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Back in 1993... Early acid Techno from the U.S. … Golden age of the Electronic Music... When Trance, techno and Breakbeat were one and only scene called Rave ! 25 years later, here comes a reisuue of these praised records, remastered by Isotop, cut by Simon The Exchange... The second vinyl brings 3 remixes : one from Biri & The Geezer for a bloody Hackney Acid style ! Another oldschool acid story for a familly meltdown... Then comes a Magy remake more than a remix, re-playing all instruments and all melodies entirely... Sampless tune ! For the last track we have this Big-Beat/Breakbeat version from Monstafunkaz... The remix EP coming with the album is the result from a little challenge remix done on social medias last year... Visual is from Artcoton.

Repress of the X-Tech tunes from TPN09, remastered and pressed on a white color vinyl.
Acidcore to Freetekno, oldschool sound never die !

Note : Label visual might seem to be TPN08 but it is the TPN09 tunes from X-Tech :)

REPRESS - 4 psychedelic Trbal french hardtek tunes. Big sound. Big Up !

ohn Fahey’s Takoma label is best known for pushing the envelope when it comes to acoustic guitar playing, but in 1967 it released a record that has become one of the true cult classics of the ‘60s free jazz movement. Charles Martin Simon was an aspiring writer whose artist wife died in 1965. When he tried to pick up the torch and become an artist using her art supplies, he was, in his words, “reduced to nothing,” and thus created an alter ego or “psyche fragmentation,” Charlie Nothing. Under that moniker he became most famous for creating “dingulators,” working guitar sculptures made from parts of American cars; in 1967, though, he recorded The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic, an album consisting of two separate saxophone improvisations accompanied only with gong, tabla, and ukelele. Its cover adorned by Nothing’s own hand-drawn art, this record has since become not only something of a “secret handshake” among free jazz fans, but also a classic of outsider art, fitting right next to your Moondog records if not in sound than in spirit. For its first ever reissue in any format, we’ve gone back to the original tapes to present an all-analog release of The Psychedelic Saxophone of Charlie Nothing/In Eternity with Brother Frederic on black vinyl with the original art intact, offering an unfiltered experience of this man’s cracked genius. A memorable look ‘n’ listen to say the least.

In the early 1990s gangsta rap was becoming more popular. KRS-One took to the mic and continued to write socially conscious raps resulting in the hard-hitting 1992 album Sex And Violence which would be the fifth and final studio album under the Boogie Down Productions name. Produced by KRS-One, Pal Joey, Kenny Parker, D-Square, and Prince Paul, the album explores the darkest sides of the American urban landscape and psyche, with KRS as narrator, detailing all sides of the matrix. While singles like the alarming drum-driven "Duck Down" and the funky-as-hell "We In There" got most of the attention in ‘92, the deeper sequence reveals plenty of additional gems: the history lesson of the dark and dusty "Drug Dealer"; "Ruff Ruff", with scowling MC favorite Freddie Foxxx (aka Bumpy Knuckles); the grooving "Questions and Answers," and the frantic record industry track "How Not To Get Jerked." The album kicks off with an intro skit featuring KRS-One as a DJ in panic needing vinyl which at the time was a dying format while cassettes and CDs became the dominant format. Thirty-two years later vinyl DJs and Hip-Hop vinyl collectors no longer need to panic. Get On Down in partnership with Sony Music's CERTIFIED is proud to bring back to vinyl this underrated gem in the BDP catalog. Featuring one of the dopest album covers by American artist Robert Williams, Sex and Violence is pressed on colored vinyl and packaged in a gatefold jacket with full lyrics.

3 Feet Deep is back with a new record infused with personal significance - five UKG tracks cooked up by French artists. Folklore associates Bernardo & Stefan Dubs deliver two enthralling dark 2-step tunes respectively on A1 and B1 while Enrico Dragony, DJ W!LD, and Pépé Elle explore the rhythmic realms of 4x4 beats. The record is guided by the loose, instinctive style of each artist, evolving organically following their own interpretations of UKG.

Viele sehen Louis Cole immer noch in erster Linie als Schlagzeuger. „nothing“, Coles fünftes Album und sein drittes auf Brainfeeder wird diesen Eindruck sicherlich ändern. In Zusammenarbeit mit dem Metropole Orkest und Jules Buckley lehnte er den ausgetretenen Pfad der orchestralen Wiedergabe seiner größten Hits ab und entschied sich stattdessen, eine Reihe brandneuer Musik für dieses Album zu komponieren - größer, kühner und ausladender als je zuvor. Ja, es gibt Anspielungen auf sein GRAMMY-nominiertes Album, „Quality Over Opinion“, aus dem Jahr 2022, aber 15 der 17 Titel auf diesem Album sind brandneu. Das ist Jazz. Das ist klassische Musik. Es hat diesen Funk. Du wirst Synthesizer und Loops hören. Du hörst eine Band und Live-Schlagzeug. Es spielt ein Weltklasse-Orchester. Einige Stücke sind ultrapräzise, während das ausufernde „Doesn't Matter“ die Zehn-Minuten-Marke überschreitet. Für Cole war der Jazz schon immer der einzige Ort, an dem man wirklich alle Erwartungen loslassen kann - bei „nothing“ lässt er der Musik freien Lauf.
Das Metropole Orkest erwies sich als der ideale Partner für dieses Unterfangen. Im Laufe seiner 80-jährigen Geschichte hat es mit Legenden wie Ella Fitzgerald, Pat Metheny und Herbie Hancock zusammengearbeitet - genau die Art von grenzüberschreitender Mentalität, die Cole suchte. Wenn man dann noch den Dirigenten, Arrangeur, Kurator und Komponisten Jules Buckley hinzunimmt, ist das eine dreifache Bedrohung von epischem Ausmaß. Buckley ist ein einzigartiger und seltener Künstler - ein GRAMMY-Preisträger, der das Regelwerk der Orchestermusik und die Rolle des Dirigenten neu definiert hat.

