Suche:for now

In 1962, Gordon relocated to Paris, where he became part of a vibrant jazz community

He was already a well-established figure in the jazz world due to his groundbreaking work in the 1940s and 1950s. His decision to live in Europe revitalized his career, allowing him to continue evolving as a musician away from the struggles in the USA: he enjoyed enormous respect in Europe, which allowed him to perform freely, often in clubs and on tours, without the burdens of American racism. Paris had long been a haven for jazz musicians: artists like Miles Davis, Thelonious Monk, and John Coltrane were celebrated in Europe, and the French jazz scene, in particular, became a hotspot for both American expatriates and European musicians. Dexter Gordon quickly became one of the leading figures in that scene. Our Man in Paris is a celebrated jazz album and it is widely regarded as one of Gordon's best works. It is considered one of Gordon's finest albums due to its blend of bebop virtuosity, lyrical improvisation, and the tight interplay between world-class musicians: a classic jazz record, beloved for its authenticity and the inspired performances of Dexter Gordon and his ensemble. This album is now considered a classic in the jazz canon that's not only a remarkable album because of its flawless execution and historical significance, but it also captures a pivotal moment in jazz history where American jazz musicians were embracing new experiences and sounds in Europe and captures the essence of Gordon's bebop roots while showcasing the influence of his time in Europe.

The No End In Suffering EP is a compilation of songs that are a bit more outside the box of traditional HAGGUS material. On this record HAGGUS experiments with brand new riff territories, added previously unused tempos and left no stone unturned when it came to delivering this slab of horror-inducing sonic butchery. Production-wise the band purposely went for a more raw 90’s goregrind sound while still adhering to the downtuned, heavy theme of the Three Cadavers EP. Limited Blood Red Vinyl for retail. Haggus was formed in 2014 by guitarist / vocalist, Hambone, as an outlet to merge the traditional sound and politics of Mincecore with the sonic barbarity of old school Goregrind. Obsessed with pitch shifters but finding a lack of bands using them that were not labeled misogynistic porno-grind, Hambone set out on an unstoppable quest to put his brand of “Mincegore” on the map. Solely influenced by the mighty Agathocles, Hambone was determined to keep the spirit of true Mincecore alive (encompassing everything from their relentless release schedule to their uncompromising political agenda speaking out against misogyny, sexism and homophobia in the scene) while adding his own style of gore infused vocals into the mix. Coming from a purely crust and punk background, Hambone has taken a strictly DIY approach with Haggus since inception. With a tireless work ethic, the band dropped close to 100 songs within the first 6 months of existence followed by self-releasing over 60 splits, 10 EPs and 3 full length albums while touring over 20 countries since 2014. In traditional Mincecore fashion (just like Jan is to Agathocles), Hambone is the sole founder and only remaining original member of the band. After a decade of DIY, Hambone is proud to announce the partnership with the now legendary Bay Area label, Tankcrimes, and wants any Haggus fans to know that this is only the beginning… gore freaks and mince mongers commence - for worldwide Mincecore domination is upon us!!!

Anything goes, everything is OK,’ is New Cool Collective’s free and easy creed. These eight jazz players are continually reinventing themselves, finding new inspiration and inspiring others. Brilliant as ever under a new spotlight, New Cool Collective excels on their 25th album Everything is OK, released by Dox Records this autumn on 25 October 2024.

Earlier this year, the band celebrated its thirtieth anniversary with a pocket-sized ode to their prolific past: 30 Years Live. Having played and partied, the group turned their attention to the future: what next for an ensemble that thrives on musical experiment and collaboration? Where to now? Which way to go to rekindle that creative spark and foster that flame?

New Cool Collective has met the challenge head-on, determined to surprise their audience, and themselves too. They spent a little time reflecting, considering suggestions, weighing up options – eight creative artists exploring, coalescing. Soon their ideas gelled into something special. They laid down a series of tracks that both build on the band’s thirty-year history and feed on a newfound freedom to simply be New Cool Collective. Everything is OK embodies that sense of a group which knows how to surpass expectations, to make music from the heart, to go back to their roots, back to the essence of those early years.

