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A Tele Music CLASSIC from 1972, Pierre-Alain Dahan's Continental Pop Sound is of those library albums with something for everyone. Breaks? Check. Fuzz guitar? Check. Slower, jazzy stuff? Double check. It's a stunning collection of psychedelic rock, soulful funk and retro pop stylings that's currently going for over £200 on Discogs. And with good reason. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou and Sauveur Mallia) and Jef Gilson Septet. So, you know this Be With reissue is nailed on essential.

Skip the by-numbers opener "Rock Extra" and head straight to the deeeeeep, minimalist groove of "Slowrama", a humid masterclass in low-slung, creeping crime funk with weighty breaks and beefy bass complimented by hypnotic wah-wah and warm electric piano. Sensational. It was sampled by Prince Po in 2004 for his "Love Thang" track. The galloping "Latin Pop Sound" is a percussive, Santana-esque tour de force featuring fantastic guitar shreds over a bassline to die for. "Morning Melody" is a lightweight amble whereas the brief but deliciously psych-rock heavy "Islam Blues" is a must for your mixes when requiring short segue tracks. The A-Side closes out with "Phasing Drums N° 1, 2 & 3", all completely ace. For us, N° 3 is the pick of the bunch, with particularly slooooow and deliberate drums underpinned by a droning, sinister organ. Hip-hop, before hip-hop, no less.

The genuine monster "Pacific Rock" blasts out the gate to usher in Side B, a thrilling and unrelenting pop-rock instrumental that really drives. "Quasimodo Pop" contains great slow mo funk breaks and scratchy guitars that alternate with pretty heavy riffing to create a compelling base track. "Carmel Beach" is as beautiful as the location it's named after, as insouciant guitars glide over super slo-mo beats and dramatic organ before it breaks down to a laconic, reflective electric piano showcase. Sumptuous. "Auto Moto Rallye" is a brief driving funk gem, as you might expect, complete with revved up guitars tuned and played to emulate the irresistible sound of growling race cars.

The upbeat, piano-led rock stomper "V.S.O.P Rock" is all well and good but, what you might really be here for is the trio of tracks that ensure the LP ends on an almighty high. The three most famous tracks “Rythmiques 1, 2 & 3” all come complete with *ultra*-dope breaks. N° 2 is probably our favourite, with the shuffling bassline and breaks combo augmented by the wonderful cowbell. Though on any other day, it could be N° 3! This album is often considered as the “baby brother” to Tele Music's Rythmiques, and this triptych is all the proof you need. Outstanding.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Continental Pop Sound has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Wayne Shorter’s 1967 album Schizophrenia found the legendary saxophonist at the pinnacle of post-bop with a sextet of like-minded musical explorers including James Spaulding, Curtis Fuller, Herbie Hancock, Ron Carter & Joe Chambers performing Shorter originals like ‘Tom Thumb’, ‘Go’, and ‘Miyako’.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Kansas City born Hammond B3 organ dynamo Big John Patton made a stellar run of soul jazz albums for Blue Note thru the 1960s but Let ‘Em Roll stands among the finest with Patton adding vibraphonist Bobby Hutcherson to a standard organ trio line-up with guitarist Grant Green and drummer Otis Finch.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Following on the somnambulant heels of When I See The Sun, our massive, near-complete Codeine overview, comes What About The Lonely?, an eight-track LP recorded at the group's live zenith. Captured direct from the mixing board at a stop on Codeine's November 1993 swing through the Midwest, opening for Mazzy Star, this document finds Stephen Immerwahr, John Engle, and Doug Scharin running through their hits at Chicago's notorious Lounge Ax for a crowd of chatty "120 Minutes" fans. Gastr Del Sol's David Grubbs adds his guitar to two songs, slinking on and off the 24-inch stage with little fanfare, but leaving his signature indelibly on the performance.

András Cséfalvay makes simple music with a potent atmosphere. A well-known figure in the Slovak underground (artistic, literary and music) scene, he returns after years of silence with a collection of intense songs. It's music which tackles both fantasy concepts and environmental trauma; Cséfalvay, armed only with the voice of a bard and his own hand-made guitar, will kindle your imagination and take you to the most unexpected corners of your mind.

More than a singer, on 'Future Role of the Church in the Forthcoming Enviromental Transformation' Cséfalvay acts like a narrator, wearing his heart on his sleeve. He sings of his hate of percussion instruments, Jupiter and other planets, tells tales of guns and love, nature and Mithrandir. His unique style is completely absorbing, despite the minimal, traditional set-up known from his live performances. Existential, yet light, these twelve songs mark a welcome return of a fascinating artist who presents his own vision of the past, present and future – it's bleak and existential, but also filled with purity and honesty that's impossible to resist.