Ein allumfassender akustischer Angriff, eine Kraft, die so unaufhaltsam und lebendig ist wie die Flut. Das Post-Rock-Kraftpaket AND SO I WATCH YOU FROM AFAR kehrt mit seinem 7. Studioalbum ,Megafauna" zurück. Studioalbum "Megafauna" zurück. Das neue Album ist eine eigenwillige Erkundung und eine von Herzen kommende Würdigung mit der ganzen Intuition, Intimität und dem Humor von vier festen Freunden, die sich ihrem 20-jährigen Bandbestehen nähern. Die Absicht hinter "Megafauna" ist von Anfang an klar. Zwei Gitarren, ein Bass und ein Schlagzeug, allesamt in einer Woche aufgenommen, erwachen in einem Endorphinrausch der Zusammenarbeit und des Miteinanders nach der physischen und psychischen Wildnis der Isolation zu überschäumendem Leben. Die Leadsingle "Do Mór" ist eine absurd verspielte Kollision aus unbeschwerten Gitarrenhooks, mühelosen Jazz-Synkopen und der triumphalen Rückkehr von ASIWYFAs unnachahmlicher Wall-of-Sound-Verzerrung, während der Eröffnungstrack "North Coast Megafauna" als Hymne für das gesamte Album und vielleicht auch für eine wiedererstarkte Band dient, die die freudig-schockierende Konfrontation ihres Sounds stolz auf ihren Ärmeln trägt. An anderer Stelle stehen Introspektion und düstere Sentimentalität im Mittelpunkt, wobei das Downtempo-Stück "Years Ago" eine bemerkenswerte dynamische Tiefe bietet. "Megafauna" ist das erste neue Werk der Band seitdem von der Kritik hochgelobten, aber nur sehr limitiert veröffentlichten "Jettison" aus dem Jahr 2022, ein ambitioniertes Multimedia-Ensemblewerk voller Experimente mit Gästen. Gitarrist Niall Keenedy bezeichnete "Jettison" scherzhaft als "das reife Album" der Band und umrahmte das Schreiben von "Megafauna" mit dem langjährigen Mantra der Band "DO THE SCARY THING", das sie ständig auf das Neue, den Fortschritt, die Evolution und das Unbekannte zusteuern lässt. Während die neue Platte ASIWYFA in einer vertrauteren, traditionellen Form zeigt, ist "Megafauna" in dieser Post-"Jettison"- und Post-Pandemie-Welt eine ohrenbetäubende und trotzige Absichtserklärung des treibenden Kerns der Band, die Zusammengehörigkeit statt Trennung zelebriert. Übrigens, das klasse "Jettison" jetzt auch wiederveröffentlicht!

Ein allumfassender akustischer Angriff, eine Kraft, die so unaufhaltsam und lebendig ist wie die Flut. Das Post-Rock-Kraftpaket AND SO I WATCH YOU FROM AFAR kehrt mit seinem 7. Studioalbum ,Megafauna" zurück. Studioalbum "Megafauna" zurück. Das neue Album ist eine eigenwillige Erkundung und eine von Herzen kommende Würdigung mit der ganzen Intuition, Intimität und dem Humor von vier festen Freunden, die sich ihrem 20-jährigen Bandbestehen nähern. Die Absicht hinter "Megafauna" ist von Anfang an klar. Zwei Gitarren, ein Bass und ein Schlagzeug, allesamt in einer Woche aufgenommen, erwachen in einem Endorphinrausch der Zusammenarbeit und des Miteinanders nach der physischen und psychischen Wildnis der Isolation zu überschäumendem Leben. Die Leadsingle "Do Mór" ist eine absurd verspielte Kollision aus unbeschwerten Gitarrenhooks, mühelosen Jazz-Synkopen und der triumphalen Rückkehr von ASIWYFAs unnachahmlicher Wall-of-Sound-Verzerrung, während der Eröffnungstrack "North Coast Megafauna" als Hymne für das gesamte Album und vielleicht auch für eine wiedererstarkte Band dient, die die freudig-schockierende Konfrontation ihres Sounds stolz auf ihren Ärmeln trägt. An anderer Stelle stehen Introspektion und düstere Sentimentalität im Mittelpunkt, wobei das Downtempo-Stück "Years Ago" eine bemerkenswerte dynamische Tiefe bietet. "Megafauna" ist das erste neue Werk der Band seitdem von der Kritik hochgelobten, aber nur sehr limitiert veröffentlichten "Jettison" aus dem Jahr 2022, ein ambitioniertes Multimedia-Ensemblewerk voller Experimente mit Gästen. Gitarrist Niall Keenedy bezeichnete "Jettison" scherzhaft als "das reife Album" der Band und umrahmte das Schreiben von "Megafauna" mit dem langjährigen Mantra der Band "DO THE SCARY THING", das sie ständig auf das Neue, den Fortschritt, die Evolution und das Unbekannte zusteuern lässt. Während die neue Platte ASIWYFA in einer vertrauteren, traditionellen Form zeigt, ist "Megafauna" in dieser Post-"Jettison"- und Post-Pandemie-Welt eine ohrenbetäubende und trotzige Absichtserklärung des treibenden Kerns der Band, die Zusammengehörigkeit statt Trennung zelebriert. Übrigens, das klasse "Jettison" jetzt auch wiederveröffentlicht!

Black Truffle is thrilled to announce a reissue of Chico Mello and Helinho Brandão’s self-titled release from 1984, the first return to vinyl of this classic of Brazilian experimental music with its original cover art and complete track listing. An under-recognised figure whose work inhabits a singular terrain where radical new music techniques and music theatre meet musica popular brasileira, Mello has lived and worked in Berlin since the late 1980s. A student of Dieter Schnebel, Mello played in the 90s iteration of Arnold Dreyblatt’s Orchestra of Excited Strings alongside compatriot Silvia Ocougne, with whom he produced a radical and hilarious deconstruction of MPB classics on Musica Brasileira De(s)composta (an early and rather atypical release on Edition Wandelweiser).

