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Das legendäre US-Metal-Meisterwerk ist nach fast 40 Jahren endlich auf luxuriösem 180 Gramm Vinyl erhältlich!
Wir glauben nicht, dass es ein einziges Wort gibt, das diesem Album außer Perfektion gerecht werden könnte. Und wenn man sich dieses Album
einmal angehört hat, wird einem sofort klar, dass dies Vicious Rumors sind. Das ist ihr Stil, ihr eigenes Genre und ihr Sound, ihre Formel.
"Soldiers of the Night" setzte den Ton an, welches sie für den Rest ihrer Karriere gefolgt haben. Es gibt genug Geschwindigkeit, um sie dem
Speed/Power Metal-Genre zuzuordnen, es gibt genug Emotion und Vielfalt, um sie dem progressiven Genre zuzuordnen, es gibt genug technisches
Können, um sie unter dem Dach von Shrapnel Records landen zu lassen.
Alles, was Vicious Rumors ausmacht, ist hier in Stein gemeißelt. Die total abgehobene Atmosphäre zieht sich durch das ganze Album und steigt
manchmal ins Düstere. Das ganze Album ist qualitativ konsistent- Lückenfüller Tracks gibt es hier keine. Obendrein ist die Produktion für die damalige
Zeit phänomenal und es gibt immer noch eine raue Kante. Fans von klassischem Heavy, Speed, Thrash, Power, progressivem, technisch versiertem
Metal sollten sich sofort in dieses Album verlieben.

EP compilation of essential UK house cuts recorded between 1987 - 1990. TIP!


Before British house and techno found its’ distinctive groove at the turn of the 1990s, one act led the way: Bang The Party, a trio who emerged from London’s vibrant underground party scene in the mid 1980s and proved, beyond any doubt, that UK producers could make music every bit as magical as the pioneering productions put forward by their counterparts in Chicago, Detroit and New York.

By the time long-running DJs and party promoters Kid Batchelor and Leslie Lawrence joined forces with trained engineer Keith Franklin at legendary North-West London reggae studio Addis Ababa in 1987, they’d spent years as DIY dance music activists in Britain’s capital city. They channelled these experiences and their love of imported house and techno sounds into a new project, Bang The Party, in the process becoming the first British act to appear on Transmat, a reflection of the quality and authenticity of their music.

The latest Rush Hour Reissue Series release offers a snapshot of some of the numerous gems nestled in the Bang The Party catalogue, delivering a much-deserved celebration of one of Britain’s most significant early acid house collectives. It features four fully remastered cuts recorded and released between 1987 and 1990 – on-point and far-sighted club workouts that sound as fresh and timeless now as they did when Britain was sweltering under its infamous ‘second summer of love’.

Fittingly, the EP begins with ‘I Feel Good All Over’, the group’s ground-breaking debut single. Dedicated to their home city and one of the earliest UK interpretations of house music, the track exists in the grey area between Chicago house and New York ‘garage house’ – all jaunty organ stabs, jacking Windy City beats, restless bass and soulful vocalizations. ‘Jacques Theme’, which follows, originally nestled on the B-side of that single release. An early, acid-flecked expression of hip-house with a British twist, breakdance-friendly bongo patterns and a dose of Larry Heard-inspired deep house dreaminess, the track remains an under-appreciated classic whose rap verses reflect the popularity of hip-hop in London at the time.

1988’s ‘Release Your Body’, Bang The Party’s most celebrated early release, was reissued in the United States by Transmat, reflecting the strong working relationship between Derrick May and Kool Kat Records’ Neil Rushton. A hypnotising affair propelled forwards by sweat-soaked drum machine beats, jacking fills and an addictive bassline, the track offers another near perfect distillation of the band’s Black American musical influences while delivering something genuinely new and fresh.

Rounding off the EP is a choice cut from Bang The Party’s sought after 1990 album Back To Prison. Doused in the star-lit synth sounds of the Motor City with jaunty organ stabs inspired by the kind of New Jersey jams championed at East Orange institution Club Zanzibar, ‘Let It Rip’ is a superb slice of deep house soul featuring a lead vocal every bit as emotive as anything laid down by Robert Owens. Like the rest of Bang The Party’s output, it has stood the time better than anything laid down by their London contemporaries.

Four essential cuts from Ghana & Cape Verde, compiled by Arp Frique...

Music is a great connector, bringing people together in many ways. On his journey in music so far, Arp Frique has been fortunate to meet many beautiful artists. The songs on this first edition of "Radio Familia" are deeply connected to the musicians he performs with. Join the music family on a trip through exciting sounds from Ghana and Cape Verde and listen to their story in both words and music.

Arp Frique never played a show without including Americo Brito’s epic song “C’est Dudu”. The song originally appeared on his album “Fidjo Di Mizeria” from 1989 but he had been performing his anthem for years and it came in many shapes and forms. After spending a lot of time in Paris, he (like many others in those days) got inspired by new records from Guadeloupe and Martinique, especially “kadans”. Incorporating latin piano motifs borrowed from salsa and merengue and a bold choice to sing in French, the song and album became an instant success for Americo in and outside the clubscene (note: DJs were not the primary source of dance music in those days, bands played all night to keep the dancers moving). The addition of C’est Dudu to this compilation became especially relevant since Americo recently passed away. Fortunately, his anthem just like all his other music will remain with us for decades to come.

While going through the archives with Americo Brito for the Radio Verde compilation, he introduced Arp Frique to a band called Imilux Star, of course again well connected with Americo. This Cape Verdean band residing in Luxemburg (where there is a substantial Cape Verdean community) definitely added a different flavor to the musical pallet the islands are famous for: heavy syncopated rhythms coming from the drum computer. They released two albums which both became very popular in their scene and the track “Yolanda” from their 1988 album “Jota Dê” got to Arp Frique’s attention too late to add to the Radio Verde comp. The band is still performing to this day in the Luxemburg-Cape Verdean live circuit.

While Arp Frique was on the road with his lead singer Mariseya, they talked much and deep about Ghanaian music (especially highlife) and he learned a lot about the community from Ghana in the Netherlands, mostly in Amsterdam and The Hague. Mariseya’s dad, Nana Adomako Nyamekye, came to see their liveshow while in the UK which was very special to them considering he is one of the highlife artists Arp Frique has grown to be very fond of. His deeply funky and bubbly bass driven song “Obra Twa Owuo” is about life and death, telling us we should all love each other as we still have life to live. Originally released on “Ano Plan” from 1982, the album is filled with philosophical advice. In his own words: “A message to all humans that something awaits us all at the end of life. Let’s live together with love.

Bnnyhunna, from the Ghanaian community in the Netherlands, joined Arp Frique’s live experience several times playing keyboards and synthesizers. His dad Elvis Kwasi Ankomah, just like him, developed a high level of musicianship while performing regularly in church. The song “Fa Wokoma Mame” (give me your heart) from his only studioalbum “Mfa Menko” released in 1995 is about showing his love to a lady but only if she puts her trust in him completely. The album talks about love, pain, relationships and life. Having worked with artists like Daddy Lumba, Nana Ampadu, Amakye Dede and many other hiplife and highlife legends, he still plays in church every week and has been doing so ever since he was 15 years young.