'Future Role of the Church in the Forthcoming Environmental Transformation' is András Cséfalvay's second album, and his first for the sincere label Weltschmerzen.credits

Following on the somnambulant heels of When I See The Sun, our massive, near-complete Codeine overview, comes What About The Lonely?, an eight-track LP recorded at the group's live zenith. Captured direct from the mixing board at a stop on Codeine's November 1993 swing through the Midwest, opening for Mazzy Star, this document finds Stephen Immerwahr, John Engle, and Doug Scharin running through their hits at Chicago's notorious Lounge Ax for a crowd of chatty "120 Minutes" fans. Gastr Del Sol's David Grubbs adds his guitar to two songs, slinking on and off the 24-inch stage with little fanfare, but leaving his signature indelibly on the performance.

The Bad Guys is a 2022 animation feature film by DreamWorks Animation. Directed by Pierre Perifel, the film stars Sam Rockwell, Richard Ayoade, Zazie Beetz, Alex Borstein and Awkwafina amongst others. The story follows a notorious fun-loving criminal animal crew. After a heist has gone wrong, the pack agree to become model citizens - or at least try to.

The score was composed by Daniel Pemberton who is known for composing the score to Spider-Man: Into the Spider-Verse (2018) and its sequel Spider-Man: Across the Spider-Verse (2023). He has also composed the soundtrack for King Arthur: Legend of the Sword (2017) and The Man From U.N.C.L.E. (2015). Besides the original score, this soundtrack also features the songs "Good Tonight" feat. Anthony Ramos, "Feelin' Alright" by Elle King and "Brand New Day" by The Heavy.

The Bad Guys is available as a limited edition of 500 individually numbered copies on yellow & orange marbled vinyl and includes a 4-page booklet with liner notes by Daniel Pemberton and Pierre Perifel.

Der Soundtrack zu Star Trek: Picard Staffel 3 in limtierter Auflage als Doppel-LP auf Sky Blue w. White Burst Vinyl mit Gatefold-Hülle und Inserts

Die Vertonung des Spiels durch den preisgekrönten britischen Komponisten Stephen Barton (Star Wars Jedi: Fallen Order, Call of Duty 4: Modern Warfare, Titanfall, 12 Monkeys, Apex: Legends) und dem deutschen Emmy-Gewinner Frederik Wiedmann (All Hail King Julien, Green Lantern: The Animated Series, Justice League: The Flashpoint Paradox, Son of Batman, Justice League: Thron von Atlantis und Justice League: Gods and Monsters) Barton verfügt über einen umfangreichen Erfahrungsschatz als Produzent, Dirigent, Musikarrangeur und Programmierer bei der Komposition von Musik für verschiedene Videospiele. Er gilt auch als Experte für das aufstrebende Gebiet der räumlichen und immersiven Audiotechnik. Wiedmann war ein wichtiger Bestandteil des DC-Filmuniversums, beginnend mit seiner Arbeit an Green Lantern - The Animated Series, der seine Arbeit an Green Lantern folgte (für die er zwei aufeinanderfolgende Annie-Nominierungen erhielt). Dies führte zu großartigen DC-Projekten wie Justice League - The Flashpoint Paradox, Son of Batman, Justice League - Throne of Atlantis, Justice League - Gods and Monsters.

Originally released on tape in 1982, »Maraccaba« is the second solo album from electronic wizard Klaus Wiese. Member of the krautrock band Popol Vuh in the early 1970s – Voice, Zither, Tambura, Harmonium, Singing Bowls – Klaus Wiese (1942 – 2009) was a veteran musician, minimalist, and multi-instrumentalist. A master of the Tibetan singing bowl, he created an extensive series of albums using them, alongside zither, Persian stringed instruments, and chimes. Wiese is considered by some as one of the great ambient or space music artists alongside Robert Rich, Steve Roach, Michael Stearns, Constance Demby, and Jonn Serrie. His musical style is much more appropriately compared to the organic soundscapes of drone and dark ambient music, such as Oöphoi, Alio Die, Mathias Grassow, and Tau Ceti.

In the 1990s he founded the Nono Orchestra to play the giant sheetmetal instruments of Robert Rutman. Wiese is known also for his collaborations with Al Gromer Khan, Mathias Grassow, Oöphoi, Tau Ceti, Saam Schlamminger, and Ted de Jong. He collaborated with Deuter on his Silence is the Answer album in 1980 and East of the Full Moon in 2005

Shall Not Fade sister imprint Lost Palms returns with another luscious cut of feel good, dusty house music from label mainstay Subjoi!

Rotary drops September 1st via Lost Palms.