Anything goes, everything is okay on a record that features extensive brass arrangements and orchestral elements. There’s something magnificent about those seductively intimate tracks, something way beyond the traditional orchestral big band sound. New Cool love to experiment with alternative production techniques, developing the final mix themselves to create a unique, unmistakably recognizable sound – however surprising or unusual the music, you know you’re listening to New Cool Collective – like you’re there and the band is playing just for you.

Everything is OK is brimming with ideas, surprise and humour. The music is contemplative, yet it also leads straight to the dance floor: it gets you moving – body and soul. This is music for the intellect, to take you out of your comfort zone and to show you subtly, ironically: is everything really ok?

Agitator is a band that evokes strong emotions. Euphoric acclaim for debut album 'Jag trivs bäst där du är', released earlier this year, drew its energy from the band's ferocious sincerity and pedal to the metal-mentality. The influences from classic post-punk, techno and the noisy guitar scene of the 90s became in Agitator's interpretation something that felt more now than anything. Audiences flocked to the band's gigs, all over the country. Already in the same year, their second album "Vänner för evigt" is released, a monumental work of howling post-punk guitars and synths. In the Agitator's world, the cold, hard and the soft meet, embracing without collision.

In 2015, Membranes released their first album for 25 years.
It was a critically acclaimed double album about life, death, and the universe. An ambitious work, it became the band's best-selling album in a long and unconventional career. “Dark Matter / Dark Energy” was both the band’s critically acclaimed return and best-selling release and, due to public demand, it is now reissued as a double vinyl album in stunning and experimental, ground-breaking new artwork and packaging.
The album which will be launched in December with gigs at the Albert Hall in Manchester and Shepherds Bush Empire in London was inspired by Membranes’ John Robb, meeting John Incandela the head scientist from the CERN project at a TEDx talk they were both giving.
Incandela had just completed his work on the Higgs Boson particle project, and Robb became friends with him and other scientists from the project. Their conversations about the universe were mind-blowing, and the album attempted to capture these in musical form.
The band toured the album around the world, supporting The Stranglers, The Sisters Of Mercy, and Mark Lanegan, who called the Membranes one of his favourite all-time post-punk bands and said that ‘John Robb is a legend - I’m truly honored to know him’.
The Membranes were formed in Blackpool in the late seventies and were big John Peel and music press favourites with their innovative bass driven discordant Death To Trad Rock sound providing a template and influence for many bands over the years including Big Black, Mercury Rev, The Wedding Present and even the likes of the Lambchop who covered them.
John Robb is also a well-known face on TV and radio as well as running the Louder Than War music and culture website and writing best-selling books like ‘Punk Rock - An Oral History’ and ‘The Art Of Darkness - The History Of Goth. He is currently working on his mémoires and a new Membranes album.
The new edition of the album comes in revolutionary and stunning new artwork gatefold sleeve, complete with lyric sheet, and a poster of the original album cover, all of which captures its interstellar themes.

In 2015, Membranes released their first album for 25 years.
It was a critically acclaimed double album about life, death, and the universe. An ambitious work, it became the band's best-selling album in a long and unconventional career. “Dark Matter / Dark Energy” was both the band’s critically acclaimed return and best-selling release and, due to public demand, it is now reissued as a double vinyl album in stunning and experimental, ground-breaking new artwork and packaging.
The album which will be launched in December with gigs at the Albert Hall in Manchester and Shepherds Bush Empire in London was inspired by Membranes’ John Robb, meeting John Incandela the head scientist from the CERN project at a TEDx talk they were both giving.
Incandela had just completed his work on the Higgs Boson particle project, and Robb became friends with him and other scientists from the project. Their conversations about the universe were mind-blowing, and the album attempted to capture these in musical form.
The band toured the album around the world, supporting The Stranglers, The Sisters Of Mercy, and Mark Lanegan, who called the Membranes one of his favourite all-time post-punk bands and said that ‘John Robb is a legend - I’m truly honored to know him’.
The Membranes were formed in Blackpool in the late seventies and were big John Peel and music press favourites with their innovative bass driven discordant Death To Trad Rock sound providing a template and influence for many bands over the years including Big Black, Mercury Rev, The Wedding Present and even the likes of the Lambchop who covered them.
John Robb is also a well-known face on TV and radio as well as running the Louder Than War music and culture website and writing best-selling books like ‘Punk Rock - An Oral History’ and ‘The Art Of Darkness - The History Of Goth. He is currently working on his mémoires and a new Membranes album.
The new edition of the album comes in revolutionary and stunning new artwork gatefold sleeve, complete with lyric sheet, and a poster of the original album cover, all of which captures its interstellar themes.