On this release, his only recording predating his move to Europe, Mello works with the alto saxophonist Helinho Brandão, who appears to be otherwise unknown outside Brazil. The record’s six tracks range from solo saxophone improvisation to densely layered ensemble works bridging minimalism, acoustic sound art and a plaintive melodic sensibility that calls up Edu Lobo or Milton Nascimento. Beginning with a dramatic, dissonant wind and string surge from which emerge ominously pounding piano chords, opener ‘Água’ slowly builds in intensity, a halo of clustered vocal harmonies gradually closing in on Brandão’s squealing sax until the piece opens up to reveal a gorgeous passage of melodic singing. The piano accompaniment reduces to tolling bass notes as the voice begins a repeated incantation, suggesting a ritualistic atmosphere reminiscent of parts of Xenakis’ setting of Oresteia. Dissonant, sawing tremolos on the strings climb to a crescendo before disappearing into the sounds of water being poured and splashed into metal vessels, presented not as a field recording but as a percussive element performed by the ensemble. A child’s voice then appears, singing to piano accompaniment the same melody heard earlier in the piece. After a brief solo alto improvisation from Brandão, working with the guttural pops and fleeting melodic gestures of Braxton or Roscoe Mitchell, the remainder of the first side is dedicated to the leisurely unfolding of ‘Baiando’ over the course of twelve minutes. A trio for Brandão on soprano saxophone, Mello on a very period-appropriate phased nylon string guitar and Edu Dequech on bongos, the performance eases its way hypnotically through subtle variations on a set of rhythmic and melodic patterns, almost derailed at points by Brandão’s wild forays into extended technique but held together by Mello’s droning guitar notes.

The second side opens with another multi-part epic for a larger ensemble, ‘Matraca’, which makes use of strings, electric guitars and a wide range of South American percussion instruments. Rasping violin harmonics hover as drum hits, repeated guitar notes and triangle accompany a slowly descending bass glissando. A sudden change in direction introduces a thrumming, incessantly repeated bowed bass tone, beginning a series of episodes of minimalist phasing and pattern variation, the combinations of electric guitars and orchestral instruments giving the ensemble an ad hoc charm like the early Penguin Café Orchestra but with more percussive drive. Eventually the piece is overrun by a cacophony of the titular matracas (a kind of ratchet/cog rattle). Following a lyrical trio improvisation by Mello, Brandão and Gerson Kornin on bass, the final ‘Danca’ focuses entirely on Mello’s layered acoustic guitars and vocals, using this restricted palette to build up a haunting piece of almost orchestral density, reminiscent of the 70s work of Egberto Gismonti in how it thickens a folkish ambience with harmonic sophistication.

Arriving in a starkly beautiful gatefold sleeve and sounding better than ever in its new remaster, one might call the stunning music contained on Chico Mello/Helinho Brandão ahead of its time. But what (other than some of Mello’s own work) produced in the years since its initial release has really touched the organic fusion of minimalism, free improvisation, radical instrumental technique and popular song achieved here? Forty years after its first release, Chico Mello/Helinho Brandão remains music of the future.

Are you a mannequin in the eyes of your beloved? Does your partner compare your relationship to a factory that emits plumes of smoke? Are you in love with a seductive and destructive Credit Default Swap? Someone who sucks you in with skyrocketing short term erotic returns - only to ghost you until you crash so hard that you end up broke(n) in your own bed? Do you pay $300 an hour out of pocket to a psychiatrist who promises to help you strike a deal with a difcult parent - one that will produce more stable long term returns on your psychic investments? If so, then you, my friend, may be drowning in the sea of Love in the Time of Capital. It's where everyone would love to drown. It's a new album from John Davis of The Folk Implosion that fnds him backed with confdence by Eli Moore and Andrew Dorsett of the indie pop band Lake. It was recorded by Nich Wilbur at the Unknown, a cavernous recording studio in Anacortes, WA that has been a favorite destination for indie rockers around the nation. Ben Brodin recorded Megan Siebe playing strings on two tracks at his Hidden Branch studio in Omaha, and the album was mixed by Scott Solter in Durham NC. Arrangements are based on the classic power pop trio of drums, bass and electric guitar. Those elements are tastefully embellished with organs and pianos that call to mind records by classic rock bands like Tom Petty's Heartbreakers. That is, if the Heartbreakers were fltered through the Northwestern International Pop Underground tradition, and cast a critical eye on how commodity culture shapes the way we think of ourselves and our intimate relationships. The album also features four ballads, three drum and electric guitar free, for all you late night introspective heads.

Norway's progressive sludge masters are about to release the sequel to their highly acclaimed debut album "Animist". The upcoming release, "Determinist", will hit fans of The Ocean, Mastodon, and Igorr right in the face. With expanded diversity, heavier and more of the good stuff - Just the right kind of heavy! The new album takes the listener out of the prehistoric world from "Animist" and into the current and future era of determinism: Humanity has left the world of mysteries, wonders, and chance. In a reality where all is calculated, analyzed, and predetermined, humans thrive on scientific progress, but at what cost? If everything is certain, humans have deprived themselves of the illusion of free will and the wonders of life. Octohawk's sophomore album, Determinist, is a synopsis of the deterministic era, from the humble experimental beginnings to the complete coalescence with ever-flowing information. Each of the seven tracks represents the significant stages in this endeavor, from man on the ground to being a part of the eternal stream.

