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Thyrfing emerged from the ever-growing underground scene in Sweden
back in 1995.
After seven full-length albums and numerous live performances all over the
world, the band have gained a strong following over the years and an exquisite
standing within the metal scene.
They are considered one of the top bands within the so-called Viking/pagan
metal genre - but on the other hand, Thyrfing are so much more with their truly
outstanding and self-contained musical offering.
The name of the band is taken from the sword “Tyrfing” in Norse mythology - a
cursed blade that appears in several tales and myths. Ever since the start, the
mythology has played a huge part in the scenery and imagery of the band’s
music and lyrics, something which is still intact today.
‘Vanagandr’ (an alternate name for the wolf creature known by the more familiar Fenrir) is a celebration of the tales and stories of Scandinavia - the track
‘Undergangens lankar’ is a conceptual piece focusing on Vanagandr/Fenrir and
a track that carries the spirit and hallmarks that make Thyrfing so unique.
‘Dop dem i eld’ is both the opening song on the album and the first video, one
of two produced for the band by Patric Ullaeus (Dimmu Borgir, Europe, Arch
Enemy). A powerful, heavy, and aggressive track packed with groove and melody. Elsewhere ‘Tr ldomsord’ is regarded as possibly the band’s most intense
song to date, whereas ‘Jordaf rd’ closes the album in epic fashion - a mournful
and moody longing for the end to come. The perfect way to end the album!
Co-recorded and co-produced by Jakob Herrmann (In Flames, Machine Head,
Evergrey) in Top Floor Studios, Gothenburg, with the renowned Jacob Hansen
(Volbeat, U.D.O., Katatonia) looking after the mix and mastering, all of which
ensures at ‘Vanagandr’ sounds massive!
The art concept was executed perfectly by Niklas Sundin of Cabin Fever Media
(ex-Dark Tranquillity) who reconnects with the band once again (he also did
the “Vansinnesvisor” album back in 2002.)
‘Vanagandr’ is the first release via the band’s new record label, Despotz Records. Who recently also signed over the rights to the band’s first four albums
Thyrfing (1998), Valdr Galga (1999), Urkraft (2000), Vansinnesvisor (2002) and
have announced exclusive physical re-issues are in the making.
“... a successful voyage into an oaken woods where death metal, traditional
thrash, and Scandinavian folk commingle harmoniously” // John Serba, Allmusic
“This album gives you an epic feel, and that’s the big strength of Thyrfing,
their music can do something like that to you.” // folk-metal.nl

Thyrfing emerged from the ever-growing underground scene in Sweden
back in 1995.
After seven full-length albums and numerous live performances all over the
world, the band have gained a strong following over the years and an exquisite
standing within the metal scene.
They are considered one of the top bands within the so-called Viking/pagan
metal genre - but on the other hand, Thyrfing are so much more with their truly
outstanding and self-contained musical offering.
The name of the band is taken from the sword “Tyrfing” in Norse mythology - a
cursed blade that appears in several tales and myths. Ever since the start, the
mythology has played a huge part in the scenery and imagery of the band’s
music and lyrics, something which is still intact today.
‘Vanagandr’ (an alternate name for the wolf creature known by the more familiar Fenrir) is a celebration of the tales and stories of Scandinavia - the track
‘Undergangens lankar’ is a conceptual piece focusing on Vanagandr/Fenrir and
a track that carries the spirit and hallmarks that make Thyrfing so unique.
‘Dop dem i eld’ is both the opening song on the album and the first video, one
of two produced for the band by Patric Ullaeus (Dimmu Borgir, Europe, Arch
Enemy). A powerful, heavy, and aggressive track packed with groove and melody. Elsewhere ‘Tr ldomsord’ is regarded as possibly the band’s most intense
song to date, whereas ‘Jordaf rd’ closes the album in epic fashion - a mournful
and moody longing for the end to come. The perfect way to end the album!
Co-recorded and co-produced by Jakob Herrmann (In Flames, Machine Head,
Evergrey) in Top Floor Studios, Gothenburg, with the renowned Jacob Hansen
(Volbeat, U.D.O., Katatonia) looking after the mix and mastering, all of which
ensures at ‘Vanagandr’ sounds massive!
The art concept was executed perfectly by Niklas Sundin of Cabin Fever Media
(ex-Dark Tranquillity) who reconnects with the band once again (he also did
the “Vansinnesvisor” album back in 2002.)
‘Vanagandr’ is the first release via the band’s new record label, Despotz Records. Who recently also signed over the rights to the band’s first four albums
Thyrfing (1998), Valdr Galga (1999), Urkraft (2000), Vansinnesvisor (2002) and
have announced exclusive physical re-issues are in the making.
“... a successful voyage into an oaken woods where death metal, traditional
thrash, and Scandinavian folk commingle harmoniously” // John Serba, Allmusic
“This album gives you an epic feel, and that’s the big strength of Thyrfing,
their music can do something like that to you.” // folk-metal.nl