After a two year wait, we proudly present Deepseries 1.3, the latest installment in our Deep compilation series featuring friends and family of the label. This atmospheric EP showcases the distinct sounds of Deeptrax, bringing together a curated selection of tracks that define the label's sonic universe.

Caim kicks off the journey with an unreleased gem, a calm and atmospheric track with a punchy kick. It sets the stage for an immersive experience, inviting listeners into its ethereal embrace.

Returning to Deeptrax, Mathijs Smit delivers a bass-heavy, emotionally charged track. A sonic return to familiar grounds, his contribution reflects the label's commitment to captivating, bass-driven soundscapes.

Joey Anderson makes a poignant return with a deep, emotionally layered track where instruments guide, inform, and inspire. His unique ability to infuse depth and emotion shines through in this standout contribution.

Rich P & Lee join forces for another V.A. installment, presenting a melodic house journey filled with dub chords. A perfect blend of melody and rhythm, their track is a testament to their signature sound.

Closing the EP is Pim Holthof's debut on Deeptrax with an atmospheric minimal house track. His contribution adds a distinctive touch to Deepseries 1.3, showcasing the label's dedication to sonic exploration.

Deepseries 1.3 is a culmination of artistry, emotion, and sonic innovation. Join us in this exploration of electronic music, where each track is a unique thread in the rich tapestry of Deeptrax Records. Welcome to Deepseries 1.3 - where the journey never ends.

Der 1997 erschienene Hip-Hop-Klassiker von Busta Rhymes, der Ende letzten Jahres sein 25-jähriges Jubiläum feierte, wird noch in diesem Jahr im Rahmen der Warner HIP-HOP AT FIFTY Feier veröffentlicht.

Das mit Platin ausgezeichnete Album enthält die kolossalen Hits "Put Your Hands Where My Eyes Can See" und "Dangerous", sowie Fan-Favoriten wie "Rhymes Galore" und "Turn It Up". Das Album erscheint in einer limitierten Silber-Vinyl-Doppel-LP und ist mit Sicherheit eine tolle Ergänzung für die Sammlung eines jeden Hip-Hop-Heads.

High Roller Records, reissue 2022, 1st unreleased mix, transparent electric blue/ red splatter vinyl, ltd 250, 425gsm heavy cardboard cover, insert, mastered for vinyl by Patrick W. Engel at Temple of Disharmony.

"Ultra-textured arrangements that radiate quiet power, locking listeners into a distorted landscape before evaporating without any fanfare."
Resident Advisor

"Both reflective and rapturous...focuses on altering the DNA of traditional Japanese instruments and building something new from it, without losing the essence."
Bandcamp Daily Acclaimed Japanese musician 99LETTERS joins Phantom Limb for new album Zigoku / 地獄, seamlessly processing traditional Japanese instrumentation into pitch-black techno and quasi-industrial sound design.

“This album is made with the theme of human death,” 99LETTERS (Osaka producer Takahiro Kinoshita) writes of Zigoku / 地獄 Eng: hell, his first album for Phantom Limb. “Even if I eventually end up in hell when I die, it might be a more peaceful place than I had imagined. The whole album may represent the world of death that I desire.”

Though the music of Zigoku / 地獄 is ostensibly programmed with dark, disorientating, disturbing sound design, 99LETTERS continues his now-characteristic practice of sampling, processing and disguising traditional Japanese instrumentation to develop a sound world both organic and unsettling. The very real presence of beauty, culture, and folklore remains throughout the record, in attendance as a kind of heaven to offset the willful hell of Kinoshita’s craft.

Appropriately - and in his typically cryptic language - Kinoshita speaks of human interference with reality and morality as key themes of the album: “Everyone has a good and bad person within them, which can be deceived by misinformation and superstition. The bad side can be ferocious and can easily hurt people. Sometimes I think that the present age is a complicated and difficult era to live in, and that this era may be hell.”

In 1994 the South London collective Archive was formed by Darius Keeler and Danny Griffiths together with female singer Roya Arab and young rapper Rosko John. Unfortunately, a few months later, they broke up, however Darius and Danny regrouped and continued releasing more Archive albums. Their 1996 debut album Londinium features a very strong mix of trip-hop, electronica, string arrangements, and female vocals from Roya Arab. Rosko John’s tough-spoken words are very similar to Tricky, Future Sound Of London and Massive Attack. The original 1996 issue only came out as a limited edition advance release, and has steadily built in reputation as a rare and expensive record to get a hold of. Fun fact: the song “Londinium” was featured on the Playstation
1 demo-disc and the music video was directed by Matt Cook.

This 25th Anniversary Edition of Londinium by Archive features the singles “So Few Words”, “Londinium” and more. It is packed in a gatefold sleeve, and includes a 4-page booklet with song lyrics and credits.

Saint Abdullah & Eomac is a long distance, ongoing collaboration between New York based Iranian-Canadian brothers Mohammad and Mehdi Mehrabani (Saint Abdullah) and Ian McDonnell a.k.a. Eomac, based in Wicklow in Ireland. They tested the waters with their first album on Nicolas Jaar's Other People label last year, but 'Chasing Stateless' is their fullest expression so far.

The creative mindset behind the album starts with bravery and eschews escapism. Says Saint Abdullah's Mohammad, "As a collective, we exist to test the revolutionary possibilities within sound and sonic storytelling. As a means to finding a vision of the future and for building cultural dialogue today. Our belief is that the expressiveness of this vision should be pushed to its utmost limits to reveal anew. I always felt that the intensity of the middle eastern soul needs to be revealed more potently. Ian and the Irish have it too. I suspect most historically oppressed cultures do."

The music on 'Chasing Stateless' avoids easy middle eastern tropes — "I think what we're proposing here is that you don't need to water down our culture, you don't need to take only the bits that fit your idea of who we are, what we are. You ought to take it in its entirety."

Musically, the album approaches established genres and re-orientates them towards middle eastern rhythm and melody with an iron soul. Songs are rough and intense. Rusty polyrhythms, daf drums wrapped in a thick coating of distortion or punchy kicks with micro-edited samples of middle eastern life spiralling across them. Mournful melodies are squeezed out until the music teeters on the edge of rhythmic collapse. 'Chasing Stateless' is rough and energetic but also tender and reflective too. It's a human sound, utilising technology but not about technology. Sample heavy with expressions of anger, sadness and hope present and deeply felt.

The album's title speaks to a loss of collective societal imagination; of 'chasing status'. As Moh says "This generation, man, we're really good at putting up walls, despite all our openness. But where does this all lead to? What exactly are we chasing? This is where I especially love the name 'Chasing Stateless,' because if all this continues, we indeed will end up stateless, society-less, community-less, neighbor-less. Just a bunch of same-sies, living in an imaginary bubble, where we all look / think / say / CHASE the same things."