WRWTFWW Records is happy to announce a new collaborative album between Polish producer, multi-instrumentalist and sound engineer Albert Karch (notably known for his superb 2019 album Celestially Light featuring Ichiko Aoba) and Irish ambient master and label’s favorite Gareth Quinn Redmond (Ar Ais Arís, Laistigh Den Ghleo, Umcheol albums from the WR catalogue). The 6-track LP comes as a limited edition of 300 copies worldwide with an artwork by Dublin artist Barry Gibbons and liner notes. It is available in digital format as well.

Recorded in at Albert Karch’s studio in Warsaw in January 2023, Warszawa is conceptually rooted in the reason the two artists met in the first place: the work of Japanese composer Satoshi Ashikawa (Still Way - Wave Notation 2) who sought to compose a time that was stationary. Sparse in approach but sharp with intention, the 6 pieces of the collaborative album were sculpted with precise and floating use of piano, drums, synthesizers, and strings. The result is gentle but emotionally deep minimalistic ambient, reassuring environmental music with an indescribable Mark Hollis touch, also an artist whose worked influenced the recording sessions.

Gareth Quinn Redmond’s previous albums, Laistigh Den Ghleo, another ode to the work of Satoshi Ashikawa, Umcheol, mixing ambient with traditional Irish music instruments, and his tape loops wonder Ar Ais Arís are still available on WRWTFWW Records - complete the collection now!

Warszawa by Albert Karch and Gareth Quinn Redmond is dedicated to the memory of Satoshi Ashikawa.

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is not only a way for her to find solace in her favorite genres, but is an intuitive means of catharsis. "Blending everything that I like together and trying to make something new - that's what feels most natural to me," says the 23-year-old Brooklyn-based singersongwriter and guitarist. "It's what feels most true to who I am as an artist." `Tsukino', Mei's debut, self-released EP, is being released physically for the first time ever on Bayonet Records! The EP will be released by itself on CD & Tape formats, and will be included in a vinyl pressing on the B-side of Semones' landmark EP, `Kebutomushi'! Plinking guitar tones and asymmetrical time signatures exemplify Semones' forays into angular indie rock more now than ever before. Originally from Ann Arbor, Michigan, Semones began playing music at a young age, starting out on piano at age four before moving to electric guitar at age eleven. After playing jazz guitar in high school, she went on to study guitar performance with a jazz focus at Berklee College of Music. College is where she met her current bandmates, including string players Noah Leong and Claudius Agrippa, whose respective viola and violin add softness and multidimensionality to Mei's intricate guitar work. After releasing a slew of singles and an EP in 2022, coinciding with her move to New York City, Mei and her band have since gone on to collaborate with post-bossa balladeer John Roseboro and embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete with sweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English and Japanese, that have all become part of her sonic trademark: ornately catchy, genrefusing compositions serving as the backdrop to tender lyrics touching on the universalities of human emotion.