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

Since surfacing into the Scandinavian synth-pop scene 16 years ago, Nicklas Stenemo and Christian Hutchinson Berg aka KITE have steadily grown from local icons to a global phenomenon, yet until now they've never released a full-length studio album. VII breaks the ice, collecting 14 of the duo's deepest and most dynamic anthems into a stormy saga of immersive, apocalyptic emotion. Sourced from a series of six 7-inch singles released over the past half-decade, the collection persuasively showcases KITE's distinctly cinematic strain of Swedish darkwave in all its glory and desolation. Stenemo and Berg had both logged time in other bands before joining forces in the mid-aughts, although their unique chemistry became apparent immediately. After forming in Malmö, Sweden, they soon relocated to Stockholm, further refining their fusion of brooding synths, booming rhythm, and vocal theatrics over a string of celebrated, numbered EPs (named I through VI). Despite their rising profile, KITE then and now have largely refrained from publicity, allowing their music to speak for itself - which it clearly has, as KITE's live performances have become the stuff of legend, prompting frequent festival invitations, international tours, and limited engagements on prestigious stages (recently at the Royal Swedish Opera, and Dalhalla, the former limestone quarry turned open air amphitheater, to name a few). VII offers a compendium of KITE's potent recent discography, including collaborations with Blanck Mass, Anna von Hausswolff, and Henric de la Cour. From yearning dystopian pop ("Hand Out The Drugs," "Bowie `95"), to widescreen existential balladry ("Tranas Stenslanda," "Glassy Eyes"), and sleek New Romantica ("Remember Me," "Teenage Bliss"), KITE's wavelength is one of soaring heights and abysmal depths, anguish and ecstasy, pouring one's burning, battered heart into the here and now. Their years of visceral commitment and artistic integrity have been hard fought and hard won; it bleeds between the words and melodies in one holy moment after another: "I switch my ways / To seize the day / To face my life / Not fade to gray."

Hardwood Vinyl. Narrow Head's highly anticipated new LP 12th House Rock arrives August 28th on Run For Cover Records. The Houston-based band's latest entry is the distillation of the greatest moments in 90's alternative and hard rock with a fresh set of ears, thirteen tracks of their signature brand of bludgeoning lullabies bursting at the seams with creative ideas, new directions and yes, massive, monolithic riffs. In between the sparkle and smash, open-hearted and emotionally naked songwriting showcases a core piece of the band's identity- showcasing 12th House Rock as one of the best releases of 2020.Delving into deep-seated themes of self loathing, desolation, self-medication, the loss of loved ones and hopeful redemption,12th House Rock is, as the title suggests, a rock-focused LP themed on transition- exploring the vast abyss of darkness just before the sun cracks upon the horizon. Using distorted guitars as their primary vehicle, Narrow Head's wall of riffs add stark contrast to their best quality- deceptively sweet pop melodies that channel the lessons of My Bloody Valentine, Cocteau Twins, Helmet, Deftones and Guided by Voices all at once.

Greg 'Stakehouse' Prevosts Karriere ist eng als Frontman der Chesterfield Kings verbunden, aber seine Geschichte beginnt und endet nicht mit dieser Band. Seine Anfänge liegen in den Siebzigern als Sänger und Gitarrist in Combos wie Dr Electro & His Psychedelic Retards, Tar Babies, Distorted Levels, Cutdowns (dokumentiert auf der Prevost-Compilation Violence Vintage). Der hochkarätige Songwriter und einer der coolsten R&R-Sänger aller Zeiten kehrt nun mit seinem vierten Solowerk "After The Wars" zurück. Greg befindet sich in einem Zustand der Gnade. Nach der guten Resonanz auf sein drittes Werk (das akustische, gefühlvolle "Songs For These Times") kehrt unser Mann jetzt mit einem neuen, opulenteren Album unter dem Arm zurück. Und es steckt voller Überraschungen und Kollaborationen - mehr denn je, immer noch ein erstklassiger Songwriter und einer der coolsten R&R-Sänger überhaupt. Auf "After The Wars" finden sich wahre Folk-Rock-Wunder, stilvoller Barock-Pop und Psychedelia, Country, Blues, Gospel und natürlich Rock'n'Roll pur. Dies ist ein Festival des guten Geschmacks in Form von Songs mit glänzenden 12-saitigen Gitarren, plüschiger Akustik, ausgefeilten Gesangsharmonien, klagenden Harfen und hypnotischen Arrangements mit Cello, Klavier und Orgel, Steel Guitar und vielem mehr! All dies, abgerundet mit einer einfach perfekten Produktion, macht "After The Wars" zu Greg 'Stackhouse' Prevosts bisher abwechslungsreichstem, vollständigstem...und bestem Album. Checkt dies und auch den Backkatalog! Für Fans von Stiv, Johnny, David, Nikki, Dave, Epic, Tyla, Dead Boys/Lords Of The New Church, New York Dolls, Jacobites, Dog's Damour, Jagger/Richards, Woods/Stewart... Vinyl klassisch schwarz, CD mit einem Extratrack!

At the muddy miracle that was Woodstock, the most miraculous performance just might have been Jefferson Airplane’s. The band had been one of the first to sign on for the festival, their imprimatur prompting many other acts to hop on board, and their stature had landed them a coveted headlining slot closing Saturday night’s schedule. But, as the torrential downpours and the unexpected crush of half a million people kept on delaying their set, the chances of putting on anything approaching a quality performance seemed to diminish.

According to Paul Kantner, “We were supposed to go on at 10:30 at night and we’d been up and down about four or five times on acid that night, getting ready to go on, and then everything was delayed for whatever reasons. So, we didn’t get on until like 7:00 the next morning and everybody was pretty much burned out.” Kantner’s protestations to the contrary, the Airplane (with guest pianist Nicky Hopkins in tow) played a scorching two-hour set that defied the elements and the circumstances. Grace Slick led the charge as the band plunged into a frenetic version of Fred Neil’s “The Other Side of This Life”: “Alright, friends, you have seen the heavy groups. Now you will see morning maniac music. Believe me, yeah. It’s a new dawn!” What followed was an adventuresome (and surprisingly tight) set that not only featured the band’s big hits like “White Rabbit” and “Somebody to Love” but also premiered songs from the Volunteers album that was still three months away from being released, including a 21-minute version of “Wooden Ships!” Indeed, about the only members of the crew who weren’t up to snuff were the ones filming the concert documentary, which explains why the Airplane is not one of the acts that commonly come to mind when thinking about Woodstock; they didn’t appear in the film due to subpar footage, and only one of their songs (“Volunteers”) was included the chart-topping 3-LP Woodstock release.