Following the release of his Running Wild album, Grieves let loose a flurry of new music, surprising and delighting fans with fresh new singles each week. He was able to express his growth and hunger in this new work, as the content and production ranged from light-hearted and jazzy to intense and introspective. After releasing a string of five standalone singles he compiled them all onto one sensational project with three additional unreleased tracks, and introduced it as The Collections of Mr. Nice Guy.

The Collections of Mr. Nice Guy showcased a wide range of Grieves lyrical expression, as well as his production talents. On “Perspective”, Grieves waxes about the hypocritical standards musicians often face, while “Let The Devil In” addresses the demons he grapples with personally, rapping: “That shadow on my shoulder weighs a ton, y’all pretend like my experi- ence with hell was just for fun (nah).” On the lighter side, Grieves invites Chris Webby to trade bars back & forth on “Man Down”, where the pair go on to skewer less-than-stellar MCs holding space in the industry. Meanwhile, “I’ll Be Better” delivers a melan- choly reflection on the tropes of heartbreak, letting go of the old and making room for the new. At once, The Collections of Mr. Nice Guy stands at the intersection of all things fans that have historically drawn fans to Grieves—truthful and relatable lyricism over soulful synths and drums.

Stolen Body is delighted to be working with Bristol progressive psych and jazz legends The Brackish for their fifth album ‘Donor Zone’. Attempting to capture our live sound and intensity, Donor Zone was recorded live at gig volume without the tyranny of headphones. The album kicks off with an ADHD epic ' Willox for a new Age' , apocalyptic coda morphing into the fuzz bass drone of 'Donor Zone'. Forboding chord sequences set up ' J und J' before a gargantuan riff drops, motorik middle section developing into a highly satisfying ripping fuzz guitar finish. Last tune BUABB has the faved Tortoise/ beefheart stylings around a Kraut- inspired improv section. The single 'J und J' draws the listener in to a false sense of uneasy security with it's pensive and motorik sections before it's gargantuan riff payoff. The track shifts dynamically back to it's uneasy base, developing into an extremely satisfying and belligerent ripping fuzz guitar ending.

After two spare trio outings for Blue Note, drummer Elvin Jones expanded his ensemble with additional woodwinds & percussion on his unfettered 1969 post-bop exploration Poly-Currents while maintaining spacious realms for the musicians to delve into on modal originals like ‘Agenda’, ‘Agappe Love’, and ‘Whew’. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

C-thru - The Otherworld is a collection of introspective cosmic-leaning dance music that gives a healthy nod to the golden era of trance, ambient, and down- tempo from Austin, Texas based producer Jesse Edwards. Inactive for several years, these 10 tracks mark a new chapter for Jesse Edwards.

Previous works include his well received psychedelic project, Red Morning Chorus, that included Boards of Canada amongst its fans. Edwards began his musical journey in the late 90s playing shoegaze and experimental music with Jessica Bailiff (Kranky). The pair collaborated on several albums together including works with Flying Saucer Attack, His Name is Alive, & Odd Nosdam (Anticon).

Midnight Creeper was the third in a series of stellar soul jazz outings saxophonist Lou Donaldson made for Blue Note in the late-1960s with key players including Hammond B3 organ virtuoso Lonnie Smith, young guitar star George Benson, funky drummer Idris Muhammad, and the bluesy trumpeter Blue Mitchell. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

SYEOR 2024 - Indie Exclusive 30 days - 2LP Expanded Edition of the legendary final concerts with Lou Reed recorded in 1970. Limited Edition Purple and Magenta Vinyl. Includes “I’m Waiting for the Man”, “Sweet Jane”, “Pale Blue Eyes”, “Femme Fatale” and more.

Four dazzling, extended engagements with mbalax master-drumming.


The contribution from Holy Tongue is chase-the-devil steppers — thumping, clangorous, reverberating — super-charged with energy and atmosphere. From the off drummer Valentina Magaletti detonates a hard rain of small bombs, rounds of fire, ticking fuses. Musical co-ordinates are somewhere between classic On-U Sound crew like African Head Charge, The Mothmen, and Creation Rebel, and the experimental funk of the Pop Group and 23 Skidoo, at their funkiest. Thrillingly, the two dubs are increasingly deranged.

Adjusting the same wavelengths as her superb Workaround LP, Beatrice Dillon plays spaced-out, abstract synth-work against the bodily physicality of the ancient, shifting mbalax rhythms. The music is poised, mindful, tentative; but also limber, fleet, and magical.

Phantasmagorical and efflorescent, Lamin Fofana’s one-two is simply stunning. Both excursions are wide-open, beautiful, epic, and propulsive — the first mix is banging and headlong, the second more syncopated and serpentine — teeming with freshly sublime, funkdafied updates on Jon Hassell’s Fourth World possible musics.

The two parts of LABOUR’s Etu Keur Gui engage the same sequence of drum patterns (called bakks) from different perspectives. The duo performed portions of this piece at the opening ceremony of the Dakar Biennial in 2022, at the Grand National Theater, with thirty sabar players from the family of Doudou Ndiaye Rose. This Wolof phrase for the inner-court of a home — a meeting-place — doubles here as a metaphor for inner space on a metaphysical level; and Pan Sonic, Muslimgauze, Zoviet France, early Shackleton… all ghost across the threshold.

Buzz Fuzz, a.k.a. Mark Vos, is considered one of the most prominent DJs and producers in the international hardcore scene for over 30 years. He started his deejay career in 1987, mixing hiphop and swingbeat at the Zorba in Amsterdam. In 1991, he became inspired by a live performance of The Prophet and decided to focus solely on hardcore house. Within a few years, Buzz Fuzz became a headliner on festivals like Hellraiser, Thunderdome, Dance Valley and Multigroove.

Together with DJ Dano, The Prophet and DJ Gizmo he formed the infamous “Dreamteam”, and in both 1997 and 1998 he was named
‘Best Hardcore/House Producer.

A selection of his best tunes, including “XTC Love” and “Jealousy Is A MF”, are compiled on the album Hardcore Legends, which is part of the brand-new series by Be Yourself Music, focusing on groundbreaking and essential artists in the Hardcore scene. The album features the brand-new remix of “XTC Love” by Dither, which was presented during Dither’s DJ set at Thunderdome 2022 in Utrecht (NL).

'London-based DJ/producer Soreab returns to Baroque Sunburst with a highly anticipated follow-up to 2020's 'Kraepelin Avenue' EP. The new four-tracker also marks his label's 10th release.

The concept of 'Maschera' revolves around Luigi Pirandello, an Italian dramatist and novelist. His ideas of the 'mask' and 'trap' take centre stage. Pirandello believed that the concepts of 'self' and 'identity' are lost and unachievable in human beings, who are all trapped behind a metaphorical mask concealing their identities.

Each track on 'Maschera' has two masks: they can be played at both 33 or 45 rpm, a dream for DJs mixing in wide tempo mode.The title-track draws inspiration from Pirandello's masking ideas. Soreab's half-time stomper moves with the slithering grace of a snake, evolving into intricate IDM melodies riddled with complex drum patterns. ‘Trappola’ is a melodic hide and seek, with a captivating slow tribal rhythm that gradually intensifies. In ‘Specchio’ the snake returns, biting his own tail in a continuous loop, a birth and death cycle. The closing track sees the opener remixed by KRSLD, a collaborator with Soreab on the BSUN and XCPT co-release 'Marmo'. His rework builds on all the concepts Soreab explores, infusing dub with a half-time modern dancehall mood. The snake, no longer masked, is now looking for you.'