Paul Hillery's third compilation in this series of rare and hard to find grooves is as much a geographical journey as it is a musical one. With acts, artists and tracks linked to London, Florida, Atlanta, the Netherlands, Switzerland, California, India and Germany and more this compilation is very much proof of the global language that is music. With many of the recordings only previously existing on sold out and obscure private pressings and small runs on indie labels this collection of tracks really is a must have. Complementing the previous two albums curated by Paul Hillery we really do get to see and hear the history of studio recordings from a plethora of touring and travelling troubadours, jobbing composers and song-writers, session musicians, producers and engineers. Again, as with the previous two volumes in the 'Children of the Sun' series, this is an eclectic gathering of styles and genres that have been curated into an accessible fusion of Jazz, Rock, AOR and Folk tinged grooves that all have soul. With many tracks getting a first time digital release this 3 LP album sits nicely alongside the previous albums in the series and rates as an essential compilation for any serious lover and collector of music. In Paul Hillery's words: "Let us gather one more time on another journey through the rhythmic sands of time, traversing continents and genres one track at a time. Taking in joyful places and wide-open spaces while dropping out to the musical pulse that unites us all An album to remind us that we are all made of stardust with more to connect than drive us apart, for . . . We Are The Children of the Setting Sun"

New album from the UK's most Northernly band Neon Waltz. The John O' Groats fourpice release 'Honey Now' on 1st September. Pre-Order alongside new single 'Thoughts / Dreams / Regrets' on 26th April!

Black cloud is descending – Black Magic Six set to release their fifth album in September, new single Blood of Babylon out now The title of Black Magic Six’s upcoming album Black Cloud Descending really sums up the mood and thoughts of its creators during the album making process. It tells stories of constant escaping, accepting defeat, destinies of outcasts, failures, and drunks. Tales of the wiser, exaggerated lies, vague rumours, fuzzy states of mind and suspicious circumstances – even the thought in the back of your head about the possibility of redemption while standing on the edge of the cliff right before falling in; it’s all there. The album’s first single Blood of Babylon is a garage rocking song about Sam Berkowitz’s relationship with Sam Carr’s speaking dog. Lyrical themes of the upcoming album are moving between reality and the imaginary world; remembering the moments at Belo Horizonte, how to use the powder that protects you from the evil eye, how it felt to wonder in the same alleyways with the werewolf of Istanbul or diving to safety to the bottom of a pond in Northern Savo. Listen Blood of Babylon here: https://youtu.be/S7mEujUIlrw Musically the album is on a narrow path. All the sounds heard on Black Cloud Descending are produced by Taskinen and Motherfuckin’ Japa. Sure, there are two exceptions; the gong heard in the end of Werewolf of Istanbul was recorded by Sakke Koivula at his home and the church bells in the outro of Full House Blues are ringed by unknown. Previous albums of BM6 had lots of guests playing guitar, percussions, harmonica, and visiting singers. People that one could call actual musicians. These past albums have had a softer, more versatile, and maybe even a livelier touch to them. This time around there’s only the core; the percussionist and the singing guitar player. The result is more raw, rugged, and rougher than before. Black Cloud Descending is out on September 1st on vinyl, CD, and digital platforms. The album was produced, recorded, and mixed by Mitro Kylliäinen at Kung Fu Audio along with BM6 during 2022-2023. Original art used for the album cover was made by Greger Grönholm. The band will play selected live shows to celebrate the new album in Finland, Germany, Denmark, and Spain. Dates of these gigs will be announced closer to the release date of the album.

The debut album from Nottingham UK’s chaotic metallers, Outergods, is pure intense grind with a hint of experimentation black metal and disgustingly ferocious and absolutely relentless. A Kingdom Built Upon The Wreckage Of Heaven fuses together elements of death metal, black metal and grindcore – blending Outergods’ abrasive early influences such as Morbid Angel and Strapping Young Lad with the intensity of more modern, expansive but intense bands like Full of Hell.

i am fortunate to play with amazing musicians - always have had my ear to the 6 winds to assess players and their strengths and the music we would make...
electric or acoustic, 2 or 5 people, country, folk, blues, string players, grass,
rocking, quiet or loud - WHATEVER the category does not matter (as it is just a category) - there has always been a group of great musicians near to help me get there - and yes, i am lucky

on this recording MATT FLINNER (mando and banjo), SHAD COBB (fiddle)
and BRYN DAVIES (double bass) & ALL folks on vocals and me on dobro/piano/banjo and guitar -mostly ben bullington's 1933 D18- we had been playing anytime a festival wanted a fiddle/banjo/mando/double bass/acoustic guitar instrumentation sound from me- in one way, it can easily be called "bluegrass" -( not a big stretch )- i kinda think "string band " is as good or a better name (certainly less used)... so enter this DARRELL SCOTT STRING BAND
(a rose by any other name)