Mixtacy, a new independent label based in Tokyo, was launched in 2024 by DJs, for DJs, and of DJs. Their passion lies in updating the classic house style with modern underground artists. The first EP features four exclusive tracks by mysterious Japanese underground artists, available only on vinyl. All tracks are mastered by the Romanian talent, Dragutesku. A1 Addictive Desire by YAMADAtheGIANT, whose debut 12inch vinyl sold out 200 copies in just two months in Japan. This raw acid deep house track made by hardware synths, sequencers, and sampled vocals from the cult NY house track The Playground/Desire (1992). A2; Nightfall Yearnings by P.S. Morris, a 20 years experienced master of MPC from rural Japan. This classic-style deep house tune boasts a phat groove focused for the dance floor. B1; Forest is by Bitowa, originally from the Japanese hip-hop underground, now coming into the techno field from Okinawa, southwest Japan. This modern tech house track features acapellas sampled from garage classics and disco, resulting in a unique texture. B2; Lost Sweet Cherry is made from cut-ups of Japanese porno analog tapes by the owner of strange vinyl shop Tonotopica in Asahikawa, northeast Japan. This dub sets a psychedelic atmosphere as the night starts.

Presented for RSD Black Friday as a double LP in a gold coloured vinyl. pressing housed in a deluxe gatefold jacket with full-color OBI strip. Also includes a four panel full color insert with lyrics. In 1999 Wu-Tang Clan’s Raekwon issued the follow up to his now legendary solo debut Only Built 4 Cuban Linx with Immobilarity. Dropping in November of 1999 the record hit the Top 10 on US album charts and was certified gold by the RIAA within a month. For the 25th anniversary of this landmark recording Get On Down presents Immobilarity as a double LP in a never to be repeated gold vinyl run housed in a gatefold jacket with lyrics included and topped off with a collectable OBI.

Presented for RSD Black Friday as a double lp in a tide pod colored vinyl pressing housed in a deluxe gatefold jacket with a full-color OBI strip. 1995 saw Oakland crew Souls of Mischief follow up their stellar debut release with No Man’s Land, an all too often overlooked gem from the golden era of hip hop. The release landed in the Billboard Top 200 - peeking at a respectful No. 27 on the Top R&B/Hip-Hop Album Chart. No Man’s Land was not commercially released on vinyl in the US when first issued, in fact the record has never seen an official US reissue. Get On Down now presents No Man’s Land as a double LP in a gatefold jacket with an OBI - and of course in a colored vinyl run exclusively for RSD Black Friday.

In 2012, Army of God released a cult cut of cold wave: “Salvation”. This was the only EP by the partnership of Aroy Dee and Miss Jagroe, the only EP until now that is.

Army of God are back, after more than a decade the duo return with Endless Skies. Analogue warmth is sliced by surgical synth stabs and bittersweet strings, Jagroe’s unmistakable voice echoes into the distance with the beseeching mantra of “until the music dies”. Aroy Dee’s edit of the title piece fortifies drums for the floor, emotion is further stripped from the already deadpan lyrics as melodies bleed into distorted wonder. The black streak that characterises Army of God turns a shade darker for the flip. A throbbing bass is inked by off-kilter keys, clusters of claps piercing the thicket of static and chilling chorus of “Fear the Night”. Venturing ever deeper into the night, the darker version will set speaker cones shaking and shivering.

Juddering and trembling, basslines are bolstered with vocals invoking the very darkest regions of the dancefloor.

The medium is the message! Vinyl has always been our preferredmedium for releasing music and without this tactile form ofpresentation, Samurai Music would not continue in its current form.Vinyl is the ultimate personification of what the label wishes torepresent. Music always comes first, but the vinyl artefact is king forus.

Hyaku is the 100th Vinyl release on the Samurai Music label.Through the many twists and turns of the industry in our almost 17years of existence, the Samurai Music vinyl releases havemaintained their aspiration for quality, unique design that stands thetest of time. Praise and thanks always to our long time designerRyan Quinlivan and the many pressing plants we have worked withover the course of our labels lifespan.