Epic, grooving, dazzlingly creative, perfectly attuned blends of complex mbalax drumming, field recordings, thumping kick-drum, and cosmic, bubbling, jamming synths and electronics.

The opening is suitably liminal, haunted by a diachronic sense of times past, present, and to come: ancestral ghosts, scratched playback, scraps of old recordings, voices strangulated or just out of range; puttering drums; futuristic, kosmische keys. Part II picks up the pace; III gives the drummers some, and heightens the atmosphere of enchantment. Jon Hassell’s Fourth World music courses through a kind of Dream Theory In Dakar.

Toco SOS, the second side, is a thumping, throbbing, mesmeric future-classic; perfect for fahr’n fahr’n fahr’n on the Autobahn… in a spacecraft. Expert hand percussion, call-and-response singing, bin-trembling foot-drum, spaceways keys. Sleekly funky as prime Popol Vuh.

Both sides range expansively by way of Berlin, where Lamin resided for a few years: you can hear something of T++’s brilliant, landmark HJ record on the A, and elements of Mark Ernestus’ crucial Ndagga project, on the B.

Half an hour of stunning music; in a beautiful sleeve, with mirror lettering, and an intricate spot-gloss rendition of salt crystals, laid over a photograph of the salt mines at Lac Rose, outside Dakar.

After a short break Samosa Records explodes back on the scene with ‘Earth Wind & Funk’, a deadly four-tracker EP that is sure to get the juices flowing and body moving.

A1 sees New Zealander producer ‘Strange’ make a most welcome return, spinning the funk loom with the ‘Hard Working’ (De Gama Re-Drums). A truly addictive and distinctive bassline sets the pace, tone and feel for this gorgeously constructed track. It has it all; sumptuous vocal, high-end brass and an acid squelch to die for. Dig it, you will.

A2 lands with Frank Virgilio’s ‘Love Is Positivity’ – a melting pot of twisted disco, feel-good scatty rhythm and lifting vocals. The melody is literally dripping with positivity, but also has an almost transcendental vibe secretly going on. The last drops of summer are right here. Enjoy them.

On the B-side, Mosaik Kollektive raise the temperature with the De Gama Re-Drums applied ‘Keep’. A tough, perfectly cooked groove that gets right in your face and makes no apologies for screaming at you. The bass on this unstoppable monster is all-consuming. Rhythm guitar licks blend with soaring strings and that’s the full basket. Sublime meaty goodness.

Closing matters for this incredible EP at B2 is the effervescent Monsieur Van Pratt and Funk De Ibiza. MVP stretches his funky legs to the full here, laying down a solid beat, arpeggio and a bass so tough you could train it to box. Expertly blended with J-pop-esque vocal and shrill church organ. Drop this at midnight and watch the carnage unfold and hands in the air.

Earth, Wind and Funk is the exposure to the elements you absolutely want. A more perfect slice of wax you couldn’t find and one that’s sure to find its way into the record boxes of those who know.

Prince Fatty's 'Mercedes Benz' with Shniece and Horseman is a rub-a-dub version of a 1970s hit from Janice Joplin that now gets a very special and very limited edition pressing courtesy of Lovedub Limited. The A-side kicks off with the spine-tingling and epic original vocal before disappearing into a world of reverb.

At that point the dubby low end arrives and brings a different vibe to the stunning vocals but one that really makes a mark next to new bars from Horseman, police sirens and funky riffs. It's a tough sound system groove that is backed with a fine version and has been a firm fixture of Prince Fatty's record box for a while now.

SOURCED FROM THE ORIGINAL MASTER TAPES: 2LP SET PRESENTS 1991 ALBUM IN 45RPM SPEED FOR FIRST TIME.

PCM Digital Master to Analog Console to Lathe.

Dire Straits never made a big to-do about its final run. In classic understated British fashion, the band simply let its music speak for itself. And how. Originally released in September 1991, On Every Street became the group’s swan song – a lasting testament to the influence, musicianship, and integrity of an ensemble whose merit has never been tainted by cash-grab reunions or farewell treks. It remains an essential part of the Dire Straits catalog and a blueprint of the distinctive U.K. roots rock the collective played for its 15-year career.

Sourced from the original master tapes, housed in gatefold packaging, and pressed at RTI, Mobile Fidelity’s 180g 45RPM 2LP set of On Every Street presents the album like it has always been meant to be experienced: in reference-grade audiophile sound. Recorded at AIR Studios in London and produced by Dire Straits leader Mark Knopfler, it features all of the band’s sonic hallmarks – wide instrumental separation, visceral textures, seemingly limitless air, broad soundstages, atmospherics that you can almost reach out and feel. Each element is made more vibrant, physical, and lifelike on this collectible reissue, which marks the first time this 60-minute work has been available at 45RPM speed.

Afforded generous groove space and black backgrounds, the songs from On Every Street burst with nuanced details and vibrant colors. Dire Straits’ playing appears to float, their intricate performances organized amid hypnotic, fluid, three-dimensional arrangements. Mobile Fidelity’s definitive-sounding set also brings into transparent view Knopfler’s finely sculpted guitar lines, expressive tones, and laid-back vocals – as well as the balanced accompaniment from his band mates. Here’s a record on which you can hear the full blossom and decay of individual notes, and imagine the size and shape of the studio. It is in every regard a demonstration disc. And it happens to be filled with timeless fare.

Remarkably, On Every Street almost never came to light. Dire Straits initially dissolved in September 1988 after touring behind its blockbuster Brothers in Arms and suffering the departure of two members. At the time, Knopfler professed his desire to work on solo material; bassist John Illsley also explored side projects. But Knopfler’s decision in 1989 to form the country-leaning Notting Hillbillies reignited a spark to reconvene his primary band and craft a fresh batch of songs. Six years removed from Brothers in Arms, Knopfler, Illsley, keyboardist Alan Clark, and keyboardist Guy Fletcher teamed with A-list session pros – steel guitarist Paul Franklin, percussionist Danny Cummings, saxophonist Chris White, guitarist Phil Palmer included – to create what still stands as an unforgettable farewell.

The platinum record brings the band full circle in that it returns Dire Straits to a quartet formation; finds the group refreshingly out of step with the era’s prevailing trends; and sees Knopfler and Co. knocking out song after song with the deceptive ease of a punter tossing back a pint at a pub. That subtle cool, clever poise, and innate control – signature traits that no other band ever matched – dominate On Every Street. Knopfler’s clean, virtuosic six-string escapades unfurl with dizzying melodicism and economical efficiency. Led by his winding fills and focused solos, Dire Straits traverse a hybrid landscape of rock, jazz, country, boogie, blues, and pop strains with near-faultless prowess.