HERE'S HOW THIS RECORD CAME ABOUT- we had 2 consecutive weekend gigs (arkansas and colorado) and rather than sending us... more

Wann immer EVERGREY-Frontmann Tom S. Englund und der US-amerikanische Pianist/Komponist Vikram Shankar (Redemption, Lux Terminus) zusammenkommen und ihre Kreativität gemeinsam als SILENT SKIES nach außen kehren, entsteht Magie! Mit Dormant veröffentlicht das schwedisch-amerikanische Cinematic-Pop-Duo nun das nächste, magische Stück Musik. Das dritte Studioalbum von Englund und Shankar erscheint am 1. September 2023 über Napalm Records. Getragen von vertonten Emotionen und skandinavischer Melancholie reiht sich Dormant in die klangliche Welt der vorherigen Alben Nectar (2022) und Satellites (2020) ein und bietet atemberaubende Klaviermelodien, atmosphärische Keyboards, weitläufige Soundlandschaften und eindringlich schöne und intensive Vocals auf zehn Eigenkompositionen, begleitet von mehreren Bonustracks. Für Letztere haben SILENT SKIES bekannte Klassiker gecovert, unter anderem von Iron Maiden und Linkin Park, und diese an ihren ganz eigenen, unverkennbaren Sound angelehnt.
Auf Dormant lädt der atmosphärische Eröffnungstrack „Construct"" die Hörer dazu ein, die beiden Musiker auf einer gefühlvollen Reise zu begleiten. „New Life“ schlägt hingegen dunklere Pfade ein. Englunds einfühlsamer Gesang spricht direkt zur Seele und harmoniert perfekt mit Shankars ausgefeilter Instrumentierung, die von zartem Piano getragen und einer einnehmenden Produktion unterstrichen wird. Das harmonische „Churches"" sowie das Pop-inspirierte „Just Above The Clouds"" – Letzteres mit einem fesselnden Solo des Leprous/Musk Ox-Cellisten Raphael Weinroth-Browne – bauen sich zu einem hypnotischen Tagtraum auf, um in den gefühlvollen Tönen von Dormant zu versinken. Einfühlsam kreieren „Reset"" und „Tides"" schier endlose melancholische Klanglandschaften, während das ergreifende „The Real Me"" mit elektronischen Tönen eine weitere Facette des Albums aufzeigt.
Die durch und durch stimmige Zusammenarbeit beider Künstler bildet das Fundament aller SILENT SKIES Kreationen. Durch viel Feingefühl und Liebe zum Detail, gepaart mit tiefgründigen, ausdrucksstarken Lyrics, entsteht ein einzigartiger Charakter, der mit jedem Ton die Handschrift von Englund und Shankar trägt. Auf das tief bewegende „Light Up The Dark"" und den Titeltrack „Dormant"" folgt mit „The Last On Earth"" die letzte Eigenkomposition des Albums.
Das dritte Werk von SILENT SKIES ist melancholisch und beruhigend, aber auch sprudelnd und glühend – es erweitert das klangliche Universum des Duos in alle Richtungen. Dormant reflektiert das Leben selbst und ist das Ergebnis mutiger klanglicher Experimente in Verbindung mit genau der künstlerischen Ästhetik, die SILENT SKIES auszeichnet. Mit ihrer Musik schreiben Tom S. Englund und Vikram Shankar so intensive Geschichten wie das Leben selbst und erreichen damit Menschen in unterschiedlichsten Lebenslagen mit verschiedensten musikalischen Vorlieben."

Although Miles Ahead was Miles Davis' first recording with the Gil Evans Orchestra, it was certainly not Evans and Davis' first collaboration. Gil and Miles' 1948-49 recordings both in the studio and broadcasted live from the Royal Roost in New York are among the true jewels of jazz history. The same can be said about Miles Ahead, a completely refined product in which the arrangements, the repertoire and the mood of every improvisation were carefully selected.

This release presents the very best performances from the legendary 1961 Village Vanguard sets by the Bill Evans Trio. It would be the last recording by this formation of the group, with Scott LaFaro on bass, and Paul Motian on drums, as LaFaro died ten days later in a car crash, on July 6, 1961, at the age of 25. Evans, who loved LaFaro's playing, would take a long hiatus before forming a new trio.

Perc Trax's Forever series returns with another forward facing selection of Perc Trax regulars and artists that are new to the label. Now in its fourth edition this time Tham, Perc, Tassid and Dahryl serve up a varied mix of tracks from across the techno
spectrum.

Opening up the release is Tassid, who returns to the label after his recent festival wrecking remix of Perc's own 'Resistor' and his continued work for Stay Up Forever and his own Skuxx imprint. Here he gives us 'Quantum Entanglement', taking dance floors on a twisting psychedelic journey built on a classic rock solid Tassid warehouse foundation.