Now, Real Gone Music is proud to present Jefferson Airplane’s complete Woodstock performance. The 3-LP set comes inside a gorgeous, double-gatefold jacket sporting photos of the band at Woodstock, most of them taken by the legendary Henry Diltz; liner notes by folk-rock guru Richie Unterberger complete the package. Pressed in iridescent, “clouds breaking” blue for its 55th anniversary, this release makes a convincing claim that Jefferson Airplane’s Woodstock performance ranks right up there with those of Jimi, Sly, and Santana as a festival highlight. Limited to 1000 copies!

"Jordan Hamilton's ""Project Freedom"" revolves around the non-traditional ways Jordan applies the Cello to play chords, layer melodies, and create songs. This is a record about breaking limitations and boundaries - a fusion of RnB, Soul, Hip-Hop, Electronic, and Jazz.

Located halfway between Detroit and Chicago, Project Freedom was written in Kalamazoo, Michigan where cellist Jordan Hamilton began his journey as a songwriter, producer, and artist. This is Cello-Beats and Folk-Soul Rhythms.

This introspective journey is narrated by Jordan's lyricism that expresses the wisdom gained through life's lessons at home, chasing dreams, living with loss, and falling in love. These are the lessons that earned him the ability to move through this world all the more free.

This is an album made to accompany you through all of life's changes."

Don’t let the list of stellar sideman gigs (with Elvin Jones, Miles Davis, Freddie Hubbard, McCoy Tyner, Woody Shaw et al.) make you overlook the solo work of saxophonist Azar Lawrence; for over 45 years he has recorded a string of spiritual ‘n’ soulful jazz albums that come closer to the ethos and aesthetic of John Coltrane than probably any of Lawrence’s contemporaries. Recorded for the legendary Prestige label in 1976, People Moving is his third solo album, and it’s one of his best; it features such luminaries as Lee Ritenour, Patrice Rushen, Harvey Mason, and Mtume on a soaring set of funky tunes produced by a young Skip Scarborough, who would go on to helm recordings by Bobbie Humphrey, Con Funk Shun, and Phyllis Hyman among others. First vinyl reissue!

Für ihr 26. Album tauschen King Gizzard & The Lizard Wizard die Widescreen-Konzepte ihrer letzten Alben gegen die Intimität von sechs guten Freunden ein, die gemeinsam an ihrem bisher geselligsten Set arbeiten, das sie auf Wachs festgehalten haben. Für ”Flight b741” wollte King Gizzard laut Bandleader Stu Mackenzie ”etwas Ursprüngliches, Instinktives, mehr ’aus dem Bauch heraus’ machen - nur Leute in einem Raum, die tun, was sich richtig anfühlt. Wir wollten etwas machen, das Spaß macht.”

”Flight b741” zapft den amerikanischen Country-Rock der 70er Jahre an, mit dem sie alle aufgewachsen sind, sowie die Wurzeln des Garagenrocks, aus denen ihre mächtige Diskografie stammt. In den 10
zerklüfteten, glorreichen Songs, die King Gizzard mit ihren inspirierten Improvisationen, unnachahmlichen Grooves und einem einzigartigen Pass-the-Mic-Ansatz für den Gesang, bei dem jedes Bandmitglied seine Stimme erhebt und singt, die groben Skelette der Songs herausarbeiten. ”Wir haben eine Menge Spaß, aber wir singen auch oft über ziemlich heftigen Scheiß”, fügt Mackenzie hinzu, ”und treffen wahrscheinlich auf einige tiefere, universellere Themen als sonst. Es ist keine Science-Fiction-Platte, es geht um das Leben
und so. Aber die Platte ist wie ein wirklich lustiges Wochenende mit deinen Kumpels, weißt du? So richtig Spaß.”

The ever-present and unstoppable Welsh legend Sir Tom Jones continues to grow his deep-rooted legacy around the world. His recording of ‘It’s Not Unusual’ (released in 1965) has been covered by a number of incredible artists including Cher, Brenda Lee, Glen Campbell and more. The song first resurged in the 90s when it was synced on ‘The Fresh Prince Of Bel-Air’ bringing the world ‘The Carlton Dance’, and many times since Along Came Jones, the debut album from Tom Jones, contains the monumental hit ‘It’s Not Unusual’ alongside a beautiful renditions of ‘Autumn Leaves’ and Spanish Harlem. Presented on vinyl for the first time since it’s release, this will be a real collectors item for Tom Jones fans worldwide.

Recorded on a hot night in a one-room gospel music studio in Accra, comes Gbɛfalɔi -- a remarkable record exploring the edges of contemporary African music. It's at once traditional and Avant Garde,
extremely local and thoroughly cosmopolitan. Anchored in folkloric instruments and free improvisation, the music is more like the Art Ensemble of Chicago than the court drummers of the Ashanti king.

Isabell Gustafsson-Ny joins Warm Winters Ltd. with Rosenhagtorn, a suite of short pieces for piano, violin and voice. Absorbing in its profound focus on listening, this collection is a striking exploration of these sound sources; their repetitions, harmonics and oscillations. Conceiving of the release as a house, a different song is playing in each room, Gustafsson-Ny was able to explore the rawness and fragility of each instrument with incredible freedom and sensibility. She describes the album in the following words: "In the music there is both repetition and flow, but also the creak of the pedal organ. Here are Radigue traces and slow slow piano. Here is the violin again, resumed after many years of almost fallow. Here are the overtones and the scratchy strings. Here I dare to open the door to the voice." A unique kind of dusty, intimate folk music.

