ourselves lost in a moment of creation with others who share our vision. A sense that: this is who I want to be. This is what I want to share. It's a fleeting feeling and one that Kyle Thomas, the singer-songwriter who records and performs as King Tuff, found himself longing for in the spring of 2020. But knowing he couldn't simply recreate this time in his life at will, Thomas-who hails from Brattleboro, Vermont-set out to write a love letter to those cherished moments of inspiration and to the small town that formed him. The one where he first nurtured his songwriting impulses, bouncing ideas off other like-minded artists. The kind of place where the changing of the seasons always delivered a sense of perspective and fresh artistic inspiration. Where he felt a deeper connection with nature and sense of community that had once been so close at hand. And so, Thomas seized upon his memories, creating what he calls "an album about love and nature and youth." The result is Smalltown Stardust, a spiritual, tender and ultimately joyous record that might come as a shock to those with only a passing knowledge of the artist's back catalog. On Smalltown Stardust, Thomas takes us on his journey to a place where past and present collide, where he can be a dreamer in love with all that he sees. References to his Brattleboro upbringing abound, but at the core of Smalltown Stardust is Thomas's desire to commune with nature on a spiritual level. Images of the natural world, from blizzards to green mountains to cloudy days, fill the songs. "I consider nature to be my religion," he explains, and Smalltown Stardust is nothing if not a spiritual exploration. While so much of Smalltown Stardust invokes idealized traces and places of Thomas's past, the album's recording process made his communal vision a reality. Thomas's Los Angeles home in 2020 formed a micro-scene of sorts, with housemates Meg Duffy (Hand Habits) and Sasami Ashworth recording their own heralded albums (2021's Fun House and 2022's Squeeze, respectively) at the same time. A shared spirit dominated an era spent largely on the premises, with Thomas serving as engineer and contributor to both records, and Ashworth working as co-producer on Smalltown Stardust. Ashworth's contributions are vital to the album: she co-wrote a majority of the record and contributed vocals, arrangements, and instrumentation to each song. In the end, Smalltown Stardust is not merely a nostalgia trip. Thomas not only conjured a special time in his life, he found new inspiration, surrounded by collaborators and a sense of love and wonder for nature. If the first King Tuff record was content to merely state Thomas was no longer dead, Smalltown Stardust is a paean to what that life means. A statement of belief and a hymnal to the magic still to behold all around us.

Eva Louise Goodman’s Nighttime project locates itself on a musical tree planted on the British Isles, perched atop the branch of folk leaning into sixties rock. Her upstate New York environs don’t stray far from that image. With tempered percussion, floating mellotron, and singing that evokes Bleecker & MacDougal on a fervent Saturday afternoon, her new album Keeper Is The Heart reaches deep into the essence of musicians such as Vashti Bunyan, Sibylle Baier and Pentangle, breaking down the decades into a sound thoroughly and bizarrely modern.

Through her years performing with Mutual Benefit, Goodman fell in love with life on the road and the collaborative energy of a band. In this third Nighttime album, she channels these experiences into her own music. The creative journey from writing to recording to mixing drove her deeper into a sense of self while expanding her sound. In the process, she put aside lo-fi origins and challenged herself to achieve the same intimacy with a bigger production.

Like most paths of self-discovery, the journey started with displacement. In October 2019, Goodman set out to record the album on her own, while cat-sitting at a friend’s empty Brooklyn apartment. Rather than recording, she was drawn to the overgrown garden, where she spent her days listening to music and reading old journals. Charlie Megira, The Incredible String Band and Roy Montgomery invoked the spirit of the album, as she realized that a new, more collaborative approach would be necessary to bring the songs to life.

In March 2021, after a pandemic year immersed in sound experimentation and writing, she entered the upstate New York studio of recording engineer Rick Spataro (Florist). Together, Spataro and Goodman dove into creating the album, recording one song a day, letting the spark and excitement of spontaneity be their guide. “I've always been fascinated with ‘automatic’ arts,” Goodman says, “where things are created intuitively and without premeditation, from the subconscious.” In this light, they worked with abandon–pushing through the heaviness of songs written years earlier with the same energy as songs which were not yet fully developed. Taking chances, improvising, they sought to strip away pretense, and elude perfectionism at all cost.

Among their experiments, the duo manipulated tape speeds–slowing or speeding up different instrument tracks, imbuing passages with altered perspectives. Improvisation was the key in track five, ‘The Way,’ a song about “the magical act of carving out a path through life, amidst all possibility.” After a long day of recording, the song was feeling heavy and uninspired. As night fell, Spataro picked up the Stratocaster and, in one take, laid down a rolling, roiling guitar line that defined the track.

This spirit of surrender weaves through the album. “Break free from time, and sink in the pool of the mind,” begins ‘Garden of Delight’, an energetic highlight, propelled by 60’s-era organ and Jefferson Airplane-esque vocals. The song was accidentally deleted after the first day of recording. By luck or fate, the one surviving file captured the song’s loose and free-wheeling essence. Inspired, Goodman encouraged her circle of collaborators to work similarly: “I gave everyone trust and total freedom to contribute as they felt called to, encouraging an intuitive approach of simply improvising, playing through the song a few times and then sending over the results.” Synth, cello, violin, saxophone and flute all appear, but often in unconventional ways.

Keeper Is the Heart reflects Goodman’s process towards greater creative freedom. The first words she sings: “Lift the veil of all of this hate/To see the fear at its base.” Her last lines: “We’ll follow the fates across the great expanse of time/To the source of the light within our mind.” In between is a work of art awash in personal awakenings that revel in the freedom of intuition, the lifting of veils, and the beauty of transformation. As Goodman states, “What is it you find when you look inward to see beyond, past your fears, to your heart's true desires?”