Closing the A-side is label boss man Perc, returning to the Forever series after this Dirt release for Perc Trax and his Wave Cannon EP for Scalameriya's new Void+1 label. 'Fireball XTC' hits you with a swarm of jabbing vocal shouts pushed forward by rolling percussion rhythms for a typically epic Perc work out. Flip over the vinyl and Synoid cofounder and Driller label head Tham makes his Perc Trax debut with 'Put The Screws On' showcasing a fusion of modern Berlin techno and classic electro synth sounds.

Last up is Elements & Green Fetish producer Dahryl closes the vinyl with 'Just Do It' a grinding slab of main room techno featuring the biggest drop of the release which has been in Perc's sets for months now.

Originally released on may 29, 1969, Crosby, Stills and Nash remains one of rock 'n' roll's most impressive debuts. It was big news in 1969 when former key members of the Byrds, Buffalo Springfield, and the Hollies - three of the finest bands of the '60s - splintered off to form their own trio. Despite their already-proven talents, few could have imagined the gossamer vocal blend that would become the trademark of supergroup Crosby, Stills and Nash. The band's debut effectively provided the soundtrack to the summer of '69. For his part, Steve Stills keeps exploring the progressive folk-rock sound that he'd pioneered with Buffalo Springfield; signature tune Suite: Judy Blue Eyes is an expansive, multi-section affair that makes full use of the group's vocal skills. Fresh from the Hollies, Graham Nash adds an accessible pop sensibility, epitomized by the effervescent ditty Marrakesh Express. David Crosby, always the wild card in the Byrds, here adds rough edges and flashes of mystery with his cutting protest rocker Long Time Gone and the exquisite art-folk of Guinnevere. With this kind of firepower under its belt, it's no wonder csn quickly became one of the biggest groups of their era.

Ethos Records is a new vinyl only record label based in Athens,GR.
It’s aim is to present music from carefully curated artists that are consistent & true to their sound regardless the current trends or hype.
For the first release Leonid delivers a deep & dubby, Detroit influenced 4 track EP.

The release will be a limited pressing with each record featuring a hand stamped number on the label.

Unlike the spiraling momentum of the band's sophomore LP, pleasure suck, the spirit of the beehive takes a more grounded approach here, though the ground it's standing on is equally otherworldly. Dreamy is a fitting adjective, but the ten tracks on Hypnic Jerks never fully slip into the peaceful character of dream-pop. Hypnic Jerks has the quality of an indescribable dream fading from memory as you slowly begin to regain consciousness. Its warped guitar tones, transcendental synths and smattering of eerie audio samples conjure this purgatorial space between reverie and reality. It's an arena where the songs unexpectedly contort themselves and take on different textures, morphing in and out of one another. Once the celestial harmonies, balmy keys and creeping false climax of album closer it's gonna find you roll past, it's clear that the spirit of the beehive has secured a seat at this decade's table of musical visionaries.

There are different ways to celebrate an anniversary. We can look back and reflect on where we've been and how far we've come. Or we can look forward towards future possibilities. Alternatively, we can simply pause for a moment and be present - right here, right now. Rather like we are aware and mindful of what is happening at this very moment when we're enjoying superb music, excellently recorded and played.

That's how Clearaudio is celebrating its 45th anniversary. To mark the occasion, Clearaudio are delighted to present an album of music that embodies their passion for perfection, for nuanced and detailed sound, and for an intimate marriage of creativity and technical finesse. In other words, an album that reflects the key principles by Clearaudio.

"Take the best, make it better - only then it is just good enough." This well-known quote is as valid today as it was 45 years ago, and has inspired a host of colleagues and collaborators along the way. Ever since the release of Delta and Sigma speakers in 1978 and the development of the first moving coil cartridges, not a day has passed when Clearaudio didn't strive to set new standards for higher fidelity. This mindset continues to underpin their work to this day.

No matter where you've come from or where you are going, if your heart beats to the drum of truly authentic sound, then you'll find Clearaudio spirit, will and drive in every single one of their products - from the most towering turntable to the smallest cable.

While some creators may be content with merely looking closely, Clearaudio has always looked and listened closely. Very closely - and at both ends of the spectrum, from top-quality record engineering to excellent playback. So the early stages of every Clearaudio musical recording begin with questions like: "Does it sound exactly like in a concert hall?" and "Does the music feel as was intended when it was written and composed?"

In addition to their own recordings, a number of their favourite legendary productions from Deutsche Grammophon have also found their way onto this album. So why not take a pause, "take five," and enjoy these moments of exceptional music, lovingly produced? And join Clearaudio in celebrating 45 years of loving music!

repressed !