To celebrate this milestone we have assembled a gang of producersthat best represent the Samurai Music sound of now to contributetracks that they feel best encapsulates their take on our sound. Hyaku is a mutable mix of vibrations that navigates from the searingambient drift of Ancestral Voices all the way through to the headsdown assault of Dom and Roland. Singular takes that capture theartistry of this impressive crew of creators at their glistening best.

Finally we'd like to thank everyone who has ever and continues tosupport our vinyl releases. We are forever grateful!

In 2002, Regina Spektor was in the midst of a creative explosion. She found herself writing so many songs that she was unable to keep track of them. Her friend Joe Mendelson noticed she was forgetting some entirely, and offered to archive everything she had written that year. After Regina recorded dozens of songs, one take each, they decided to pick twelve and make them into an album. And so, Songs was born. The record includes the original versions of “Samson” and “Ne Me Quitte Pas”, later re-recorded on Begin to Hope and What We Saw From The Cheap Seats, respectively. These early recordings have now been expertly remastered by Bob Ludwig right in time for their 22nd birthday, playable for the time ever outside of a handmade CD-R.

Sardinia-based heavy psych and power stoner
rockers Bentrees’ sound is a vibrant mix of fuzzy
power blues and hard rock influences, drawing
from the 70’s and wrapped in the glory of 90’s and
early 2000’s stoner rock.
 Bentrees create a wild ride of addictive and heavy
riffage into psychedelic wonderlands. They have
been continuously looking for an authentic and
genuine formula, often represented by
introspective lyrics - a reference to their homeland
and connection with nature.
 Following the band’s 2017-debut, ‘Psychollage’,
and countless live shows with acts such as
Yawning Man, Black Rainbows, The Cosmic Dead
and The Spacelords, Bentrees are now ready with
their new opus, ‘Two Of Swords’.
 For fans of Lowrider, Celestial Season, Atomic
Vulture, Kyuss, Nebula, Spirit Caravan, Monster
Magnet, Acrimony, King Buffalo.
 LP pressed on blue vinyl.

Kevin Parrot, Brian McGladdery, Roger Tweedale, Gary McDougall and Tony Bamforth formed Samsun at the beginning of 1969. After several tours abroad they came to the attention of Geoff Gill (ex-The Smoke), Wil Malone (ex-Orange Bicycle) and Cliff Wade (ex-Fickle Pickle). They spent a week at Morgan Studios recording an entire album but only three songs were released for the Dutch and UK markets. A few years later, the band rebranded as Oscar.

Buried until now in the vaults, Samsun's self titled album finally emerges blinking into the daylight a mere 52 years after it was recorded to provide yet another missing piece of the seemingly forever incomplete Morgan jigsaw. Taken from the original master-tapes, it provides yet more evidence that, during a five-year period in the late Sixties/early Seventies, the in-house Morgan team was as productive as any similar-sized British pop collective. Available on both vinyl and CD with comprehensive sleeve notes.

Poly dance Theatre speeds up the tempo (perhaps in search of lost time) and so here already the first announcement for the next release: POL008, called "Le Commerce" (The Business).

It's a very special record. Beyond the deep bass line, the efficient ryhtmics and the ghostly apparitions of dubbed-out commercial romantic melodies, this 10" is above all an object-question, a small political gesture of sabotage. Be careful. Be careful. Rare! Very very very rare! even unique! (…300 copies)

Prepare yourself "mentally", as the EP contains 4x the same track (and that's all). A track that spins. A track that does the trick. An eternal return. Difference and repetition? All this is a opportunity to question consumption, especially in the "world of music", the "world of records", the "world of DJs", the "world of nightlife"... and so on. Production, distribution, consumption. Objects. Things. A history from the 60s to today. Where are we now? Still here: Organizing lack in the abundance of production. Lack. Abundance. A history of desires. And music? What's its role? What do we want? What do you want?

On the cover, there are poems/collages about commerce, scarcity, abundance, commodity fetishism, an insulting letter and other little things.

A masterpiece by George and Sleepy with the new Big Four! A veteran talks about the fun of "those days" and the fun of "now". Jazz is so fascinating!