On Seeds, Georgia Muldrow takes a step back and leaves the beatmaking to Otis Jackson Jr., aka Madlib. As producers, Muldrow and Jackson are not worlds apart, so the switch requires no adjustment on the part of the listener. That said, this is one dense and tight set, barely over half-an-hour in length, and it's definitely in contention for Muldrow's most focused, funkiest, and (somewhat ironically) personal release to date. Throughout the record, the emphasis remains heavily fixated on her family as a unit of salvation and purpose. The most direct track of the lot is "Husfriend," where she honors her relationship with Dudley Perkins (a/k/a Declaime, who appears on “The Few”). Muldrow can't quite divorce the planetary and personal issues, heard vividly on "Best Love," which sounds just like a simple, sweet, straight-ahead love song until she starts asking her other half for money to build water wells on three continents ("We can make a difference if we try now"). Overall, Seeds is another left-field deviation in Muldrow's career: it's one of her most captivating and immediate front-to-back statements of purpose as a singer, but it's also the first album where she's handed over all the production duties to somebody else. In celebration of this album’s decenary run, Someothaship Connect is pleased to reintroduce an anniversary edition repress of this captivating release in partnership with Fat Beats. "Seeds strikes the perfect balance, as Madlib's thickly layered funk and soul samples and cabinet rocking beats pair with Muldrow's gloriously off-kilter vocals and free-form song structures to make this her most satisfying release to date." – Exclaim!

Vinyl version of Regina Spektor’s eighth sudio album ‘Home, before and after’ which was released on CD and digital earlier this year and features the single ‘Up The Mountain’.

‘Home, before and after’ is Spektor at her most inspired and opens with the recently released ‘Becoming All Alone’, a surrealist ballad with a majestically swelling arrangement that comes alive. The album possesses her most palpable New York atmosphere in years, which is fitting as it was recorded in upstate New York, where it was produced by John Congleton and co-produced by Spektor.

The Russian-Jewish-American singer, songwriter and pianist first achieved commercial success with the RIAA Gold-certified breakthrough ‘Begin To Hope’, which included the singles ‘Fidelity’, ‘On The Radio’, ‘Better’ and ‘Samson’. Spektor’s fifth and sixth albums ‘Far’ (2009) and ‘What We Saw From The Cheap Seats’ (2012) both debuted at #3 on the Billboard album chart. She has performed at The White House as well as on Broadway and Saturday Night Live, and has contributed to many projects spanning film, television, and music including ‘The Hamilton Mixtape’.

Spektor’s previous album, 2016’s ‘Remember Us To Life’, received extensive critical praise from the likes of NPR, Entertainment Weekly, New York Magazine, People and many more. Her subsequent UK tour included a London show at the Eventim Apollo, which prompted The Guardian to state, “All hail a songwriter of substance… she’s a cult artist, but it’s a cult big enough to fill the Apollo.”

During the summer of 2019, Spektor completed a successful five-night Broadway residency at the Lunt-Fontanne Theatre. Next comes a run of solo shows, including a special night at Carnegie Hall, plus tour dates with Norah Jones.

Pressing Info: 180g 'muddy water' (transparent green) vinyl, mono audio, printed inner sleeve, hand numbered, limited to 500. As part of their ongoing King Gizzard bootleg series, Fuzz Club are releasing a mono version of 'Polygondwanaland' - the Aussie psych legend's twelfth studio album and the bootleg that started it all. Polygondwanaland first appeared as a partial leak on the band's demos for the album. The leak was uploaded to SoundCloud but was soon taken down. As a result, news of the album was scarce and mostly involved rumours, one of which stated that it would be the last of the five albums released in 2017. The track "Crumbling Castle," which appeared on the demo, was performed live by the band as early as September 2016, albeit in a much shorter form. However, it lay dormant for many months during an especially prolific period for the band, leading to speculation that the track might have been scrapped. Both the track and the music video were finally released on 18 October 2017, exactly one year after the first performance of the song was uploaded to YouTube. The legitimacy of the demos was all but confirmed at this point, as not only did the track feature the album's name in the lyrics, but it also contained lengthy musical passages equal in duration to the demo. Polygondwanaland was officially announced on the band's Facebook page on 14 November 2017. The release date and cover art were publicized by the band, who stated, "This album is FREE. Free as in, free," encouraging fans to make their own copies and bootlegs of the album.

Red Vinyl

Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output.

Combining their early recordings, including the 1979 Flesh As Property EP and 1980 State Of Emergency EP, Courts Or Wars takes its title from the first song that served as the pair’s introduction to listeners. Right from the beginning you are enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly distorted and technologically mediated society.” Where The Sound fit snugly next to Echo And The Bunnymen, Second Layer had far more in common with the pulsing menace of Suicide.

Borland’s familiar vocals and sense of melody hold a connection to his other songwriting, but within these songs he takes far more risks in his guitar work to suit the subject matter. What really drives everything is Bailey’s propulsive bedrock, formed by his homemade pre-drum machine rhythm generators, creating an innovative mechanical approach that somehow inserts a jittery neurotic touch that merges perfectly with his electronic layers driven by the wasp synth, various unique effects boxes or tape loops. Adding in Bailey’s own distinctive bass playing, the results feel personal and experimental, pointed and harsh, while also bracingly accessible and covered in dark manic energy.

Over forty years later, these recordings feel shockingly appropriate. In painting a bleak reality and frightening future, there is real desperate beauty here.

One of our all-time favourite artists and extended Circus Company member The Mole returns to the label for a proper presentation of his album The River Widens. Originally a limited, cassette-only release via fellow Canadian Eddie C’s Red Motorbike, we are proud to offer this album in its full glory for the first time on all formats.
Never one to shy away from synth deep dives, or raw sample flip collaging, this collection of 21 works checks all the boxes. Ambient trippers to straight up neck-snapping instrumental beats. Not forgetting tastes of the more uptempo, highly-assured and hypnotic dance floor feels the world has come to love The Mole for. Moments of casual chillin are interspersed with effortless, emotive angles, some evoking the charm of his Little Sunshine release for us in 2017.