"Oyster Cuts", das vierte Album und Merge Records-Debüt von Quivers, zeigt, dass die in Melbourne, Australien, ansässige Band in der Art von Emotionen schwimmt, in denen sich die meisten Menschen zu verlieren fürchten. Der überdimensionierte Gitarrenpop von Quivers schimmert wie die Oberfläche eines Ozeans, unter der ein Riff liegt, das abwechselnd schön und schmerzhaft ist, dessen Züge fremdartig und scharf genug sind, um zu verwunden. Angetrieben von Melodien, die manchmal an Galaxie 500 und The Pretenders erinnern, machen Quivers Musik, die zart und hart ist und den Hörer dazu zwingt, immer wieder einzutauchen, wobei jeder Song einen neuen Gefühls-Blickwinkel eröffnet. "Oyster Cuts" ist Sonnenschein-Pop mit Blut im Wasser. Die Verluste und Lieben, die Quivers' Musik seit ihren Anfängen geprägt haben - der plötzliche Verlust eines Bruders im gebrochenen Optimismus von "We'll Go Riding on the Hearses" (2018) und das Leben in und nach der Trauer von "Golden Doubt" (2021) - fließen in "Oyster Cuts" ein, das sich dem Weitermachen verschrieben hat, während es akzeptiert, dass einige Gefühle, wie Trauer, ein Kreislauf sind. Entscheidend ist, dass Quivers sich verpflichten, miteinander Vorwärts zu gehen. Ohne den Chor und die Streicher von "Golden Doubt" ist "Oyster Cuts" ein Beispiel dafür, was immer noch möglich ist, wenn vier Leute - Sam Nicholson (Gitarren), Bella Quinlan (Bass), Michael Panton (Gitarren) und Holly Thomas (Schlagzeug) - zusammen Musik machen. Durch die Verwendung von Tape Loops - die "Oyster Cuts" eröffnen und schließen und das Album wie Haie umkreisen - legen Quivers Wert auf Wiederholung, setzen gemusterte Riffs ein und navigieren durch kreisförmige Gedanken, bis sie an ihre Grenzen stoßen und schließlich zu einem neuen Song zusammenfinden. Ihr verträumter, sonnenverwaschener Jangle-Pop ist dadurch schlanker und muskulöser geworden, und ihre Sound-Palette wird durch Anklänge an The Cure, Echo & the Bunnymen und The Durutti Column verdunkelt. Innerhalb dieses Rahmens betreten Quivers als Band Neuland, indem sie ihrem charakteristischen Gruppengesang eine neue Dimension hinzufügen: Quinlan übernimmt bei vier Songs die Leadstimme, die ineinander verwobenen Gitarren von Nicholson und Panton werden in den Mittelpunkt gestellt und der zielgerichtete Groove von Quinlan und Thomas treibt das Ganze voran. Die Songs von Quivers fühlen sich wie lange Gespräche zwischen Freunden an, in dem Sinne, dass ein Gespräch sowohl ein Akt der Sprache als auch ein Raum ist, den Menschen füreinander einnehmen. Die ersten beiden Tracks auf "Oyster Cuts", "Never Be Lonely" und "Pink Smoke", nehmen diese privaten Universen, die aus gemeinsamer Sprache, Erinnerungen, Songfetzen und dem Licht eines Handybildschirms mitten im Doomscroll bestehen, und verwandeln sie in ein Leuchtfeuer, in suchende Texte, die von massiven Hooks entfacht werden. "All I ever wanted was a true friend / All I wanted was a friend with benefits / All I ever wanted was transcendence" singen Quinlan und Thomas zu Beginn des Albums, und von da an spult "Oyster Cuts" in den Horizont hinaus. Die vier Mitglieder von Quivers erforschen diesen Raum nicht nur, sondern füllen ihn auch so weit wie möglich mit sich selbst aus, indem sie sich aneinanderbinden, egal wie unklar und chaotisch Herzensangelegenheiten werden können. Jeder Moment der Katharsis, den Quivers aus dem Äther zaubern, ist eine Einladung, sich ihnen anzuschließen. Wenn man ihnen zuhört, wie sie dort aufsteigen, wo andere grübeln würden, ist es unmöglich, ihrer Einladung zu widerstehen.

Vinyl Packaging: Full color jacket featuring original artwork by Callum Rooney. Can I Communicate With the Unknown? is the new album from Go By Ocean, moniker of Northern California based singer / songwriter / producer Ryan McCaffrey. Co-produced alongside Tim Bluhm (The Mother Hips) and David Glasebrook, the album features contributions from a wide cast of characters, ranging from the tight knit community of Phil Lesh’s much loved Terrapin Crossroads to the wider West Coast indie-rock scene, including members of The Mother Hips, Sugar Candy Mountain, ALO, Tea Leaf Green, and more. Building upon McCaffrey’s catalog of songs, the new album finds inspiration in the down-to-earth music of 1970’s Marin County, when songwriters like Michael Hurley and Jesse Colin Young lived out in Olema and Point Reyes, the kind of places where songs blow in on the breeze from the Pacific Ocean. Lyrically, the album traces a hero’s journey as the narrator struggles with addiction, eventually finding peace and freedom in a tumultuous world, wrestling with metaphysical and spiritual ideas along the way. Highly anticipated new album from Go By Ocean, co-produced by Tim Bluhm of The Mother Hips. Press coverage includes reviews and features in Austin Town Hall, Glide Magazine, Psychedelic Baby Magazine, and more. UK/EU Publicity handled by Chris Carr & Mal Smith. “...washed with breezy beachy vibes…” - Glide Magazine // “...marries the bright guitar arrangement of The Byrds with an updated indie appeal.” - The Wild Is Calling // “...you can almost feel the hope over the hills waiting for you with open arms.” - Austin Town Hall // “‘...satisfyingly artful and I would venture to guess you’ve never heard anything quite like it.” - Ear To the Ground Music // “We will be spinning the hell out of this record for the rest of the summer.” - Up To Hear Music // “...it’s not hard to imagine some of these songs floating in on the coastal fog, ascending ghosts indeed.” - Psychedelic Baby Magazine

This led to her immediate recognition as a banjo pioneer and to her win in 1991 of the Banjo Player of the Year award from the International Bluegrass Music Association (the first female to win an Instrumentalist of the Year award). For the 2024 reissue, the original 8- track, 1" multitrack tapes were transferred at a resolution of 192kHz/36- bit, and remixed and mastered by Matt Coles at
Compass Sound Studio in Nashville.