1950s. The Big Four led by George Kawaguchi gained overwhelming popularity as a pioneering group of modern jazz in Japan. They were active for a long time with changing members and left a big mark on the Japanese jazz scene. This work "George & Sleepy" was released in 1969 as one of Victor's "Japanese Jazz" series. The commentary at the time said "A record that attempts to reproduce the nostalgic George Kawaguchi Big Four", but that is by no means a simple nostalgic work. "Lover" and "Charade" are reminiscent of the Big Four of those days and are undoubtedly fun, and the songs that skillfully incorporate modern techniques and musicality, such as the sophisticated groove of "Tuesday Samba" and the exotic beat of "Vietnam", are also attractive. This is a thrilling piece that conveys the charm of jazz, past and present, with a deep performance that only a veteran can have.

Highly regarded as a former resident at Salon Des Amateurs at his native Düsseldorf, Tolouse Low Trax/Detlef Weinrich has carved one of the most distinctive sounds in contemporary leftfield club music thanks to his deeply unusual grooves and hypnotic arrangements over the past 15 years as a solo artist.
Fung Day is his first album with entirely new material since Leave me alone which was released through Bureau B in 2022. Fung Day was written and recorded over the course of two years, slowly mutating and progressing from one state to another. Mixed, produced and finally mastered in Paris, his new domicile by choice.

A few words by Yvan Smagghe about Fung Day:
„He pretended he was in exile from Germany but he was a French lover like all of us; his MPC Sampler was smoking hot, an Enigma machine, an ashtray full of ghosts. I had left Paris for the same reasons he came. I could strangely relate. We’d met before he left Düsseldorf, and I knew of him through his oeuvre, his art over words (they were few) and piercing blue eyes.

He was now texting me on a night train from Warsaw going East, as in a Greene novel, asking me to go over his file. He sent me a spontaneous, fun, brave and bold record which is his new album - one that curiously smelled of mechanical grease - machinery of the soul, broken transport rhythms, samples like memories, noise at peace. Referenced yet uncoded. I don’t believe in ulterior motives and complex explanations. Not here at least. On the other hand, I do believe that works can be exposure - especially with the silent type or mistaken identities - and I knew about these too.“ - London, 2024

'Mei Semones' sweetly evocative blend of jazz, bossa nova and math-y indie rock is notonly a way for her to find solace in her favorite genres, but is an intuitive means ofcatharsis. "Blending everything that I like together and trying to make something new -that's what feels most natural to me," says the 23-year-old Brooklyn-based singer-songwriter and guitarist. "It's what feels most true to who I am as an artist." Plinking guitar tones and asymmetrical time signatures exemplify her forays intoangular indie rock more now than ever before, especially on her debut Bayonet Recordssingle "Wakare no Kotoba"_its wide-interval arpeggios in odd meters being some ofthe most technically difficult guitar work Mei has ever implemented in her songwriting.Translated to "parting words'' in English, the self-described "anti-love song" serves as afarewell to a toxic friendship, complete with orchestral swells and crashing guitars. Originally from Ann Arbor, Michigan, Semones began playing music at a young age,starting out on piano at age four before moving to electric guitar at age eleven. Afterplaying jazz guitar in high school, she went on to study guitar performance with a jazzfocus at Berklee College of Music. College is where she met her current bandmates,including string players Noah Leong and Claudius Agrippa, whose respective viola andviolin add softness and multidimensionality to Mei's intricate guitar work. After releasinga slew of singles and an EP in 2022, coinciding with her move to New York City, Mei andher band have since gone on to collaborate with post-bossa balladeer John Roseboroand embark on their first-ever tour with the melodic rock outfit Raavi. Semones chronicles infatuation, devotion, and vulnerability in her songs, complete withsweeping strings, virtuosic guitar-playing and heartfelt lyrics sung in both English andJapanese, that have all become part of her sonic trademark: ornately catchy, genre-fusing compositions serving as the backdrop to tender lyrics touching on theuniversalities of human emotion.