X-pert Profat opens the set with sly statements that give way to relaxed and subtle keys over gentle, midtempo rhythms. Things switch up nicely into easy, Northwest Coast boogie-meets-beatdown feels inBreak For Ma, followed by a solid array of almost Jaylib-schooled boom bap twists, like the aptly-titled Drums 2002 and Jo Barker. Ambient cuts like AR Dayand New Family offer a refreshing tap of the brakes, setting the scene for the gorgeous, Jarre-esque Weak Stranger. We also get treated to Repepepater’s nod to Detroit house, urban-mode Balearic feels on They Work For Mr. O, and sneak
attack lo-fi future funk in the form of UFOs Over Egypt, with Montreal co-pilot Cristobal on a wild shisha-lit vox narrative, earlier versions of which have blessed many of our label comrades’ DJ sets, from Dave Aju to Vincent Lemieux.
The River Widens expands beautifully on the breadth of unique musical directions The Mole is capable of taking us in, now spread across fresh 2x12” vinyl and available digitally for the first time, along with another limited edition cassette run - we hope you enjoy the ride as much as we do!

Formed in Louisville, KY in 1991, Falling Forward was a band made up of childhood friends Benjamin Clark, Gary Bell, Jonathan Mobley, Ben Lord, and Chris Higdon. Started in their early teens, the band released a handful of recordings on a few different labels (Noble Recordings, Initial Records, and Doghouse Records) before disbanding in 1995. Higdon, Mobley, and Lord would immediately regroup as the renowned atmospheric post-hardcore band, Elliott. Falling Forward's first 7" was originally released as the first (and only) title on local Louisville imprint, Noble Recordings, in a scarcely limited edition of 500. Shortly thereafter, they signed to rising Detroit-turned-Louisville label, Initial Records, for their lone full-length album, Hand Me Down. Founding member Benjamin Clark then left, replaced by Endpoint's Pat McClimans. In 1995, as their popularity and influence were peaking across the United States, Falling Forward released two final singles: an acoustic split 7" with fellow Louisvillians, Metroschifter; and a self-titled 7" EP on the prolific Midwestern indie label, Doghouse Records. All of those releases are long out-of-print, and Falling Forward's entire catalog has remained unavailable in any format for over 20 years. Let These Days Pass: The Complete Anthology 1991-1995 documents the entire recorded history of a young band who met in their pre-teens, wore their hearts on their collective sleeves, and incidentally inspired and influenced thousands of kids and dozens of bands (most notably Thursday) across the world with their unique union of chunky, metallic riffs, pop-punk-inspired hooks, and startlingly infectious, Sunny Day Real Estate-inspired melodicism. Restored and remastered from the original master tapes by Alan Douches at West West Side Music (The Promise Ring, Converge), Let These Days Pass is packaged in all-new artwork culled from elements of the band's history, and includes a 20-page full-color booklet of rare and unpublished photos, fliers, and lyrics.

"Following this year’s VA ‘Marmo’, a collaborative offering co-released with XCPT, Baroque Sunburst releases its first Various Artists EP. Tracks from Taro, Pugilist, Slacker and Flørist, create a statement record championing subtle yet hybrid club-oriented sounds.

Buffalo, NY's Taro ignites the white label 12" with ‘Gas Burn’, a dreamy, rarified IDM zipper. An off-kilter UK funky remix from Flørist follows (his second appearance on the imprint after 2020's Intermedia 1 EP). The B side drags us into a half-time, downtempo sideroom, with tracks from Slacker (Aqueduct) and Pugilist (Symbiosis) slowing pace but maintaining intensity."

Limited to 300 copies.

Red Vinyl

It has been exactly ten years since Finders Keepers first intrepidly entered Andrzej Korzyński’s cavernous musical vault, but it is only today that we are able to proudly announce the safe retrieval on what we consider the true heavy psych holy grail of the Polish composer’s mind-bending oeuvre. By cruel coincidence this welcome event has sadly come during the same year as the composer’s tragic passing. However, in true Korzyński style, alongside his previous Finders Keepers releases, the legacy he has left behind in this one final lost soundtrack project alone has come with musical riches beyond anyone’s wildest expectations.

The comprehensive elusive archive of the deeply psychedelic soundtrack to Andrzej Żuławski’s forbidden film Diabeł (The Devil) is perhaps the most detailed dossier one could wish to find – including audio sketches, rejected proposals and pre-butchered variations that play out like an intense and veritable creative conversation between the director and the maestro, both of whom are widely recognised as true mavericks of socialist-era Poland’s fertile artistic landscape. Never intended for anything as conventional as a straightforward movie tie-in promotional disc (state owned Eastern European record labels rarely did this), the music in this archive has required special forensic inspection. Let’s say the devil is in the detail. The 7” record you are now holding is more than just a companion piece, and it is far from a selection of the (non-existent) poppy title themes to promote a full feature-length album. This standalone release is wholly unique in its own right, giving Finders Keepers listeners a final access all areas snoop into the mind of one of the pillars of our alternative musical community.

As those familiar with Żuławski and Korzyński’s long-running relationship will understand (a methodology best exemplified in the schizoid soundtrack to the film Possession), their exchanges were deeply nuanced and often complicated, with lots of artistic “tennis” thrown into the mix. The key plot in this behind-the-scene fable is that after delivering his original off-kilter psychedelic score to the director, maestro Korzyński was asked to make the music “totally unique, like something from another planet”, to which Korzyński took his tapes, pulled down the vari-speed to a guttural grind and continued to recompose over the top using avant-garde electro-acoustic techniques while deploying psychedelic skills of guitarist Winicjusz Chróst. This limited record release proudly boasts Korzyński’s original uptempo awkward psychedelic pop music prior to the doom laden growls that make the official films soundtrack a true Goliath of Eastern European soundtrack composition. Which, when recontextualised, will stand as a veritable face-melter for stoner rock fans. As one of Finders Keepers deepest conquests, we are delighted to share The Devil Tapes… What is a grail without the wine.

CUSTARD VINYL PRESSING.