More than any other entry in the group’s oeuvre, On Every Street welcomes quick detours down back alleys and into the depths of human souls. What makes it more brilliant is its staunch refusal to cater to commercial expectations or take advantage of prior successes; every passage feels true, every measure echoed in the service of song. It’s evident in the humorous satire of “Heavy Fuel,” closeted desperation of the witty “Calling Elvis,” and shake-and-bake bounce of “The Bug.” It pours from the album’s darker corners, as on the high-and-lonesome melancholy of the title track and bruised emotionalism of “When It Comes to You.”

Hinting at the open-minded approaches and boundless curiosity he’d embrace as a solo artist, Knopfler doesn’t limit himself when it comes to style or subject matter. Look no further than “You and Your Friend,” a shuffle whose all-inclusive lyrics encourage an array of interpretative meanings. Another of the album’s deep cuts, “Iron Hand,” comes on as one of the band’s most memorable moments – the narrative addressing the abuses of power at the 1984 Battle of Orgreave during the U.K. miners’ strike. Given cinematic heft by the expert production, the true-fiction account puts into perspective the richness, poetry, and depth of On Every Street.

“Every victory has a taste that’s bittersweet,” sings Knopfler on the title track. At least that bittersweetness seldom sounded so damn good on record.

EASYGOING PORTRAIT OF DOWN-HOME SOUL SINGER COMING INTO HIS OWN AND ESTABLISHING AN INDELIBLE BOND BETWEEN PERFORMER AND AUDIENCE
1/4" / 15 IPS / Dolby A analogue master to DSD 64 to analogue console to lathe


On par with the most treasured concert albums of the 60s and 70s, Bill Withers' transformative Live at Carnegie Hall is a forgotten classic – an easygoing portrait of a down-home soul artist coming into his own in front of an audience eager to share every moment of his brilliance. Soothing with subtlety, charming with calmness, and healing with a vocal timbre as relaxing as his grooves, Withers uses the stage to expand the range of favorites and engage in dialog with the crowd. Distinguished with sonics that restore the performances' balance and improve the sound-staging, this reissue takes you inside the venue.

Moreover, aspects that really make this concert document unique – the energetic crowd, Withers and his band's willingness to extend arrangements, and the undeniable communicative bond between the performer and his fans – are brought into fuller relief. While most live albums give you the sense of what transpired, our reissue allows it to seem that what you're hearing and sensing is happening right now, in the moment. You are as much a participant as listener. For this reason and more, Live at Carnegie Hall ranks with James Brown's Live at the Apollo and B.B. King's Live at the Regal. No small claims, but the proof is in the grooves.

The antithesis of the sweaty R&B shouter that prowls the edge of stages, Withers deals in mellowness and vulnerability, qualities that come to fore. The songs here span soul, blues, and folk and often times, contain elements of all three styles. Live at Carnegie Hall also deals with serious subject matter with unflinching honesty and simple directness. Companionship, poverty, war, maturity, family, and love all crop up within Withers' tunes, yet the messages are never overly cumbersome or preachy. Credit goes to his easygoing style and relatable lyrics, not to mention a tight-as-a-vice band that on this night is simply "on."


"One more time?" Withers asks in response to a request for another stanza during "Use Me," and like the snap of fingers, his musicians are right back on cue, the crowd clapping along on every beat. This classic, as well as the instantly familiar "Ain't No Sunshine," poignant "Grandma's Hands," and all-time favorite "Lean On Me" are delivered with utmost soulfulness, passion, and electricity. Few, if any, live albums demonstrate such a bond between the crowd and artist as Live at Carnegie Hall. You'll definitely want to be there.

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
Bad Company's eponymous 1974 debut featuring "Ready for Love"
180-gram 45 RPM double LP
Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

From the wreckage of Free came Bad Company, the English hard rock supergroup fronted by singer Paul Rodgers and featuring his drummer bandmate Simon Kirke, Mott the Hoople guitarist Mick Ralphs, and King Crimson bassist Boz Burrell. Peter Grant, who managed the rock band Led Zeppelin, also managed Bad Company until 1982.

The group's eponymous 1974 album debut decidedly proves the band is proudly not progressive — the details make a difference, as do the pastoral acoustics of the closing "Seagull" — reducing their rock 'n' roll to a strong, heavy crunch; compare "Ready for Love," a tune Ralphs brought over from Mott the Hoople, to the original to see how these quartet members keep their heads down as they do their business. Appropriately enough given their name, there's a sense of slow, churning menace to Bad Company, writes AllMusic reviewer Stephen Thomas Erlewine.

Their first three albums, Bad Company (1974), Straight Shooter (1975), and Run with the Pack (1976), reached the Top Five in the album charts in both the U.K. and the U.S.. Many of their singles and songs, such as "Bad Company," "Can't Get Enough," "Good Lovin' Gone Bad," "Feel Like Makin' Love," "Ready for Love," "Shooting Star," and "Rock 'n' Roll Fantasy," remain staples of classic rock radio. They have sold 20 million RIAA-certified albums in the U.S. and 40 millon worldwide.

The self-titled debut album was recorded at Headley Grange, Hampshire, in Ronnie Lane's Mobile Studio. The album reached No. 1 on the Billboard 200 in the U.S, and No. 3 on the U.K. Albums Chart, spending 25 weeks on the U.K. charts. The album has been certified five times platinum in the U.S., and became the 46th-best-selling album of the 1970s. The singles "Can't Get Enough" and "Movin' On" reached No. 5 and No. 19 on the Billboard Hot 10.

All the hallmarks of a top-notch Analogue Productions reissue are here for your pleasure: Mastered directly from the original master tape by Ryan K. Smith at Sterling Sound and cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings and RTI, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Repetitive actions, looping in your head forever. Forever? Never. Zero is endless. All flowers and fades. No permanence is ours. We are a wave, that flows to fit. And yet, “Music for a film”, a cassette tape by Swedish artists Sofie Herner aka Leda, inheres the power for perpetuity. A circulating dreamland, built on loop pedals, guitar, and tape manipulation.

The Malmö based artist, who is already famed in the global experimental, improvisational, lo-fi noise underworld for her own musical creations as well as being part of bands and projects like Enhet För Fri Musik, Källarbarnen, or Neutral, brings music made for the film “Dödfött“ - an interactive flick by director Niklas Hansson about failed online karate and caducity, screened with a stage art performance at Hypnos Theatre, Malmö, in early autumn 2022. Cinematic sounds for all the Velvets, that never awaken from their first DIY Super 8 dream.