This LP is extracted from the CD “Cello” box set which received rave
reviews. Awarded the first prize at the Conservatoire de Paris by
unanimous decision of the jury when he was only 13, Andre Navarra was
barely 20 years old when his soloist career began, taking him across Europe
as he performed with the finest orchestras to play all the concertos
of the repertoire.
Navarra took first prize at the Vienna International Competition in 1937. But
the war put a temporary obstacle in the way of his ascension. Unlike some of
his fellow musicians, he refused to collaborate with the occupiers and he took
refuge behind his music stand, playing as an ordinary member of the Paris Opera orchestra. From 1945 onwards, he could again be heard in the capitals of
Europe, conducted by the likes of Munch, Paray and Barbirolli, and later Mehta,
Ristenpart and Ancerl.
A parallel career opened up for him: teaching. He taught in Paris, Sienna, SaintJean-de-Luz, Nice, London, Vienna, Sion and Detmold. His mastery of the bow
was unique: he borrowed the technique used by violinists. It revolutionized
the method of cello playing, bringing roundedness, sensitivity and strength. He
pursued his two callings with equal intensity, one career enriching the other, as
this collection shows so clearly.
He approached every repertory with the same passion: contemporaries such
as Jolivet and Schmitt; classics such as Bach, Boccherini and Haydn; romantics
such as Dvorak, Brahms, Schumann, Bruch and Bloch; and early 20th century
composers such as Prokofiev, Kodaly and Martin.
Navarra died under the Tuscan sun that was so dear to him, his legacy a school
of cello playing that is unique in the world and whose technique and phrasing can still be recognized in the playing of those who use it, from Heinrich
Schiff, Frederic Lodeon, Philippe Muller, Roland Pidoux, Marcel Bardon, Rene
Benedetti, Anne Gastinel, Valentin Erben, Dominique de Williencourt, Marcio
Carneiro, Yvan Chiffoleau and Christophe Coin to Gautier Capu on, Yan Levionnois, Xavier Phillips, Taeguk Mun, Victor Julien-Laferriere and Bruno Philippe.
His perpetual, intense energy notwithstanding, Navarra leaves us with the image of a warm-hearted, unassuming man, who could, after a day alone with his
cello, invite his students on the spur of the moment to fun-filled spaghetti parties. Pablo Casals, who admired Navarra’s free spirit, said to him at a competition in Mexico City, “Ah, there you are, Andre. The man who never comes when
I invite him. I thought you were afraid of me. But no, the cello is your only love.”

For Jayda G, joy is a state of mind. Whether she transmits it through her upbeat productions or magnetic energy at the decks, the Canadian-born DJ and producer, real name Jayda Guy, is a beacon of empathy on the dancefloor. It's no surprise, then, that Jayda G's DJ-Kicks mix captures the buoyant spirit of the music that has influenced her most. "DJ-Kicks has been a personal goal of mine for a really long time. I've been a fan for decades now. I remember there was one mix by Chromeo and it had some French disco on it that always stood out in my mind," she remembers. Clocking in at just over an hour, Guy's mixtakes you on a journey that moves through loved classics and new bubblers. The mix contains Jayda's Brand new single "All I Need", the follow up to Grammy Nominated breakthrough single "Both Of Us", a slinky house tune co-produced with James Ford that fizzes with shimmering energy. A rallying cry for kinship and understanding, Guy's insouciant vocals insist "all I need is you to hear me", gliding across the perfectly swung house beat. "Because the mix was made during the pandemic, I thought, 'What music makes me happy?' I want people to feel like they know me. I wanted it to be approachable, still honouring the disco and soul music that I love. I hope that translates in some shape or form."