The album was produced in 1989 by acoustic music icon and frequent Jerry Garcia cohort David Grisman (architect of "Dawg Music," the jazz- influenced breakout fringe of the bluegrass genre) and recorded with a cast of all- star musicians at Dawg Studio in Marin, CA. Players on the sessions included Alison Krauss (fiddle), David Grisman (mandolin), Mike Marshall (guitar, fiddle, mandolin), Matt Eakle (flute), Joe Craven (percussion) and Jim Kerwin (bass).

The album's 12 tunes were all written by Alison and include the first recorded versions of some of her most well- known compositions, including "Mambo Banjo," "Leaving Cottondale," and "Weetabix."
REMIXED AND REMASTERED from 192kHz/36-bit transfers of the original multitrack tapes. LP – features LIMITED EDITION BLACK & WHITE SWIRL + album download code with 3 never- before- released bonus tracks Includes a 4- COLOR BOOKLET with liner notes from Alison Brown, Dave Dennison, and Mike Marshall, plus ARCHIVAL PHOTOS and SESSION DOCUMENTS

HYPERVIOLENCE is the evolution of Australia-based Windwaker's unique songwriting, tapping into a darker and heavier tone than previous release Love Language It serves as a fresh chapter in Windwaker's journey, capturing the individual and authentic nature of Love Language, while improving on its focus, maturity and cohesion. As Windwaker always has, HYPERVIOLENCE draws from an eclectic
range of influences including rock, metal and hip-hop, with nods to EDM, Dubstep, Punk, and even Country/Folk.

Specially prepared liner notes by renowned music writer Brian Morton. Brazilian singer/ song writer Joao Gilberto was a legend of bossa nova. While Antonio Carlos Jobim set the standard for the creation of bossa nova in the mid-'50s (with songs like The Girl from Ipanema and Desafinado), it was Gilberto who brilliantly reimagined defined the genre.

In 1959 Gilberto presented his first LP, Chega de Saudade presented here. The title song turned into a massive hit, launching Gilberto's career and the bossa nova craze.

"In 1959, before I left my hometown, I heard Joao Gilberto. And hearing Joao Gilberto was a revolution in my mind; it was an enlightenment, really. I knew that something had to happen, something was already happening, and that Brazil could be freer and bigger and could make some kind of original contribution for world
civilization." - Caetano Veloso (Brazilian singer/composer)

Das mit einem Grammy ausgezeichnete Album "Stankonia" enthält den weltweiten Hit "Ms. Jackson" (über 1 Mrd. Streams) sowie "So Fresh So Clean" (250 Mio.+ Streams) und "B.O.B." (100 Mio.+ Streams) und taucht regelmäßig in den Listen der besten Alben auf, z.B. in der "Rolling Stones 500 Greatest Albums Of All Time". Erhältlich als schwarzes 2LP-Vinyl-Set.

New Jersey producer, DJ and Inimeg Records head honcho Joey Anderson takes on the role of Obiaman for Obia Records 005. Well known for his deep and intriguing records Joey Anderson takes the label far into the night sky with Vanish EP. Accompanied by label owner Wendel Sield the EP sets to serve a variety for all tastes.

Anderson’s style of hypnotic rhythm and cosmic synth work finds common ground with the labels African background in “Masked Ones”. With haunted vocal shots and elegant drum work. Minimalistic use of elements fill the track exceptionally well.

“Vanish”, the records main cut fills any ear with an astonishing panned bassline accompanied by loosely layered hihats. Strange and eerie pads float around the bassline, while piano chords give structure to the music. Followed by “Escape” this well-crafted jam explores the deep even further. Jumping synth lines that sound from another planet edge the depth of Anderson’s amazing musical ear. The track is layered by dirty low frequencies that suck you in with weird noises and atmospheric melodies.

Orbiting an icy moon Wendel Sield's “Cultivate” shows itself at the end of the EP. A pulsating synth line dominates the track main character. Intricate percussion patterns drag the track along to a dirty mono sequence. Big open snares makes this a track a slap in the face to its listener.

" In 2022, Guts brought together his musical family for his ‘Estrellas’ album. An ambitious project that brought together musicians from: Franc, Cuba and various African countries. For a journey that was as rich artistically as it was humanly. The list of superlatives was almost endless, "Formidable", "incredible", "unforgettable" and "magical" all thrown into the pot, during these magical moments in the Dakar studio. From the seventeen tracks heard on the original album, three have been entrusted to the expert and inventive hands of four producers, who have come up with new interpretations bringing Africa and the Caribbean together for a modern dancefloor.

‘Por Que Ou Ka Fe Sa’ (Poirier Remix)
From his studio in Montreal, Canadian Poirier has opted for a strong groove and relentless bass drum to keep out intruders, putting vocalists David Walters and Brenda Navarrete in a rhythmic cocoon. Accompanied in a slightly moody bassline that adds some driving muscle to the track. The hooky guitar line eventually gives way to the saxophone that emerges from the mix to parade around the front line. The original electric piano is replaced by a synth pad that loops and spins driving the track to its conclusion.