The Beths' Warm Blood is a strong contender for the catchiest record you've never heard. Formed when four jazz students at the University of Auckland bonded over their shared love of the pop-punk sounds of their youth, The Beths bring new energy to the genre. This 5-song debut EP, a deliriously pleasurable statement of purpose, comes crammed with enough blissful hooks to carry through most bands' careers.

Listeners for whom the tag 'New Zealand indie rock' brings to mind the Flying Nun sound of bands like The Clean and The Chills may be surprised to find Warm Blood's five unstoppable tunes landing closer to artists like Slant 6 and The Breeders. The nimble guitar work here moves from heavy riffing reminiscent of Sleater-Kinney to hazily bending lines that would make Stephen Malkmus and Mary Timony beam, while the joyous vocal harmonies from all four members bubble and swell to ecstatic crescendos that channel The Zombies' Odessey and Oracle.

With impeccable production from guitarist Jonathan Pearce and stellar musicianship across the board, Warm Blood is a non-stop delight. Tracks like leadoff track and first single 'Whatever,' the ridiculously addictive standout 'Idea/Intent,' and 'Rush Hour 3,' a playful ode to romance in this era of download-and-chill franchise films, take delight in the challenge of breathing new energy into the limitations of the 3-minute pop song. 

Masters of anthemic rock ‘n’ roll Black Star Riders (The former Thin Lizzy
members) return with their hugely anticipated 5th studio album by
Earache records
Featuring 11 tracks, it was recorded in the Autumn of 2021 at Studio 606 in
Northridge California and Toochtoon Sound in Redmond Oregon with producer
and long time BSR associate, Jay Ruston. With Ricky Warwick on Lead Vocals /
Guitar, Robert Crane on Bass, Christian Martucci on Guitar and drummer Zak St.
About the album Ricky says “I am very proud of this record, Black Star Riders
fifth release and the first with our new and exciting relationship with Earache
Records. As with all BSR albums, ‘Wrong Side Of Paradise’ is an anthemic
statement of intent, driven by ferocious guitars and thundering drums. I can only
write about my own personal experiences, my families, my friends and how I see
a world that is unravelling and changing faster than we can comprehend. I’m a
firm believer however, in the power of positivity, something that echoes
throughout this album”.

Originally released in 1969 in a quantity so low that it was once rumored
to not even exist (seriously)
While groups like The Holy Modal Rounders were turning traditional American
folk on its head in the states throughout the 60s, The Maglory Dengluch's
approach took influence from the Scottish and Irish. Armed with banjos, tin
whistles, kazoos, and jugs they recorded the now infamous album to tape.
Officially released for the first time since the storied 99-copy, 1969 run on the long
defunct Granta label and includes exhaustive new liner notes from the band and a
download card with the entire album as well as five bonus tracks recorded during
the same session.

One of These Nights occupies an important, unique place in the Eagles' discography given it represents the final album the group made before releasing the bajillion-selling Their Greatest Hits (1971-1975) compilation. The timing is telling. A coming-out party for Glenn Frey and Don Henley's songwriting skills, the studio record – the band's fourth, and its first to hit #1 on the charts – signifies the group's ascent to superstar status. Home to three massive singles (the title track, "Lyin' Eyes," and "Take It to the Limit") and nominated for four Grammy Awards, the quadruple-platinum 1975 effort solidified the Eagles' Southern California-reared sound and made the band a household name.

Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 10,000 copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set takes One of These Nights to the limit. And then some. Playing with reference sonics and a practically indiscernible noise floor thanks to MoFi SuperVinyl's special formula, it provides a rich, dynamic, transparent, and three-dimensional view into a release that moved country-rock ahead by leaps and bounds – and paved the way for the Eagles' ascendancy to global superstardom. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and presentation of the UD1S One of These Nights pressing befit its esteemed status. Housed in a deluxe box, it features beautiful foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes. As much as any Eagles LP, the connection between the imagery and the music and the band on One of These Nights runs deep. No wonder it led to a Grammy Nomination for Best Album Package.

Devised by West Texas artist Boyd Elder, the striking skull-and-feathers themed piece gracing the front of One of These Nights represents where the Eagles have been and where they were headed. Album art director Gary Burden explained: "The cow skull is pure cowboy, folk, the decorations are American Indian-inspired, and the future is represented by the more polished reflective glass beaded surfaces covering the skull." Moreover, Elder had met the group years earlier when Henley and company performed at one of his gallery openings in California. MoFi's UD1S box set allows Elder's vision (and Burden's debossed treatment of the image) to pop and appear as if it was a stand-alone object.

Of course, what's inside the sleeves, and in the grooves, proves equally compelling. Though One of These Nights marks the final appearance of band co-founder Bernie Leadon on an Eagles LP and contains three of his tunes, the record's tremendous success owes to Frey and Henley's timeless contributions. Taking the next step in their maturation and evolution, the pair crafted several songs while living together as roommates in a rented house in which they converted a music room into a recording studio.

The duo's bond and chemistry pulse throughout the record – particularly in the tight arrangements, tasteful instrumental flourishes, and seamless blending of the folk, country, and rock elements. The musical combinations and partnership not only produced the Eagles' first million-selling single (the slow-dancing "Take It to the Limit," co-written with bassist-vocalist Randy Meisner) and the Frey-led cheating classic "Lyin' Eyes," but the famed title track, which nods to the era's nascent disco scene as well as Kenneth Gamble and Leon Huff's Philly soul platters.

Frey named "One of These Nights" as his favorite Eagles composition of all-time; Meisner's high harmonies alone send the track into a galaxy of its own. Speaking of the latter, Leadon's instrumental "Journey of the Sorcerer" ventures into another universe and was soon used by Douglas Adams as the theme to his "The Hitch-hiker's Guide to the Galaxy" radio series. Inspiration and creative experimentation also dragged the Eagles into the blues. Another Frey-Henley gem, the self-probing "After the Thrill Is Gone" serves as a response song to B.B. King's signature track and more evidence the band was turning the lens inward for lyrical narratives. Like everything on One of These Nights, the song confirms the Eagles were breathing rare musical air.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

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

San Francisco's first and only rock 'n' roll band, CRIME loomed over the entire Mabuhay Gardens scene with their blistering 1976 single Hot Wire My Heart. The group's loose, damaged rock 'n' roll was as immediate as it was controversial. They were punk by any definition, yet shunned the label with a guttersnipe sneer. Their meticulously cultivated aesthetic of S&M graphics and police uniforms produced some of the era's most indelible imagery. One of their finest moves was playing in the San Quentin prison yard.