TRANSPARENT ORANGE VINYL

For Jayda G, joy is a state of mind. Whether she transmits it through her upbeat productions or magnetic energy at the decks, the Canadian-born DJ and producer, real name Jayda Guy, is a beacon of empathy on the dancefloor. It's no surprise, then, that Jayda G's DJ-Kicks mix captures the buoyant spirit of the music that has influenced her most. "DJ-Kicks has been a personal goal of mine for a really long time. I've been a fan for decades now. I remember there was one mix by Chromeo and it had some French disco on it that always stood out in my mind," she remembers. Clocking in at just over an hour, Guy's mixtakes you on a journey that moves through loved classics and new bubblers. The mix contains Jayda's Brand new single "All I Need", the follow up to Grammy Nominated breakthrough single "Both Of Us", a slinky house tune co-produced with James Ford that fizzes with shimmering energy. A rallying cry for kinship and understanding, Guy's insouciant vocals insist "all I need is you to hear me", gliding across the perfectly swung house beat. "Because the mix was made during the pandemic, I thought, 'What music makes me happy?' I want people to feel like they know me. I wanted it to be approachable, still honouring the disco and soul music that I love. I hope that translates in some shape or form."

Duke Ellington once said that there are 2 kinds of music: the good one and the bad one. With the compilation series “Shaolin Soul” we are always certain to be on the right side of the line since its 1st episode released in 1998 and which compiled two dozens of tracks sampled by RZA and the Wu-Tang Clan. Following a second episode in 2001 and a third one in 2014, the famous curator Uncle O is back to celebrate the 20th anniversary of the Shaolin Soul series with a fourth episode compiling 22 tracks among the rarest and finest treats of soul music, because “everybody’s talking about the good ol’ days !”.