Undesignated remixes is an expansive project containing 12 remixes of tracks from dgoHn’s iconic 2020 full-length by some choice artists from in and around the Love Love sphere. Remixes that take dgoHn’s unique razor-sharp original productions and send them through a loop and round the twist, some stripped down, some messed up, most but not all maintaining the speedier tempos that dgoHn likes to work around. The result is a collection of seriously futuristic electronic music with some stylistic leanings towards labels like braindance or drumfunk or jungle but completely genre-eluding as a whole, reshaped from the minerals of the original LP by some absolute dons of their craft.

Opening the album Equinox does a fantastic job highlighting the lushness of ‘Puppet’ layering sky-high sunshine pads before sliding into Meat Beat Manifesto’s heavy sci-fi acid dub version of ‘Daisy Takes Two’. A woozy remix of ‘Lucky Gonk’ by Macc & dgoHn marks the first new material from them as a duo since ’09 and Wisp also makes a rare appearance bringing his inimitable post-rephlexian vibes on an agonisingly wonderful, melody-heavy remix of 'Electryon'. Skee Mask’s choice of remixing ‘Robin’s Windmill’ turns the original into a bundle of writhing rhythms organically unfolding with swelling ambient tones. Homegrown heroes Rognvald & Scrase both opt for pumped up post-breakcore in unconventional time signatures while Djrum emphatically provides the LP’s dose of peak jungle choppage, tempering the drum breaks of ‘Ninnyhammer’ with a blistering amen. Also featured on the LP are crisp and beefy drum workouts courtesy of Coco Bryce and Forest Drive West, visceral and apocalyptic half-time bass from Activia Benz affiliated duo Quavis and virtuosic noir-jazz tearout from fellow East-Anglian Carl Brown.

*BLUE VINYL REPRESS* Started during lockdown by three friends from Leeds, UK who wanted to make some crossover thrash, having been fans of the music for years, Pest Control is the classic story of DIY music straight from a time of crisis. Jack (from Death Metal bruisers Mortuary Spawn) joined soon after the release of the Demo in 2020 and the line up was complete with Pest Control’s first show commencing in their home town the week lockdown ended. Influenced by classic thrash giants such as Metallica, Testament etc. but with a healthy spoonful of crossover like Crumbsuckers, Ludichrist and Municipal Waste, the members grew up with one foot in the Leeds metal and hardcore scenes, taking the best from both worlds. Topping it all off, Leah's powerful vocal reminds one of the great Dawn Crosby from Detente. For the recording of the LP they were joined by Luke on second guitar and now have a permanent second guitarist in the shape of Joe Williams (Big Cheese, Fate) and will be seen touring Europe with the almighty Foreseen, having already played across the UK with Municipal Waste, Eternal Champion and as well as appearances at Outbreak and Wrongside Fests. With this LP the band have truly shown their technical chops from the fast and furious title track to the almost operatic thrash style of The Great Deceiver. There is a fresh range of ideas and most importantly catchy songs for the Crossover Thrash fan to sink their teeth into. Mastered by Arthur Rizk, who knows a thing or two about thrash metal excellence having worked with Power Trip and Fugitive, expect to have your brain well and truly FUMIGATED.