‘Por Que Ou Ka Fe Sa’ (David Walters Remix)
Before recording this track, David Walters and Brenda Navarette didn't even know each other. So in the magic of the moment that brought them together is a genuine and sincere artistic bond. It is no longer Guts but David who is at the musical helm, and before they too can savour the connection between the two artists, the dancers will have to pass through an overheated corridor where a Caribbean rhythm resonates with percussion. Digital and woodwind swirl and clash until the vocal encounter with the artists. It's a moment of respite that's as suspended as it is life-saving, because the exit is also via the famous corridor.

‘San Lazaro’ (Bosq Remix)
On Bosq’s mix, he’s opted to maintain things focused on the dancefloor, keeping the percussion persistent for the unleashed bodies of the dancers to smile. It's once again the walking bass line rises to the forefront of the groove, softening the shocks of the relentless kick drum. Roberto Valdes's timeless piano has disappeared, while guitars float and add to the atmosphere. The track is no longer awash in cigar smoke. Under Akemis's powerful vocals the low ceiling has disappeared, and the open roof is more a brass-lit spectacle. That doesn't make things any less overheated though, this one is sweaty until the end.

‘Medewui’ (Captain Planet Remix)
Captain Planet brings the dancer’s attention to the Afrobeat flavored jam that rocked the original, highlighting the Pat Kalla & Assane Mboup duet. Despite the track remaining mid tempo, laying back is no longer the order of the day as this mix really develops. The drums are more present jolting along with the organ in the first half. Once all the storytellers have taken their microphones, the rhythmic beats are doubled and the track is carried towards a frenzy of Afro-Latin dancing. Fired up by the brass and percussion, it’s this almost switch up that takes hold of the second part of the tune, with some righteous authority and relentless piano and trumpet."

Celebrating the 30th Anniversary of Beastie Boys’ multi-platinum Ill Communication album, this limited-edition deluxe reissue is a rare version of the album that was originally released as a limited run in 2009. Long out-of-print and sought after by fans and collectors, it features lenticular cover art and includes a bonus LP with 12 bonus tracks (remixes, B-sides and rarities), all housed in a rigid slipcase and pressed on 180g vinyl.

-Daniel Zelonky (aka Low Res) has been producing records since 1978. Notable credits span from The Misfits to his own iconic club track "Amuck".
-His 2022 orchestral funk celebration of "Marvin Gaye's Trouble Man" has earned critical acclaim. This record, featuring many outstanding musicians, breaks the mold of history-conscious record making, eschewing the slavish copying of past styles which has become so common, and exemplifying the label’s stated mission of “Reimagining a futuristic past” where “weird vistas of fresh possibilities unfold before us...”
Suite Crude Revue is a rotating cast of outstanding performers committed to an unshackled aesthetic. Produced, composed, and arranged by Daniel Zelonky, this single presents songs for imagined films.
“Cowpoke Detox” might be termed “spaghetti jazz”. It’s a strange hybrid of spaghetti western style baritone guitar lines supporting jazz noir harmonies, creating a surreal backdrop for the tale of an unrepentant murderer, who feels regret only in terms of the consequences he’s facing.
“Blue Ramen #1” is a lover’s lament, set to what might be termed a “Hollywood samba”: One imagines Los Angeles session players emulating samba for a commercial film, not an authentic Brazilian band. The lush aural environment culminates in a dreamy closing vamp with the impassioned vocal set amid a swirl of improvised trumpet, violin, and piano. This haunting, yet ironic song may well have found its way into the popular consciousness ... if the movie had actually existed!

Fellow Rome techno figurehead Adiel debuts on Spazio Disponibile with some heavy heavy low frequency cuts. Exploring bass weight in multiple tempo's, it's one of the most experimental releases on the label to date, still the main focus here is making dancefloors move. With Bristol icon Pinch contributing to the mix it's made sure these steppers are soundsystem proof and will wiggle both mind and body.

Marking sixty years of Bossa Nova, and twenty years since Marcos Valle’s first release for Far Out Recordings, what better time to bring back this era-defining classic from the Brazilian master composer?

Throughout his astounding six-decade career, infiltrating pop, bossa nova, samba, delicate psychedelia, jazz and funk, Marcos Valle has consistently shown a dogged determination to transcend the traditions and structures of bossa nova, whilst never veering away from the movement’s inherent, fundamental spirit. To some extent, his epithet ‘the original Rio beach boy’ is a handy one: it reflects the origin and character of his often sun-soaked sound, but expounding his importance in the lineage of Brazilian music, he is more discerningly known as ‘the renaissance man of Brazilian pop’. He is indeed one the very greatest and most important composers, arrangers, writers and performers in Brazil.

Up until Nova Bossa Nova, Marcos Valle hadn’t released an album for well over a decade. After 1983, he resented the way the music industry had changed with commercialisation and new demands curtailing his creative freedom. This was until 1994 when Marcos met Far Out boss Joe Davis and they recorded a track for Far Out’s first Friends From Rio album. This new collaborative partnership resulted in a new solo album, which commenced recording in 1996.

Nova Bossa Nova brought Marcos bouncing back into the 90s, slotting nicely in place alongside the acid jazz movement as well as a voracious new demand for Brazilian music on dancefloors from London to Tokyo. It was witnessing the London club scene’s growing appetite for Brazilian music, as well as a lack of new sounds coming out of Brazil at the time, that a young Joe Davis put in a proposal to record a new album with one of his musical idols. Joe wanted to facilitate an album which would combine the latest technologies and production techniques, with live to analogue tape recording: a Marcos Valle album tailor-made for London’s clubs. Always open to modern influences and possibilities, Marcos agreed to the project, and Joe and his production partner Roc Hunter flew to Rio in ‘96. The record wasn’t released until ’98, as the original ½ inch tapes were stolen from Far Out’s London studio, meaning parts of the album had to be re-recorded.

Nova Bossa Nova was unveiled at the peak of the of the Brazilian movement, the record would also prove to be something of a revolution, inspiring a new generation of artists like Bebel Gilberto, Sabrina Malheiros, Da Lata and Bossacucanova, who continued to fuse Brazilian influences with modern electronic sounds.