Zwerm is a Belgian-Dutch electric guitar quartet (with a backyard rehearsal shed located in Antwerp) that operates along the borders between styles and traverses traditions that are typically not convergent. Zwerm rhymes Larry Polansky with Nadah El Shazly and are galvanized by the likes of guitars pioneers like The Velvet Underground and Sonic Youth, the microtonal DYI-er Harry Partch, Middle Eastern sonorities and the prog-madness of Kind Gizzard & the Lizard Wizard. ‘Musical adventure’ is not just a hollow cliché for this quartet, but a genuine commitment. Zwerm calls itself a ‘guitar quartet’, but that can be interpreted broadly as well as with a pinch of salt: “If we want to do something on instruments we don’t really master, we’ll just figure out a way to make it work.”
Toon Callier, Johannes Westendorp, Kobe van Cauwenberghe and Bruno Nelissen all met in 2007 while working on a project with Glenn Branca. A new guitar quartet was born and it became clear rather quickly that staying in the strictly contemporary compositions lane was not for this quartet-with-five-to-six-members (an organizational chart is available upon request).
An appetite for new and lasting collaborations has been a constant theme throughout their artistic parcours. The group has shared stages with theatrical producers like Walpurgis and Post uit Hessdalen, dancers such as Ecce and with the musicians Fred Frith, Stephen O’Malley, Shiva Feshareki, Rudy Trouvé, Mauro Pawlowski, Larry Polansky, Eric Thielemans, Yannis Kyriakides, François Sarhan, Serge Verstockt and Stefan Prins. These projects have not always translated into records, but they have been decisive in creating a unique musical approach. In 2015, when Zwerm was asked by De Handelsbeurs to collaborate with Fred Frith, they proceeded to pen a few new musical sketches over which Firth sublimely improvised. In 2018 ‘Badminton in Tehran’ was released, their first record that was made up completely of only the group’s compositions.
“a basket full of buttons here
and if you push the wrong one: fear
and if you push the right one: love
or maybe none of the above”
The route that Zwerm has taken is often defined by the question “What if... ?” - like a dart thrown at a musical map, not quite blindly, but naive enough to lead to unexpected endings.
“What if we play Renaissance pieces written by John Dowland, but instead of playing lutes we play these tunes with a Telecaster – and then jam it through effect pedals and an amplifier?”
“What if we connect one hundred guitar pedals and just leave our guitars at home?”
“What if we record a record with ten different one-page-pieces that we found on the Internet?”
In 2020 our metaphorical dart landed on “What if we tried microtonality?”.
‘Microtonality’ sounds a bit creepy, but actually there is nothing to be afraid of: there are no out-of- tune notes, just alternate notes. On the continents where Western musical theory is less stringently applied, microtonality is the rule, and has become the subject of many deep and thoughtfully written theories. However for Zwerm, this phenomenon occurs in many, often surprisingly lighthearted forms. A dilapidated piano that has settled into a beautiful microtonal tuning of its own accord, enthusiastic choral singing, a guitar whose three strings are tuned a quarter-tone higher, a saz (Turkishquarter-tone lute), a maddening guitar pedal, ...
"the dreams they were convicted for telling only lies reality came after for claiming to be wise what you don’t see is what you get just never light a spark I’m a crow in the dark”
“And… what if we work with a drummer?” Enter Karen Willems - dummer, extraordinaire, and ardent player in groups, projects and collaborations galore. One chance meeting and the deal was done. It was obvious before the start that Willems was the versatile and creative percussionist-in-a-toy-store necessary for this project. And in the studio, to our delight, she demonstrated an easy dexterity when switching quickly from one idea to the next.
At the reins behind the scenes was producer Rudy Trouvé, who – during previous sessions for ‘Badminton in Terhran’, when the classically trained guitarists went completely off the rails, staring deeply and forlornly into their scores, looking for answers – was able to pinpoint the problem and get the wagons rolling in the right direction again. Completing the team were Mark Dedecker (recording)and Joris Calluwaerts (mixing).
The results are in and it’s called ‘ Great Expectations’ – a title that, in several ways, fits perfectly with these strange times.‘Great Expectations’ goes wide! Zwerm is at its best when it can run along the borders between style and across traditions that otherwise would not necessarily intersect. The most straightforward rockers have a proggy tinge while the dreamy psychedelic songs lean more toward Richard Youngs. And if a nice melody dared come to close to becoming a ‘Kit-Katjingle’, then barbs-a-la-Pere-Ubu were trailed, tracked, found and promptly embedded. ‘Heavy Machinery’ sits neatly somewhere between Captain Beefheart and Richard Wagner, and ‘On My Way To Aguno’, set to an Iranian folk song chord progression, grew into a hyper-personal lullaby. Zwerm used the saz (Turkish lute) and the sinter (Moroccan gnawa bass instrument) without falling into pastiche psychedelia, but you can still sense the orient.

"Lifetime" ist die lebensbejahende Debüt-Single von Romy. Romy, den meisten bekannt als Romy Madley Croft und Teil von The xx, hat den Song während des Lockdowns in ihrer Heimat London geschrieben und zusammen mit dem britischen Erfolgsproduzent Fred again produziert. Die Auszeit von ihrer Band hatte Romy zuvor genutzt, als DJ durchzustarten oder Kollegen beim Songwriting zu unterstützen, so schrieb sie u.a. am Grammy prämierten Dua Lipa-Song "Electricity" mit. "Lifetime" ist eine Hymne auf das Leben und von dem Traum endlich wieder mit Freunden, Familie und geliebten Menschen vereint zu sein. Es ist Romys erste Veröffentlichung seit dem letzten The xx Album "I See You", welches in Deutschland Platz #1 der Album-Charts. Logisch, dass der Song im Original auch gute Airplayergebnisse verzeichnen konnte und in diversen Jahresbestenlisten auftauchte. Im Laufe des Herbstes erschienen dann verschiedene Remixe von befreundeten Künstlerinnen, die nun auf 12" verewigt werden. Tracklist: 1. Lifetime Jayda G Baleen Mix 2. Lifetime Planningtorock "Let It Happen" Remix 3. Lifetime HAAI's Green Lamborghini Romix 4. Lifetime Anz's Togetherness Remix 5. Lifetime.