Formed by guitarists/vocalists Johnny Strike and Frankie Fix, CRIME enlisted bassist Ron the Ripper and drummers Ricky "Tractor" Williams (later of THE SLEEPERS), Brittley Black, and Hank Rank. Joey D'Kaye later joined on keyboards and bass duties.

For the first time, this LP release collects the sick energy of CRIME's three singles along with nine previously unreleased studio recordings from 1976 to 1980. The visceral churn and unwieldy leads on tracks like "Frustration" and "Piss On Your Dog" make Murder By Guitar the definitive statement from this prescient American underground band.

Featuring what may be his only recordings on the Prophet keyboard,
these once lost performances expand the omniverse of Ra across a
stellar set of lengthy cuts! All recorded in a single day and finally making
their terrestrial debut, pressed on colored vinyl and packaged with a
Prophet keyboard brochure plus notes from Ranthropologist Brother
Cleve!What happens when a Prophet meets a Prophet? The answer lies
within these grooves
Amongst the hundreds of recordings issued by Sun Ra and his Arkestra, under
their various guises, the majority were recorded in concert or in makeshift studios
such as their early 1960s set- up at NYC's Choreographer's Workshop. Beyond
those, roughly 22 albums were recorded at Variety Recording Studio in New
York's Times Square. However, on August 25, 1986, Sun Ra and cohorts entered
Mission Control, a state- of- the- art 24- track studio north of Boston, which was
teeming with electronic keyboards and otherworldly sound generators. Nestled
within that arsenal was a brand- new digital ultra keyboard — the Prophet VS
("Vector Synthesizer").Of all the keyboards Ra played throughout his half-century
career, the Prophet was one of the most sophisticated. There's no evidence that
he had played either of the instrument's earlier incarnations, the Sequential
Circuits Prophet-5 and Prophet-10. Created using microprocessors, a then- new
technological advance, under the auspices of engineer Dave Smith in 1978, the
Prophet-5 revolutionized electronic music as the first polyphonic and, most
importantly, programmable synthesizer.Ra was intrigued by the Prophet (surely by
the instrument as well as by the name). Recorded during a single day, it's about
time that these once lost performances have now been found.It was a joy and a
thrill to be sitting at the console hearing this music for the first time, especially
with my fingers on the faders and knobs of the mixing desk. We watched the
oxide fly off the 2" tapes during playback, making this our one chance to digitize
before they metamorphosed into dust. Welcome to the new Sun Ra album….35+
years after it was recorded. The Omniverse has expanded once again.— Brother
Cleve (1955 - 2022)

Since 2013 Jail Job Eve has become an indispensable part of the German
rockstages - Whether festival stage, live club or rustic rockmusic venue -
for more than eight years now the five musicians from Osnabrueck,
Germany, have been playing their way across the country
After their first release "Bird of Passage" in 2015, the band signed a contract with
MiG - music in 2018, the label that, among other things, distributes the legendary
"Rockpalast" recordings of the German TV- and radio-station WDR and with bands
such as Siena Root, Br selmaschine and Wucan, the label has signed in the field
of retro rock under contract.Jail Job Eve's album "The Misson" received
recommended reviews in the music press throughout Europe, and the band thus
earned the reputation: "the hope of the national blues rock scene" (eclipsed
Magazine, Germany).With their upcoming release "Wildfire", Jail Job Eve is once
again setting new standards. The album, recorded entirely live, confirms the band
as a finely balanced rock machinery. The music is much harder, more
experimental and coarser, while the lyrics deal offensively and aggressively with
the most important ideological issues of our time, such as climate change,
sexism, LGBTQ + rights or the responsibility of art and culture as a mirror of
society and an instrument of peaceful protest. For example, the first single "Lost"
is a song about female empowerment and therefore an energetic, feminist
statement to sing along to.The band's audible role models include Rival Sons,
Blues Pills, Greta Van Fleet, but also the classic rockers of Deep Purple or the
omnipresent ubiquitous instance Led Zeppelin. The clearest fist in the face of the
listeners still is Victoria Semel, who virtuously puts her heart and soul into her
singing. Benedikt Schlereth, who plays his way through the album with his
distinctive guitar sound coined by the grand repertoire of rock history, Jens
Niemann, who lets his Hammond wobble sonorously and suffer shriekingly, as
well as Tim Beckers on bass and Josef R hner on drums, who create fulminant,
cast-iron floors under their bandmates

Wunderblock Records and La Notte Di Architetto label are proud to present a debut release of a new project, Urstadt, ruled by Michael Teplov of Wunderblock and Nikita Melnikov, also known as Relic Radiation. Been released on the Planet Rhythm label before, and now the duo appears in a pure new form with fresh techno material.

The EP is called "Ritornels Of Decay" and presents the Urstadt duo's view on the state of the electronic music scene during the post-Covid times, through the prism of classic Detroit and Birmingham techno grooves. As a special VIP guest featured Andreas Sandoval, also known as Developer, with a hyperkinetic, ultra-minimalistic rework of the first track.

Overall, all the tracks of the EP are like polyrhythmic, slowly developing mechanospheres with a touch of cold-euphoric and dreamcore harmonies, fused altogether in a modern superhybridic way. For true techno believers.

 Love And Rockets are the seminal groundbreaking trio of
Daniel Ash (vocals and guitar), David J (vocals and bass)
and Kevin Haskins (drums). They formed in 1985 after the
first split of their band, Bauhaus. Love and Rockets
provided a clean slate and an opportunity to plumb the
depths of imagination and influences.