Colorful, yet monochrome electrified and acoustic guitar melodies, monotonous, working like drones, getting all stranded in the zones. Six minimal compositions. Full of plenty, always friendly. Heavy, calm, dreamy, shredding, scratching, created for the woman of the world. And all other creatures, that seek features in unbroken repetition. As nobody keeps any of what he has, one day the eternal veil of forgetfulness will warp us all. Until that hour we dance in circles. Making karate moves, sidestepping caducity, reenacting ourselves, endless at the edges, through night and day, craving form that binds. As form is emptiness, emptiness is form itself. Welcome to the world of Leda, riff, 7/4, loop, the young, the middle aged, the old…

Tape is hand-stamped along the top, in printed card housing, with

This is the soundtrack to flipping through the filing cabinet at the mortuary in Return of the Living Dead. You are running out of time before ending up on the slab yourself at the end of a bad day at work. Wash away the blues with a pint and 12 tracks clocking in at just under 14 minutes whilst Stiff Meds take you on a journey to see the many faces of death. Starting in 2019, Stiff Meds arose from the grand tradition of fast as fuck music that has always been at the centre of UKHC from Napalm Death to Voorhees. Taking that history, along with some more US influences such as No Comment and Infest, vocalist Seth marries that with tales of the macabre as metaphors for daily life. Each song contains more riffs than most brains can compute in real time and is a testament to the skill level of the band. Not surprisingly they have grown a reputation as a ferocious live machine that blasts through 20+ songs with ease and without stops with wild crowd reactions to match. If you don’t believe us, then check out the Live at the Mersey Shore Set as an exclusive special feature of the physical vinyl release of Tales from the Slab. Don’t delay, it’s time to pick up your prescription. Check them out on tour in Europe, November-December 2023.

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
Hello, I Must Be Going! — Phil Collins' second solo studio album
Featuring "You Can't Hurry Love" and "I Cannot Believe It's True"
180-gram 45 RPM double LP release
Mastered by Chris Bellman at Bernie Grundman Mastering and cut to lacquer from a 1/4" EQ'd Dolby tape copy of the original master tape
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing



On his first solo album, 1981's Face Value, Genesis drummer-singer Phil Collins showed that he wasn't about to be left behind in the mire of classical-rock sludge. That LP boasted shorter songs and demonstrated that Collins had a true pop sensibility. Hello, I Must Be Going! continues that trend, with some familiar patterns emerging, wrote Rolling Stone's John Milward.

"First, there are the dramatic rock dirges that use drums as a lead instrument; 'I Don't Care Anymore,' with Collins' one-man band playing alongside Daryl Stuermer's atmospheric guitars, wins in this category. Then there are the buttery ballads, of which "Don't Let Him Steal Your Heart Away" is the best by virtue of a Beatles-like melody that buoys Collins' anonymously sweet voice. Both of these styles were already Genesis staples; it was Collins' uptempo soul tunes on Face Value and Genesis' Abacab that surprised old fans and found new ones. 'I Cannot Believe It's True,' with Earth, Wind and Fire's Phoenix Horns casting out clean lines, clobbers the other soul contenders on Hello, I Must Be Going!, especially his remake of the Supremes' 'You Can't Hurry Love.' Collins took the golden-oldie route on that song and the result isn't soulful, it's superfluous. Despite its trend-bucking boast of an 8-track recording, the album's rich luster is of the old classical-rock school. In fact, the LP sounds like stripped-down Genesis, ornamental but not too ostentatious. — John Milward, Rolling Stone (3 Stars)."

This Analogue Productions (Atlantic Series) reissue of Hello, I Must Be Going! has the essential elements that make it a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from a 1/4" EQ'd Dolby tape copy of the original master. Pressing on 180-gram vinyl is by Quality Record Pressings and RTI, and the album is housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Hello, I Must Be Going! was a triple-platinum-selling hit in the U.S. for Collins in the 1980s and it stayed on the U.K. album charts for more than a year, peaking at No. 2. For the fans it is a drummer's album, a record that expresses rage and desperation as well as loneliness and longing. Not an album for every day, but one that really speaks to you when you need it, wrote Martin Klinkhardt, in a review for genesis

Trailblazing instrumental synth pop experiments created to soundtrack Japan’s booming 1980s cartoon and comic industries. The brightly futuristic instrumentals on this collection reflect the mindset of composers and musicians who believed in a technological future where everything was possible.

In the late 1980s Japan experienced a brief but heady period where societal changes combined with new-found wealth to open up a world of possibilities. A huge influx of cash - artificially created by slashed interest rates after an agreement with the US to weaken the dollar relative to the yen - resulted in the inflation of real estate and stock market at a rapid pace. While the economic bubble it created was unprecedented and impossible to sustain, for a while money was in plentiful supply.

The musical genre City Pop reflected the aspirations of the country’s booming leisure class. Video games flourished with Nintendo's 1983 launch of their Family Computer (or FamiCom). Studio Ghibli was founded 1985 to later became one of the most famous and respected animation studios in the world, and Anime and Manga were established as major forms of entertainment for all generations of the Japanese public.

Music was no mere footnote to the anime and manga boom: the two forms of media often went hand in hand, and not simply through the presence of background melodies. With generous budgets available, even two-dimensional static manga comics could be released with an accompanying soundtrack of original music known as an ‘Image Album’.

Composer and arranger Kazuhiko Izu was one such beneficiary of this open budget approach. Written to accompany artist Katsuhiro Otomo’s manga comic Domu, the composer and arranger took advantage of the world-leading (and wallet-busting) Japanese synthesiser technology available at King Records’ fully equipped studio. Featured on this compilation, A3: Act 2 Scene 26 reflected the story’s sci fi themes with a blazingly futuristic yet warmly funky slice of synth pop that presents a joyful celebration of synthesisers and their seemingly endless possibilities.

Kan Ogasawara was another composer who made early mastery of the litany of synthesisers, drum machines and sequencers that had become available. Two tracks written to accompany the 1985 period manga Yume No Ishibumi are featured here; Honowo’s experimental electronic textures add spice to a jaunty electro pop melody that recalls the Rah band’s 1983 hit Messages From Stars; the jazz-tinged Utage rounds out Ogasawara’s shimmering synth textures with beautifully crafted backing from legendary musicians Yuji Toriyama (guitar), Pecker (percussion) and Jun Fukamachi (piano).

Before becoming one of the pioneers of Japanese Kankyo Ongaku (Ambient Music), Takashi Kokubo worked on the proto techno track Kiki (Jungle At Night). It was put together for the 1984 anime film Shonen Keniya (Kenya Boy) using some of the most expensive music technologies available at the time. This Africa-Inspired dance track offers a contemporary parallel to the early techno music that young Detroit based producers were then creating using cheap Japanese Roland drum machines and synthesisers.

This is the first compilation of Japanese anime and manga soundtracks curated by Kay Suzuki and Rintaro Sekizuka from Vinyl Delivery Service (a Tokyo based online record shop which also operates in East London's renowned wine and hifi shop Idle Moments). With a cover by artist Kazuki Takakura and two pages of liner notes, this vinyl only compilation of music never before released outside of Japan, captures a vital aural snapshot of an era whose forward-thinking sounds went hand in hand with cutting edge technology.

Analogue Productions (Atlantic 75 Series)
Celebrating the 75th Anniversary of Atlantic Records!
The Lamb Lies Down On Broadway — Genesis' gold-selling sixth studio album!
180-gram 45 RPM 4LP
Mastered directly from the original master tape by Chris Bellman at Bernie Grundman Mastering
Pressed at Quality Record Pressings and RTI
Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

Genesis' sixth studio album was released as a double album in November 1974 by Charisma Records and is the last to feature original frontman Peter Gabriel. The group's longest album to date, The Lamb Lies Down on Broadway peaked at No. 10 on the U.K. Albums Chart and No. 41 on the Billboard 200 in the U.S..