The Crown is a drama television series, created and written by Peter Morgan and produced by Left Bank Pictures and Sony Pictures Television for Netflix Original. The show tells the biographical story about the early reign of Queen Elizabeth II of the United Kingdom. The fourth season features Olivia Colman as Queen Elizabeth, as the story traces her life from her wedding 1947 to the present day. The main cast is further completed by Emma Corin as Lady Diana Spencer, Gillian Anderson as Margaret Thatcher, Helena Bonham Carter and Tobias Menzies as Prince Philip, and many more. Martin Phipps once again composed the haunting minimalistic soundtrack for this Golden Globe Award winning drama series. It is pressed on ‘royal’ purple marbled vinyl as a limited edition of 750 individually numbered copies and the package includes a 4-page booklet.

Whitesnake celebrates the blues sound that helped inspire its multi-platinum career on a new collection that features remixed and remastered versions of the group’s best blues-rock songs. The Blues Album is the third and final release in the band’s Red, White and Blues Trilogy, a series of compilations organised by musical themes that began earlier in 2020 with Love Songs (red) and The Rock Album (white). The new compilation delivers a potent mix of hits and deep tracks that originally appeared between 1984 and 2011 on six Whitesnake studio albums and Coverdale’s solo album, Into the Light.

Whitesnake’s singer-songwriter David Coverdale says, the music reflects how blues artists like Muddy Waters, Howlin’ Wolf, and the three Kings (Albert, B.B. and Freddie) continue to inspire him. In the album’s liner notes, he writes: “It’s hard to find the words to show how profoundly they connected with my soul. But ‘blues’ to me is a beautiful word that describes emotional expression… feelings, be it feelings of sadness, loneliness, emptiness… but, also those that express great joy, celebration and dance, sexiness and love!!!”

The Blues Album showcases two of the band’s biggest songs: “Slow An’ Easy,” a big hit in 1984 from Whitesnake’s massive album Slide It In, and the smash “Give Me All Your Love” from the band’s 1987 self-titled globally successful album. Other choice tracks from Whitesnake are also featured: “Looking For Love” and “Crying In The Rain,” and “Steal Your Heart Away.” The collection also includes “If You Want Me,” a studio recording released in 2006 as a bonus track on the live album, Live…in the Shadows of the Blues. Coverdale also taps his 2000 solo album, Into the Light, for “The River Song.”

"Liza With A 'Z'" is a multi-media production that has been showered with superlatives. It won numerous awards, including those for Choreography and Direction. However, a further award for the music composed by John Kander and Fred Ebb is probably the main reason for the show being released on a record, i.e. just for the ears. But the plan bore fruit, and the LP rocketed onto the Billboard 200. It was to be Liza Minnelli’s best chart hit ever – and it could even be called the soundtrack of her life.

Great favourites such as "Ring Them Bells" and "Bye Bye Blackbird" are set alongside sharp rhythm and blues numbers ("Son Of A Preacher Man", "I Gotcha"). Taking centre stage is a 10-minute medley from the film adaptation of the musical "Cabaret" that was shown in the cinemas also in 1972 and which brought Minnelli her international breakthrough.

All that remains of this costly and glamorous television event, which was only broadcast a few times on US television after the premiere, is the original music on record. Here it is once again in all its glory and with a new freshness.

Album composed, recorded and mixed by Elko Blijweert. Mastered & cut by Frédéric Altstadt. Original cover artwork painted by Joe Brockerhoff. Album pressed on 180g vinyl, in an edition of 500 copies.