 ‘Express’ is a unique, mystical and transcendental
travelogue of sorts. The original press release for the
album said that “the balance of light and dark, positive and
negative, yin and yang, is a recurring theme.” In 2020,
NPR, referring to the album, stated that their “psychedelic
train ride laid the foundation for alt-rock.” This is a single
black LP with a standard sleeve

Bassist/composer Christian McBride's 'The Movement Revisited: A
Musical Portrait of Four Icons' is the culminating documentation of a
richly inspired piece lauding four key figures of the Civil Rights
Movement: Rev
Dr. Martin Luther King, Jr., Malcolm X, Rosa Parks and Muhammad Ali.
Marshalling his ever- sharpening skills as a composer, arranger, conductor,
musician and lyricist, McBride has created a historically and culturally
illuminating five- part suite for an 18- piece big band, chorus and narrators that
places the motivating forces as well as the goals of the Civil Rights Movement
within a powerfully relevant artistic context. It is a one- from- the- heart project
McBride was, apparently, destined to undertake.
This recording of The Movement Revisited marks the addition of a fifth
movement, Apotheosis, which acknowledges the election of Barack Obama as
the first African American President of the United States.
2-LP regular weight black vinyl gatefold jacket.

Dutch record label and shop Deeptrax has been tirelessly pushing the boundaries between rigid funk, electro, ambient & techno since 2016 and for release number 033, Singaporean Tserg delves in to the realms of science fiction. First up 'Dreadfully Distinct' conjures up themes of consciousness and the connections between man and machine in this Blade Runner=inspired soundscape, punctured with breakbeats and star-twinkling percussion, while 'Stardust' warps an electronic bassline among more day-dreaming voyages into the universe. On the flip the ambient stylings of 'Decisions; Derisions' wash over the listener as heartbeat bass kicks punctuate airy tapestries of space and sound, while 'Ready State of Mind' ramps up the tempo with light percussion and syncopated beats, all tightly wound around spaced-out samples.

Repress! Little Barrie And Malcolm Catto Team Up For Seven Tracks Of Breaks And Sci-Fi Fuzz For Maverick Producer Madlib's Label

Quatermass Seven, the meeting of minds between guitarist Barrie Cadogan, bassist Lewis Wharton and drummer Malcolm Catto represents a re-birth of sorts for Little Barrie, with these their first recordings since 2017’s Death Express and the untimely passing of their gifted drummer and friend Virgil Howe. As Lewis explains, the sessions played a part in the healing process, a way to re-connect through music without any intentions to necessarily come away with a finished record. “It was good to get in the studio again after such a long break especially as we didn’t go in with any agenda or expectations,” he explains. There was no preconceptions that we would make a new Little Barrie record, it was just an opportunity to work on some things Barrie had written for fun with zero pressure.” With most tracks recorded live with minimal overdubs, and produced by Malcolm at his Quatermass studios, The Heliocentrics’ main man brings new flavour to the band’s rhythm section by blending his power behind the drum kit and his expansive skills behind the mixing desk to take Little Barrie’s music forward into new territories. Recorded on Catto’s treasure trove of analogue gear, and mastered onto ¼” tape, the overall effect is guitar, bass and drums finding a sweet spot where genres collide, delivering a record that takes the influences of the past and pushes them towards somewhere more contemporary. “I definitely hear in Barrie’s songs a lot of common musical ground’” explains Malcolm. “It felt like a great thing to do, work with Malcolm while we’re figuring out what we wanna do,” Barrie concludes, “let’s just go in and do some playing and see what happens, and we came out with more than we ever intended.” Quatermass Seven delivers a dark, deep and expansive set of grooves, layered with frazzled and flawless guitar and flowing melodies, as well as pointing toward a future of exciting new musical opportunities. “Still here, so fine, just a little darker state of mind” sings Cadogan on ‘Steel Drum’, words which sum up hope in times of uncertainty, whilst unintentionally offering a perfect description of Quartermass Seven.

With its name indicative of the music's boundary-testing diversity and Southwestern inspiration, On the Border finds the Eagles leaving everything on the table and embracing a harder edge that takes the band out of more relaxed territory and establishes it as a group that knows how – and wants – to rock. Glenn Frey, Don Henley, new member Don Felder, and company immediately announce their intent on the defiant album-opening hit "Already Gone" and never look back, crafting a gem of a record that from start to finish is arguably their most consistent and balanced effort.

Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's significance and enhances the experience for generations to come. Playing with reference sonics that elevate an effort revered by audiophiles, it provides a lively, dynamic, transparent, and intimate view of a release whose contemporary importance continues to grow. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and gorgeous presentation of the UD1S On the Border pressing befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic Navajo cover painting to the meticulous finishes.

And with On the Border, there's plenty to take in and soak up. Declared by famed critic Robert Christgau as "the Eagles' best album," the 1974 set claims a rich backstory. Initially recorded amid tumultuous sessions with producer Glyn Johns in London shortly after the release of the group's sophomore Desperado set, On the Border took a new turn after the band elected to scrap most of the prior work, return to its native California, and team with producer Bill Szymczyk to give the material less of a smooth, polished sheen and more toughness. Szymczyk also afforded the Eagles more input and freedom in the arrangements, and suggested adding another guitarist to play on "Good Day in Hell." Felder got the call, and so won over the Eagles with his skills, he quickly became the fifth member of the band.

While the late-arriving Felder only plays on one other album cut, "Already Gone," his mates more than prove their muster on the remainder of a double-platinum affair that established the Eagles as a force whose range transcended the calmer country-leaning style it perfected on their first two LPs. Primarily written by Jackson Browne and shelved during the Desperado sessions due to its higher-energy nature, the throttle-twisting "James Dean" ricochets with barbed riffs and rebellious swagger. Listen without limits to how Szymczyk's raw production stamps the song with a leather-and-jeans cool befitting its protagonist. Similarly rugged, the slide-guitar-fueled "Good Day in Hell" boasts its own mean streak. And the funk-laced, boot-stomping title track cautions "don't you tell me 'bout your law and order." Throughout On the Border, the Eagles are in no mood to mess around.