The final U.S. show, a triumphant and blistering bookend to the storied career of one of the most influential bands in rock music, featuring a unique and expansive eighty-five minute set list that spans Sonic Youth’s nearly three decade catalog. Mixed from multitrack by longtime live engineer Aaron Mullan and mastered and cut by Carl Saff. On August 12, 2011 Sonic Youth played their final US show on an outdoor stage overlooking the East River at the Williamsburg Waterfront in Brooklyn. Fitting that their storied career would bookend with a panoramic view of New York City where it all began 30 years before, having left in their wake one of one of the most powerfully influential careers in rock music. Following incredible sets from Kurt Vile and Wild Flag, the band took the stage. As the sun went down over the city, Sonic Youth ripped through a 17 song set that spanned from deep cuts off their first studio album and highlighting many other albums all the way through to their last, like a band with everything to prove. Or as Brooklyn Vegan’s Andrew Sacher said at the time: “While most bands who are thirty years into their career are either fading away or living off of the nostalgia of their older material, Sonic Youth continue to sound and perform as fresh as ever.” Steve Shelley explains the uniquely career spanning set list of Live in Brooklyn 2011 and how it came to be, as well as the importance of outdoor NYC summer shows in Sonic Youth’s legacy: “This show was a culmination of a run of really special outdoor summertime shows in New York City for us, starting in ’92 with Summerstage in Central Park when we played with Sun Ra. For the Williamsburg Waterfront show I wrote out the set list to present to the band and it was a lot of material we hadn’t played in a while, a lot of deep cuts, so I wasn’t sure if everybody would feel like doing it. After worrying about which songs the band might say yes or no to, I threw those concerns out the window and I just made a list of songs that I thought would be a great set. We practiced the week of the show at our space in Hoboken and put the set together. First we’d try and make sure we had a guitar in the song’s tuning, then we’d try to remember the arrangement and try and put it together, sometimes re-learning bar by bar. In the end I think the whole song list made it through. Even as early as ’86 and ’87 we stopped playing ‘Death Valley 69’ and ‘Brave Men Run’ with any regularity. We’d just get excited about new material coming into the set and songs would get ‘retired’ and wouldn’t get played again for years. So on this particular night in Brooklyn a lot of those retired songs and deep cuts got dusted off and played for this show. It turned out to be a pretty special event with a really special song list.” The band would go on to fulfill a contracted festival run in South America a few months later but, by then, the group’s center was severed beyond repair and the festival appearances didn’t hold the same kind of weight. “The stage was facing the East River from the Williamsburg, Brooklyn waterfront, and I recall the sun going down in the west during our set. It was a pretty magical, if kinda weird day. Fitting, somehow, that our ‘last show’ should be in New York City, our home and where it all began…” Lee Ranaldo The Williamsburg Waterfront show would fondly become referred to as ‘The Last Show’ by fans and band alike, equally for its triumphant high energy performance, its unique and expansive set list and locale. Newly remixed and remastered, Live in Brooklyn 2011 is presented for the first time on 2xLP, 2Xcd, August 18, 2023.

Blonde on Blonde: A double album that transcends time, defies space, suspends reality, and looks through the human soul and tells the listener characteristics about themselves they didn't know. Professor Sean Wilentz, historian-in-residence for Bob Dylan's Web site, comes as close to summing up its brilliance in his superb Bob Dylan In America as any who've tried: "The songs are rich meditations on desire, frailty, promises, boredom, hurt, envy, connections, missed connections, paranoia, and transcendent beauty – in short, the lures and snare of love, stock themes of rock and pop music, but written with a powerful literary imagination and played out in a pop netherworld." No lie.

As part of its Bob Dylan catalogue restoration series, we are thoroughly humbled to have the privilege of mastering the iconic LP from the master tapes and pressing it on 45RPM LPs at RTI. We feel that the end result is the very finest, most transparent edition of Blonde on Blonde ever produced. Forever renowned for what the Bard deemed "that thin, that wild mercury sound," the album's famed aural character lives and breathes on this superb version, with wider and deeper grooves affording playback of previously buried information and lifelike presentation of the studio sessions.

Prized for a unique sound that cultural critic Greil Marcus tagged "the most glamorous record imaginable; listening you can see the chequered jester's suit Dylan had worn on stage for the nine previous, furious months," Blonde on Blonde is to music, production, prose, and performance as what hydrogen is to water. The secret to its inimitable aural character partially stems from Dylan's request in Nashville to producer Bob Johnston to remove the baffles from the studio room, allowing the musicians to interact as well as the music to assume a more organic quality that drifts from one microphone to another.

The story of Blonde on Blonde is almost as compelling as the music within. Dylan, frustrated with how initial attempts fared in New York, relocating to Tennessee and pairing with Nashville's top session players as well as members of what would become the Band, feverishly chasing perfectionism while also arriving at an on-the-fly feel that remains a reference point for recorded music. The Bard sweated over lyrics, demanded his band get the exact sounds he heard in his head, and limited most takes to a handful at most. A majority of songs were recorded long after midnight, the post-A.M. vibe reflected in the nocturnal aura, woozy optimism, inversion of intervals, and spiritual soulfulness of the playing.

• “Hearts For Sale” is the fifth and latest in our series of 12-inch vinyl albums spotlighting the US girl group sound of the 1960s. The collection opens with ‘Street Dance’ by Bonnie Jean, a little-known must-have for collectors of the genre, with Darlene Love and the Blossoms clearly audible on background vocals. Issued on Lew Bedell’s Doré label, this exciting faux-live deck in the style of Shirley Ellis’ ‘The Nitty Gritty’ was written by Guy Hemric and Jerry Styner, a hip team known for supplying songs for the soundtracks of B movies such as Muscle Beach Party and Thunder Alley.

• The Hollywood-based Doré imprint is also the source of ‘You Really Never Know Till It’s Over’ by the Vel-Vetts (which shares a backing track with the Superbs’ ‘I Was Born When You Kissed Me’), ‘One Way Street’ by the Swans, a soulful update of the Teddy Bears’ ‘To Know Him Is To Love Him’ by the Darlings and – featuring lead vocals by Sheilah Page, a former member of groups such as the Bermudas, Becky & the Lollipops, the Majorettes, Joanne & the Triangles and Beverly & the Motor Scooters – ‘He’s Groovy’ by the Front Page & Her.