Here we add a new classic chapter to tradition. A tradition known as the many exotic sounds of Maestro Elko B. The multi instrumentalist member of bands like ‘The Horse Head Bed’, ‘The Groovecats Deluxe’, ‘Dino And The Chicks’ and many more has once again composed a new solo album for Ekster. This fine and tasty selection of musical pieces vibrate colourful echoes ranging from blossoming fountains over casino-esque gambling. Space-cowboys play hide and seek with childlike innocence in an adult world. Many of the songs on “Realm of Rides & Romance”
have found its origin in Blijweert’s work as a composer of soundtracks for theatre, dance performance and artistic installations. Cinematic reflections providing EXO “Paradise Moods” by this multitrack one man band.

Recorded from 2017 to 2020, Elko has expressed finding inspiration in chance, the Sphinx, the casino, the Decap organ, colonialism, bats and frogs.

Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing. "Lo Que Tengo" is full of rock solid dance floor killers and no filler, recorded in 1980 with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. This a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off, there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy. Presented in its original artwork and pressed on 180g vinyl. Good to know: Alfredo "El Inca" Linares is one of the best and most beloved musicians in the history of salsa. Fans love his piano playing because of his authentic Cuban feel and 'swing' combined with progressive arrangements and uncompromising phrasing that puts one in mind of Eddie Palmieri. As a composer, arranger and band-leader Linares is highly respected as well. Ever since the 1960s in Lima Peru when his career began, his records have always been on point, being super tight, sharp, and hard as hell, what salseros call salsa brava con afinque. It's no surprise that Lo Que Tengo is exactly that: full of rock solid dance floor killers and no filler, played with verve and flair. Unlike some of his other records that were patched together from various sessions made in different studios (sometimes even in several countries!), this album has the advantage of being produced, recorded and mixed by Alfredo Linares all in one studio and block of time, and backed by hand-picked seasoned professionals who Linares had already played with, both in the studio and on stage, lending it a consistency and sonic integrity that is excitingly manifest in every groove. The album was recorded in 1980 in Caracas with some of the cream of the crop of contemporary Venezuelan salsa musicians (members of Mango, Madera, El Trabuco Venezolano, Los Dementes, Los Melódicos, Dimensión Latina, Guaco, and La Salsa Mayor) and launched there on the indie label A.L.G. Records as ¡Con Todo!, and then a year later on the much larger Velvet Records with a different cover. The LP was also released in Colombia (INS, 1982) and the US (Gallo, 1984), both editions utilizing the Velvet Records cover. During this time Linares had been in Venezuela for some five years and was under contract with a nightclub in Caracas. Through being on the salsa scene there he became friends with the band Mango and even guested on an album with them in 1976. After the contract was up Linares was a free agent again and he was able to draw on his friendship with Mango and assemble a band to back him, first for the Colombian/Venezuelan production Salsa de Verdad (Fonodisco, 1976) and then again with ¡Con Todo! / Lo Que Tengo. One of the distinctive aspects of Alfredo Linares tunes is the 'break' (la cierre)-there are always plenty of dramatic hand-clapping breakdowns followed by an infectious tumbao (sustained vamp) section that sends shivers up the spine and makes the dancers go crazy. In addition, Linares always lets his musicians stretch out, especially in the percussion section. Again, Lo Que Tengo is no exception: there are so many examples of typical arrangements here that one could call this a classic Alfredo Linares album, but with the updated studio sound of 1980s Caracas, which was awash in petro-dollars at the time and so had the latest equipment and a strong consumer base for the salsa market. The album's title tune (originally credited on the Venezuelan edition as 'Lo que tengo que crear'-'What I Have To Create') is by Mango's timbalero José "Cheo" Navarro and sums up Linares' central career philosophy: the musician lives every day to create music, to spread joy and create a party, without complications, wherever he goes. With five perfectly paced salsas, one funky cha cha chá, a steamy bolero and a dance-friendly Latin jazz number to top it off (note the bluesy piano solo from Linares and the sublime vibes of Mango's Freddy Roldán), there is something for everybody on this record. Thankfully today's generation can now enjoy this rarity at a fraction of the cost of an original copy.