Not that the band skirts sentimental territory. On one of the era's finest covers, the Eagles nail the bittersweet feelings and bring high-definition detail to the vivid scenery of Tom Waits' "Ol' '55," a song the group makes its own. The rustic ballad "My Man" serves as a tribute to the recently deceased Gram Parsons, with singer-guitarist Bernie Leadon taking the lead on the microphone as he pours his heart out to his former Flying Burrito Brothers mate. And when it comes to romance, is it possible to top "Best of My Love"? Graced with Henley's honey-dipped vocals, refined wordless group harmonies, brushed drums, and the gentle strum of acoustic guitars, the Johns-produced cut soared to Number One and set the stage for what would soon be the Eagles' reality: global dominance.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master recording. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

Limited vinyl pressing in collaboration with Rico Toto. Artwork by Floating Bstrd.

Invisible City Editions continues our 10 year anniversary in adventurous sounds. We are thrilled to announce the re-release of Rico Toto’s 1993 CD recording Fwa Épi Sajès. Mind melting synthesizers and drum machines fuse with ancient Guadeloupe Gwo-ka rhythms in this musical endeavour Rico Toto describes as “Electro-ka.” The improvised live instruments of the Moundjahka ensemble meld with electronic abstraction to create a psychedelic, immersive digital diaspora dream state. With nods to Jon Hassell’s’ atmospheric soundscapes, YMO and Baldelli / TBC Cosmic mixtapes, this selection of songs encompasses an entire spectrum of moods and sounds. The A side begins with fourth-world tropical percussions, opening with sounds of nature in “Jungle Meditation” and leading into the downtempo summer synthpop jam “Yadadé.” The B side takes a darker turn, starting off with the deep chugging rhythms of “Rawal Pindi” and continuing even deeper with synth sounds and haunting vocals that culminates into the dreamy meditative final track, “Golgotha.”

"Bunn DeBrett Quintet is back with volume 2 of the eponymous album series of contemporary Jazz. Following on from the success of the critically acclaimed first album released in 2021 which sold out its vinyl run, volume 2 builds on the artistic and creative expressions of Volume 1 to bring together a group of artists to perform on Stephen Bunn and Jon DeBrett's compositions.

Once again featuring the core musicians of Stephen and Jon along with Neil Corcoran, Alan Barnes, Roger Beujolais, and the stunning spoken word vocals of Tenesha the Wordsmith. BDQ vol. 2 also benefits from the contributions of instrumentalists Nathan Haines, Crispin Taylor, Alastair Martin and the poetry of Daniel B. Summerhill.

Across the five tracks of this album this stellar line-up of musicians, composers and artists have created just under 40 minutes of the most fluid and fluent contemporary Jazz you will hear in many a year. Combining the spiritual with the modal and the modern, the atmosphere of this album will capture, enchant and enrapture all true music fans and those whose boundaries are blurred as to be non-existent."

John Holt has one of the finest and most versatile voices to come out of Jamaica.Whether fronting the great vocal group 'The Paragons' which he joined around 1965,singing many of their greatest hits including'Tide is High','On the Beach','Wear You to the Ball' to name but a few or his extensive solo career.A career that saw him covering every musical style from Pop,Lovers,Soul and his much overlooked Roots period.

John Holt (b.1947,Kingston,Jamaica) was a child prodigy he began his career being a regular voice on talent contests run by Vera Johns across the Jamaican Island.He cut his first single in 1963 for Leslie Kong's Beverly's label,'I Cried a Tear/Forever I'll Stay' and sang many duets with various singers of the day including 'Rum Bumper' with Aton Ellis.
In 1965 to 1970 as stated above was John Holts Paragon years in a period which he also ran solo with hits such as 'Fancy Make Up','A Love I Can Feel' and 'Lets Build Our Dreams'.
For this release we are looking at his extremely productive period working with Bunny'Striker'Lee.This reissue of John Holts classic1976 album 'Before The Next Tear Drop' is an album filled with classic after classic sung by Mr.Holt effortlessly.....
Hope you enjoy visiting these tracks....

Light Became Light is the debut album from Puppies in the Sun, a project composed of Alberto Cendra (synthesizers) and Cristóbal Pereira (drums), both originally from Peru and currently based in Rotterdam. Friends since childhood, they crossed paths again in Barcelona by sheer coincidence. This spontaneous pulse is also what dictated the beginnings of the project's characteristic sound: lengthy improvisational and sound exploratory sessions which are summed up in the project's first two EP's (Unheard EP and The Church of Puppies in the Sun, 2018). Like other well-known duos, Puppies in the Sun maximizes their compact instrumentation to establish themselves as a (noise) rock band without the presence of guitars or bass guitars. Far from being a limitation, this has provided them with great freedom. The lower end of the album's soundscape is triggered on Cendra's synthesizer scheme by Pereira's drums. This being one of the characteristics that emerge from the organic, minimal and spontaneous style of the band. As if it was a rocket, Light Became Light takes off in search of a sound and a space that pays tribute to cosmic rock and synthesizer music without leaving the melodic rawness of noise rock or even black metal behind. Some might also perceive an atmosphere that owes its existence to techno parties and a slight wink towards folk imagery. If there is anything that makes their sound iconic is the call for constructing wild and festive ambiances, state of trance and agitation. Light Became Light was recorded and mixed by Oscar Moreno at El Purgatorio (Madrid, Spain). In the middle of an intense heat wave, Puppies in the Sun locked themselves through the course of two weeks to record and process various analog and digital synthesizers, pianos, drums and vocals, to later mix Light Became Light in a classic analog console. Light Became Light is being published by Buh Records on 12" Vinyl in a limited edition of 300 copies. The artwork was done by the band itself and designed by Fernanda Binvignat.