The album is a concept album and tells the surreal story, devised by Gabriel, of a young Puerto Rican named Rael who embarks on a journey through a series of strange and bizarre events in New York City.

Musically, the album is a departure from the band's previous works, incorporating a wide range of styles including progressive rock, art rock, funk, and jazz fusion. The album features complex rhythms, intricate melodies, and dense layers of instrumentation, showcasing the band's virtuosic musicianship.

The album is notable for its use of storytelling, with each track contributing to the larger narrative of Rael's journey. The lyrics are often cryptic and abstract, and the album's surreal imagery has been interpreted in a variety of ways by listeners and critics.

The Lamb Lies Down On Broadway gained acclaim in the years after its release, reaching gold certification for sales in the U.K. and U.S.. In 1978, Nick Kent wrote for NME that it "had a compelling appeal that often transcended the hoary weightiness of the mammoth concept that held the equally mammoth four sides of vinyl together." In a special edition of Q and Mojo magazines titled Pink Floyd & The Story of Prog Rock, The Lamb ranked at No. 14 in its 40 Cosmic Rock Albums list. The album came third in a list of the 10 best concept albums by Uncut magazine, where it was described as an "impressionistic, intense album" and "pure theatre (in a good way) and still Gabriel's best work." A Rolling Stone poll to rank readers' favourite progressive rock albums of all time placed The Lamb fifth in the list.

The Lamb Lies Down On Broadway is widely regarded as one of Genesis's most important and influential works, inspiring generations of progressive rock musicians.

The Church’s Starfish is a dreamy, atmospheric masterpiece, guitar-driven alt-rock before alt-rock was a term. It includes the timeless smash hit “Under the Milky Way,” and “Reptile,” both First Wave staples.

Intervention's 2X 180-Gram LP, Artist-Approved Expanded Edition is 18-tracks total, including 8 amazing bonus tracks that were not on the original LP. These bonus tracks kick off with wonderful acoustic versions of “Under the Milky Way” and “Antenna.” The other tracks are so strong that it’s very apparent that Starfish could have been a potent double LP.

Starfish is 100% Analogue Mastered with the original repertoire cut directly from THE Original Master Tapes by Ryan K. Smith at Sterling Sound. Intervention's cut expands the original 10-song repertoire to three vinyl sides opening up the already massive soundstage and presenting this amazing recording with FULL bass extension and dynamic power. All of the 8 bonus tracks are 100% Analog Mastered from separate tape reels assembled by Ryan K. Smith.

The 180-gram LPs are ultra-quiet, pressed at boutique press, RTI in Camarillo, CA. Intervention replaces its stampers every 500 copies so every pressing is is a hot stamper.

Starfish’s album art was lovingly restored by Intervention's Art Director Tom Vadakan, and the original inner sleeve here is printed as the interior of a gorgeous gatefold jacket. The jacket is an “Old Style” gatefold made by wizards at Stoughton printing in LA. It's printed on heavy stock and film-laminated for superior colour depth, beauty and durability. The centre labels are printed by Dorado.



Mastering Notes
Starfish is 100% Analog Mastered from THE Original Master Tapes by Ryan K. Smith at Sterling Sound. Intervention's cut expands the original 10-song repertoire to three vinyl sides for maximum bass and dynamics. Even the bonus tracks were mastered 100% Analogue from tapes assembled by Ryan K. Smith.

The official new edition from this rare and great Afrobeat & Soukous masterpiece from Nigeria !

"Vibro Success Intercontinental Orchestra was an extraordinary group from the Central African Republic, founded by the sax player Rodolphe 'Beckers' Bekpa, also known as Master Békers, in the late 60's. The band achieved surprising domestic success after Beckers introduced the first drums to the Congolese Rumba rhythm. His innovation proved to be wildly popular so they were hired as the resident band of “ciel d’Afrique au Km5”, a night club in Bangui. The club was renowned as the temple of the Olympic Réal football team's fans and that visibility propelled them into becoming the official national orchestra.

1970 marked beginning of the band's international fame . Their fame spread beyond national borders until they became so popular that invitations began to arrive from nearby countries like Cameroon and Chad, the former of which the band would then tour that same year. The success of their performances prompted a further tour in 1972. According to Rodolphe Bépka, the audience enthusiasm Vibro encountered was bewildering. "We filled the old military stadium in Yaoundé in 1970, in 1972 the new Amadou Haïdjo stadium ... We are running with great success in the cities.” Their popularity was also growing in Chad, where they would tour several times through the early and mid 70's.

Towards the end of 1976, Vibro Success decided to take their music global and introduce Central African music to listeners worldwide. It worked. The turning point came in Nigeria. There the group achieved extraordinary success, with live performances followed by contracts with local labels like Scottie and Ben/Clover resulting in hit releases. Most of their LP's were originally released on this later label, Ben Limited, owned by Ben Okonkwo.

Ben, also known as Clover Sounds, brought a great number of the biggest bands from the country to market, bands like The Apostles, Akwassa,The Doves, Aktion, The Visitors, Mansion, Folk 77 and many others. Nearly all those groups started their recording careers in the label's studios based in the commercial heart of Aba, Abia State, one of Southeastern Nigeria’s largest cities. Aba at that time was a flourishing city, an important crossroads of people and culture with an intensive and active and cutting edge live music and nightlife.

But after that golden era the group began to lose its popularity. In the 1980's they returned to Bangui and resumed their old-time gigs in dance halls there - only to realize that their music didn't have the appeal it used to. Making matters worse, the domestic economic downturn accelerated, forcing the orchestra to slowly end its activities . Vibro Succès Intercontinental Orchestra disappeared at the end of the 80s and most of its members died in the 90s.

We discovered this LP during our first trip to Nigeria in 2016. While traveling in the east to meet up with a musician, we stopped for a night in a village. As often happens in Nigeria, information has a way of traveling fast. The news that a couple of white guys looking for records had arrived in the village the day before spread like light. When we awoke, we found a couple of elderly music lovers in the hall of our hotel with a little pile of records for sale. The nice cover of the “Drunkard” album was right on top!

At first we thought it was just another really good soukous album made by Vibro Success but after we heard “Drunkard” - we knew we had stumbled onto something very special. That was the “easy” part. Soon after, we had the idea of reissuing this LP and that was a bit harder. There were no credits on the cover and not much information about Vibro Succès. We started to ask to our friends to ask around, see if somebody knew them or the producer. That's when sadly we discovered that Ben Okonkwo had passed. So with no leads to follow and seemingly without any possibility of making progress on the matter, we "gave up" and returned to Italy.

A couple years later, in the summer of 2019, we found ourselves again in Aba. This time we had the chance to meet Nnamdi Okonkwo, the eldest son of the late Ben Okonkwo. After Nnamdi's mother and family agreed, he was glad to cooperate with us for the re-release of this special album."

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At one time participating in ground-breaking medical scientific research, in another a relentless road-trip, hoovering up rare records and tapes, in the nooks and crannies of France, Algeria, or any country that he happens to land in. And then there’s his long standing show for Rinse France.