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 9 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind:

The previously unreleased "Don't Give Up Your Smile Today" is opening the compilation. It's from Das Goldene Zeitalter, a band that didn't survive - but whose members had a huge influence on German jazz, soul, afrobeat and funk within the last years merging into groups like The Poets of Rhythm, The Whitefiled Bros., and The Malcouns. Boris Geiger aka. Bo Baral sings a Pharoah Sanders like tune, his voice deeply resonating, the rhythm section heavily grooving.

After the first three woolly recorded tracks Walt Bolen's "Peace Chant" with its dry and funky sounds with flute, two guitars and percussion is quite a pleasure to listen to. Organ and voice are Bolen's who used to play the keys in San Fernando Valley church when he was a child. "Peace Chant" was recorded for his own Ar-Que label in 1972 and is one of the few cuts with him as a leader. He has played sessions and clubs for years and today he is sitting at the church organ again.

This publication's oldest recording dates back to 1963: "Mozambique" by Luna Brothers Trio, a Caribbean and hypnotic instrumental. For my jazz trained ears it is rather unusual that the güiro (the gherkin played with a stick) is being played throughout the entire song. Heavily laid back cowbell, concas and timbales and the slightly detuned piano are wonderful! "Mozambique" sounds like from another star but its origin is Los Angeles, where the brothers Fred and Ricardo Luna had their night club band. You could imagine a bast skirt strip and at the same time the great Raumpatrouille (Space Patrol) landing on German B&W TV screens in 1966.

Hozan Yamamoto recorded crime jazz with the Japanese bamboo flute shakuhachi. He belonged to Tony Scotts "Music for Zen Meditation" in 1964, played with Ravi Shankar, avant-garde jazz bassist Gary Peacock and appeared at Donaueschingen Festival for contemporary music. Tokio university's open minded lecturer recorded the funky and modal "Spotlight on Sapporo" in 1972.

Demon Records presents Distortion: 1989-1995, the first in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume one in this new series covers 1989 to 1995, beginning with Mould’s first post Hüsker Dü album Workbook and continuing through to Sugar’s final studio album File Under: Easy Listening.

Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.

Includes a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; a foreword by writer and actor Fred Armisen; a tribute from Richard Thompson; lyrics and memorabilia.

Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

Featuring an array of bonus tracks including Sugar’s 1995 collection of Bsides and non-album tracks Besides, along with Distortion Plus: 1989-1995 a new and exclusive collection of rarities and collaborations (pressed on clear vinyl).

- All Songs are New and Exclusive Recordings to this LP and the Movie. The inside of the album features Rare Photos of the Record Session.

Collector first-ever and worldwide release of the original soundtrack of the sumptuous documentary NICE GIRLS DON'T STAY FOR BREAKFAST, (2019) about the legend Robert Mitchum, directed by the famous photographer Bruce Weber (Let's Get Lost about Chet Baker). Soundtrack directed by Bruce Weber, on a 33 rpm with gatefold, mastered by Translab Mastering. Limited to 600 copies.

Vital Sales points

The exclusive release of the sumptuous documentary NICE GIRLS DON'T STAY FOR BREAKFAST, about the film legend Robert Mitchum, immortalized by the eye of phographer Bruce Weber.

Directed by Bruce Weber himself, the soundtrack includes melancholic and jazzy unissued tracks performed by Robert Mitchum, along with the performances of Marianne Faithfull, Rickie Lee Jones and Dr. John.

Score entirely mastered by Translab Mastering.

Sleeves designed by Nathan Kilcer. Printed inner sleeves with stills from Bruce Weber.

Limited edition, 600 copies.