Originally premiered in its earliest state at Tate Britain by William Bennett and Mary DeBlois in 2010, the SIXTEEN WAYS OUT magnum opus reflects over a decade's work of compositional refinement and elaborate studio expansion, and is the first Cut Hands release since 2014's highly-acclaimed FESTIVAL OF THE DEAD on the Blackest Ever Black label. The end result is a mystical showcase of musical esoterica, its seventeen tracks fusing the most arcane elements of subliminal extralinguistics, avant-garde transformational hypnosis, and dark self-help secrets. You will never hear anything quite like it. Available on 180gm vinyl and CD. CD version includes beautiful 12page booklet with expanded texts.

Outernational Live from Studio Two Abbey Road" is a unique live LP featuring new stars of UK jazz recorded at the world-famous Abbey Road Studios during the winter lockdown of 2021.

Tracks were originally laid down for a covid-friendly filmed show hosted by the South by Southwest (SXSW) music festival in March of that year following a run of ground-breaking live showcases at the Austin event since 2017.

Featuring UK rising jazz stars Doom Cannon, Camilla George, Richard Spaven, Theon Cross, Noya Rao, Daniel Casimir and Tess Hirst, this will be a VINYL ONLY release - limited to 500 copies.

Previous acts from these internationally celebrated showcases include Shabaka Hutchings, Nubya Garcia and Moses Boyd with this special-edition LP highlighting the best of the next wave.

Theon Cross stated, "The JRF/BU Outernational showcase for SXSW filmed and recorded at Abbey Road in Feb 2021 was a very special one. It was one of the first times since the start of the pandemic that we were able to play together and make music for an audience despite them not being in the room. We really hit our stride with Panda Village a track from my album FYAH channeling all the joy and emotion of this cathartic moment."

Jazz Re:freshed also confirmed they will be returning to SXSW in 2023 for another landmark showcase, with further details to follow.creditsreleased September 2, 2022

Recorded in February 2021 in Studio Two, Abbey Road Studios, London.
Produced by Jazz re:freshed and British Underground.
Engineered by John Barrett
Mixed/Mastered by Mark Lewis
Photography Miles Myerscough-Harris
Cover Art by Luke Drozd

'Xaybu: The Unseen' is the sophomore release from Sélébéyone, the
international avant-rap collective led by saxophonist and composer Steve
Lehman, who has been hailed by The New York Times for his "sure-footed
futurism" in the realms of modern jazz and contemporary classical music
Comprised of MCs HPrizm and Gaston Bandimic, saxophonists Lehman and
Maciek Lasserre, and drummer Damion Reid, their eponymous 2016 debut was
hailed as a game-changing synthesis of underground hip-hop, modern jazz and
live electronic music that was described by Pitchfork as "legitimately new" and a
"revelation."
On 'Xaybu', Sélébéyone - which means "intersection" in Wolof - continues to build
on its groundbreaking work with shifting rhythms and state- of- the art sound
design, now with a newfound sense of effortless fluidity. The word "xaybu" in
Wolof refers to the concept in Islamic mysticism of al- Ghaib - that which is
unknowable and unseeable. HPrizm (a.k.a. High Priest, legend of New York's
underground hip- hop scene and a founding member of Antipop Consortium),
Bandimic (one of Senegal's most distinctive young rap stars), and Lasserre are all
Sufi Muslims, and that spiritual connection and sense of abandon and giving in to
the unknown has been a cornerstone of the group since its inception.
The result is a profound musical statement filled with otherworldly sonorities,
intricate compositional structures, and cutting- edge improvisation that deftly
explores spirituality and mysticism through the lens of experimental music.

"I was 27 when this album came out, LA was a whole different animal. I was going back and forth from NY to LA, touring a lot and trying to make progress for me and my close friends and family.

Oct 1 2002 seems like it was yesterday... The day we released the album, I got a call from Nas, completely caught me off guard. He complemented me on the writing of “Release Date” the first track on the album. Those are some of the moments I think of when I reminisce about dropping this project. It was such a turning point in my life, I was coming off of a huge push with “Restless” and the follow up had to be a smash, at the same time I was still finding my standing as a man, a young father, and an artist. It was always my dream to work with the people I’ve now been able to work with and I can listen to this album and remember exactly where I was and who I was with, it’s like time travel.

Fast forward 20 years later and I am thrilled to be able to share this body of work with you and more generations to come.

Thank you for rockin' with me for all this time.
Enjoy the 20th Anniversary Edition of MAN VS MACHINE,

From its dramatic intro, "Release Date," to the thundering West Coast march "Enemies," Xzibit's fourth and mythical album, Man vs. Machine produced by no less than Dr Dre, spent a total of 19 weeks on the "Billboard" 200 chart and was certified gold only a month after its release with over 500,000 copies sold.

The legendary album that features a heavyweight cast of featurings with the likes of Snoop Dogg, Eminem, M.O.P, Nate Dogg, DJ Premier and Dr Dre himself is now available for the first time since its original release, to celebrate its 20th anniversary!

















[q] D3. My Life, My World [Bonus Track]
[r] D4. What a Mess [Bonus Track]
[s] D5. (Hit U) Where It Hurts [Bonus Track]

Recorded in St. James Norlands church in London in November 1968 and first released in the following year, this work stands as the first solo bass album in the history of Jazz and improvised music. Born in 1934 in San Francisco, Barre Phillips is one the most influential bassists of his generation. In his long career Phillips has played and recorded with almost everyone in the world of Jazz and beyond, a long list of forward thinking music icons including Don Ellis, Bobby Hutcherson, Dave Holland, Archie Shepp, Marion Brown, John Surman, Paul Bley, Evan Parker just to name a few! Originally recorded as part of a 3 hours session this solo tour-de force expresses the true essence of a genius. A multifaceted, kaleidoscopic journey through a myriad of melodic, rhythmic, fretted and bowed lines. In other words: a true master class and a seminal statement from one of the greatest figures in creative music!

"...Not just an improviser of the highest order; but a true sound sculptor capable of drawing from his instrument such a vast array of shapes and colours that his creation is almost a form of visual art for the ears." Jazzwise