Following his slamming mix for the Japan Blues show on NTS last year, he kindly offered up a selection for Japan Blues’ first tape release. Algeria is the focus of this tape, taking a brief dip into Sameer’s broad collection, coinciding with his research for his documentary film about the social history of Rai music, "Rai is not Dead" for Arte.

Words from the Hadj: “The medehates are traditional vocal formations of women from western Algeria. Their main role is to give some compliments to the future wife during a wedding, and pray to all the saints through long songs which could last for hours, until reaching a sort of transcendental state amplified by looped percussions, traditional flute, and violon notes. Exclusively for women, no men (including young boys) admitted. This ceremonial tradition gave an intimate space for women to speak out about taboo topics like men-women relationships, love, sins like alcohol consumption etc. Since then, some of them started freely to mention all of that in this small circle and some of them have been recorded live for release on 7″. I picked up a few from my collection in order to make this mix. They represent one of the most powerful and wildest roots of the raw traditional form of rai which appeared in the 50/60s in Algeri

THE CULT 1992 DEBUT OF DOOM-TINGED DEATH METAL SAVAGERY -
PRESENTED ON CD FORMAT WITH ORIGINAL COVER ARTWORK & FULL
LYRICS
Formed in 1989 in Milwaukee, Wisconsin USA & among the group of earlier death
metal acts to grace the label roster, Accidental Suicide released their one, sole
album in 1992, originally through Peaceville's Deaf Records imprint, which was
the initial home of other notable acts such as 'At The Gates' & 'Morta Skuld'. Being
much more than a pure "blast" styled death metal outfit, Accidental Suicide
introduced & utilised a doomier presence also, even recalling other classic
pioneers of the genre such as 'Paradise Lost', to lend a twisted & at times sombre
dynamic to the tracks, with this effective diversity to the compositions through
the tempo variations & deranged melodic passages scattered throughout the
album. The tortured & sinister vocals of Ed Jackson narrate tales of morbid
brutality & murder behind a wall of punishing riffs, for what stands as a prime
example of classic early 90's death metal execution.
'Deceased' was engineered & mixed at Mauer Brothers Recording Studio in
Milwaukee, with production work handled by Eric "Griffy" Greif.
Cover artwork was created by Chris Drew, also responsible for other early
Peaceville artwork on Impaler's 'Charnel Deity' & Baphomet's 'The Dead Shall
Inherit'.
This edition of 'Deceased' marks 30 years since the original release & is
presented officially on CD for the first time since the original 1992 pressing,
including the original artwork & full lyrics.

Lyra Valenza set the tone for their first full-length album ‘Low Gear No Pressure’ with an idyllic ambience, which then tumbles into feisty, heartfelt dance workouts. Across eight tracks, the Danish duo explore the pixellated euphoria of their previous ‘Scan, Deliver’ and ‘Nightshade Edition’ EPs with a more focused sensitivity. At the start of 2020, Lyra Valenza had been freshly nominated by music platform SHAPE. With the pandemic in hand, however, plans changed: instead of playing a slew of festivals, the duo spent weeks in a summer house in rural Sjælland, right at Denmark’s North Eastern coast, making early versions of the tracks in this album. ‘Low Gear No Pressure’ refers to the unusual calmness of that time, away from music industry stress and burnout; inspired by friendship. More than previous EPs, the album is shaped by the duo’s live set, which they’ve been performing in Denmark and Europe for many years now. The album breezes through different modes with confidence and ease, tracks morphing fluidly into one another to create a cohesive listening experience. A cool, expansive breakbeat on track two, ‘True Computer’, hints at the psychoactive journey to follow. ‘Truthwork’ plays with arps over a half time groove: subtle synths which reach their final form in ‘Joy Divided’. These agile swells and drops recall peers-in-precision Minor Science and 96 Back. On the flip, ‘Gameshow’ looks back over one shoulder to eurodance, while ‘Life on the Line’ goes out to the soulful junglists, but with a touches of trance in the samplework. On ‘Who Might Win’, the album’s ecstatic hyperactiveness melts into a slo-mo heartbeat, reminding us there’s a chillout room somewhere in the building. And just when we think it’s time to go home, the album gifts us with “one more tune”, and the soaring pop vocals of featured artist Saltmother on ‘Stretch Your Arms’.

Classic Solo Album From Founding Member of The Byrds!

"... one of the greatest singer/songwriter albums ever made." -All Music

Gene Clark's 1971 classic "White Light" is a bittersweet and knowing statement from a singer/songwriter at the peak at his creative powers. Having fronted The Byrds, Clark on his own here is stripped down in guitarist Jesse Ed Davis' stark production. The lyrics, singing and guitar playing are so powerful that less production here is immeasurably more musically.

White Light was 100% Analogue Mastered by Kevin Gray at CoHEARent Audio from the best source available- phenomenal-sounding 1/2" safety copies of the original stereo master tapes. The results are amazing! The beautiful guitar playing is finally full and rich, and you can hear the full body of the instruments, not just the strings. Gene's aching vocals have never been so emotive and immediate.

Colbie Caillat is a master storyteller whose breezy SoCal folk-pop songs laced with a country shimmer speak truth to both the pain of endings and hopefulness of what’s to come when you’re brave enough to follow your wild, wild heart. Along The Way, Caillat’s solo country debut, embodies the positivity in heartbreak’s wake. Though her move to Nashville was done as one-half of a romantic partnership - a personal and professional adventure to the southern city for this west coast girl - she thrived in all of life’s changes. In her musical journey and experimentation with new sounds, Caillat vividly captured a moment in her life through song. The California-raised, Nashville-based girl delivered songs with gratitude for having known this love, learned so many lessons and the joys shared along the way. “The love that you shared shouldn’t be wasted: you help each other grow and become a wiser and more evolved person. We needed to be together to become who we are today, even if we didn’t end up together.” If Joni Mitchell’s quintessential Blue is the deep dive into the caverns of grief following a break-up, Along The Way is a bright, shiny compass Caillat offers to guide people through the tough times and raw feelings that accompany any dissolution. Lover, leaver, left, the woman who’s sung at the Nobel Peace Prize Concert wants to sow compassion for all parties involved.

Walter “JUNIE” Morrison was a former member of the OHIO PLAYERS and responsible for writing and arranging their early 1970s hit singles “Pain”, “Pleasure”, “Ecstasy” and most notably, the group’s first Billboard R&B Number One “Funky Worm”. In 1978 he joined George Clinton’s Funk Mob PARLIAMENT FUNKADELIC and, as their musical director, played a key role during the creation of the hit albums “One Nation Under A Groove”, “Motor Booty Affair”, “Gloryhallastoopid” and their R&B Number Ones, “One Nation Under A Groove” and "(Not Just) Knee Deep". In between acts he released three solo albums for Westbound Records that showcased his unique take on the funk. “The Funky Worm – Live at Dooley’s 1976” is a one of kind live recording from his mid-70s Westbound solo period that was only recently discovered.

Regrooved Records is proud to present the very first live album of funk icon JUNIE MORRISON.