The different seeds that have been planted throughout the life of Croatian Amor come to bloom on 'All In The Same Breath,' affirming an equilibrium that's all its own. Spiralling through the half-light electronics are gentle bumps and breaks that are layered into moments of elevation. A coarse edge remains just an arm's length away, but there is an unmistakable element of celebration throughout the album's 10 tracks. As the syncopated terrains ring out, their perpetual rhythmic motions call a medley of human voices that speak in security. They sing to everyone just as they sing to themselves. In the years since the seminal Croatian Amor album 'Love Means Taking Action' Loke Rahbek has strode a twofold path. There are the delicate, meditative compositions that he has made with Frederik Valentin; setting acoustic instrumentation against affecting digital treatments, each of their collaborative albums are an exercise in the magnificence of subtle restraint. And with the sharpest of turns you'll find Rahbek's parallel universe of rave-shocked rhythms and kinetic helixes that eddy through genre and tempo with few constraints. Collaborations with Varg²™ have yielded the wildest of this, and remain ongoing, yet the traces were already apparent across much of the previous Croatian Amor album 'Isa' with its treated vocalizations and cascading rhythmic mechanics. 'All In The Same Breath,' arrives as a steady handed synthesis of these divergent instincts. Elaborating the distinct techniques and themes that form the wistful essence of the project, the album's quiet composure is a sign that these familiarities have been set adrift to settle into their own private ecosystem.Small vessels travel in a perfect array. Light following shadows, following light. Every movement a signal, every second is camouflage. 'All In The Same Breath' is perhaps more than anything an invitation to be open to wonder.

We're glad to be back with our latest reissue, a couple undercover soul gems from the Midwest originally self-released in 1984: LaVerne Washington's "The Promise" and "I Found What I've Been Searching For".

LaVerne has dedicated her life to the arts in every possible way. As an artist herself but also behind the scenes, helping and supporting her contemporaries fulfil their callings. Charlie Parker, Count Basie, Ella Fitzgerald, Mary Lou Williams - LaVerne grew up in Kansas City listening to the all time jazz greats, and soon discovered she was blessed with a keen sense for playing music by ear, playing the piano to what she would hear on the radio. In her teens whilst the 60s transitioned to the 70s' disco and funk era, LaVerne was there to witness it all, and she would go on to study music at the Charlie Parker Academy where she was inspired to become an entertainer.

At Langston University, LaVerne kept studying music where her career blossomed, founding and touring the US with the gospel group "Emery Shaw and the Voices of Praise", singing in several college bands and with her choir "The Voices Of Bethel". LaVerne would go on to perform notably with her bands "LaVerne Washington and Rococo" and the "LaVerne Washington Quartet", and record several songs in KC including "The Promise" and "I Found What I've Been Searching For" in 1984 before moving to Washington DC.

In DC, LaVerne was offered a position as a Program specialist with the National Endowment For The Arts where she started supporting other artists through her work. Over the next couple decades, LaVerne became an associate producer for the Rhythm and Blues Foundation and the Pioneer Awards Ceremonies held in New York, Philadelphia and Los Angeles, which saw the likes of Prince, Aretha Franklin and Jerry Butler attending among others. She has also managed and was mentored by DeeDee Sharp and consulted with artists including Bonnie Raitt (who acted as a mentor to Laverne as well), Kim Weston, Kathy Sledge (SisterSledge), Smokey Robinson and G.C Cameron (Spinners). During that time, LaVerne has kept singing, on her own and as a backing vocalist for DeeDee Sharp and Freda Payne and has never stopped her lifelong dedication to music and the Arts.

The Promise original 7" was LaVerne's last recording in Kansas City before her move to DC and the beginning of her involvement behind the scenes. Channelling her gospel roots - with impeccable arrangement, a contagious drum machine led rhythm section, soaring vocals and relatable lyrics, "The Promise" is guaranteed to bring back smiles to dancefloors and living rooms alike! "I Found What I've Been Searching For" on the flip is a beautiful soul ballad which really showcases the strength and emotion in LaVerne's voice.

Back again in it's original 7" format, we've had the audio transferred and restored from the original 24 track tape provided by LaVerne, and got the recordings re-mixed for the best possible sound! Floating Points behind the mixing desk for this new iteration of a lost classic, comes with a 14"x14" poster of the original picture