• Other highlights include the Sweethearts’ Supremes-influenced ‘No More Tears’, the sophisticated slowie ‘Lonely Girl’ by the Lovettes (that’s them on the front sleeve), ‘My Heart Tells Me So’ by the Del-Phis (an early incarnation of Martha & the Vandellas) and the Fran-Cettes’ terrific recording of ‘Heart For Sale’. As with the earlier volumes in the series, the album comes with a fully-illustrated inner bag featuring a 2,500-word track commentary by compiler Mick Patrick.

Rare Jazz-Funk album from 1978 by Headhunters founder.
Featuring an all-star line-up including Herbie Hancock.
Originally released in 1978 on Tobisha EMI Japan.
First vinyl reissue outside of Japan released in collab w/Totown Records. Comes with double side insert.

Paul Jackson (born in Oakland, California in 1947) needs little introduction. Paul began playing bass at the age of nine and was considered by many of his teachers to be a musical prodigy. Jackson was known as a “Musician’s Musician” and shaped a sound that launched a new direction in contemporary music: the so-called ‘Pulse Playing’, a trademark sound of close-meshed funk grooves combined with sensational rhythms. With this innovative approach, he influenced entire generations of jazz and funk musicians to come. Paul’s compositions were sampled by big acts from the likes of Prince, TLC, Mobb Deep and NWA…just to name a few.

Paul Jackson was a founding member of the Headhunters under Herbie Hancock (THE group responsible for their ground-breaking fusion and jazz-funk compositions that took the world by storm in the 70’s). The solid union between Hancock and Jackson has been especially evident in the many international tours they have made together…not to mention that he participated on most of the Headhunters albums and Herbie’s solo albums.

Paul has also worked as a producer and as a studio/live musician alongside acts such as Santana, Sonny Rollins and The Pointer Sisters. He was a frequent guest performer at renowned international festivals such as the Montreux and Newport events. Jackson’s composing has not gone without recognition and was nominated for Grammy Awards in 1974, 1975 and 1976. Like other highly talented, creatively motivated engineers of music, Paul has expanded his career to other mediums such as playing on blockbuster movie soundtracks such as “Death wish” and “Dirty Harry”.

Paul Jackson also wrote five solo albums worth listening to – including the monster of an album that is known as “Black Octopus” which is considered to be a kind of lost Headhunters album.

His debut album “Black Octopus” saw the light of day in 1978 and is a total piece of art filled with abstract sticky funky grooves, floating electric piano playing, strong thumping bass lines, raw heavy drums and amazing vocal acrobatics (Jackson himself takes vocals in 3 out of 5 songs, and his soulful singing voice strikes an emotional chord that does not go unnoticed).

On “Black Octopus” you’ll also find some of the best all-star musicians from the likes of Alphonse Mouzon (Roy Ayers, Betty Davis, Azar Lawrence)…and last but not least fellow Headhunters Bennie Maupin and Herbie Hancock himself.

With “Black Octopus” Paul Jackson wrote the book on how a jazz-funk-fusion album should sound like. The fact that the album was only distributed in Japan at the time (Jackson resided in Tokyo since the late 70’s, where he passed away in 2021) continues to increase its reputation as an album that is VERY hard to find. This is a must-have gem…not only for fans of jazz, funk and rare grooves, but also for DJs and collectors around the globe.

Comprised of two songs that build on OM’s use of cyclical rhythm, riff, and vocal intonation, the duo’s album Conference of the Birds blends metal, chant, drone, dub, and psychedelia. The band’s lyrics expound upon the structure of the universe, potentiality, and freedom from thephysical body. The second album from OM: comprised of two songs that build on om's use of cyclical rhythm, riff, and vocal intonation, the duo's new album "conference of the birds" blends metal, chant, drone, dub, and psychedelia. the band's lyrics expound upon the structure of the universe, potentiality, and freedom from the physical body. engineered by billy anderson and produced by the band, conference of the birds progresses beyond their debut, "variations on a theme", with more fully realized songwriting and production. om is al cisneros and chris hakius, rhythm section of legendary sludge and stoner rock pioneers, sleep

Audiophile reviews rave about saxophone master John Coltrane's immortal Impulse! records, A Love Supreme (1964) and Ballads (1963). In fact, jazz critics have lauded A Love Supreme as Coltrane's most important recording. The rave reviews which appeared in the magazines Downbeat, Jazz Hot, Jazz Podium and Swing-journal reflected this: critics all over the world, in America, Europe and Japan recognized that Coltrane's deep religious belief had influenced both his approach to life and his music-making.

You're about to experience A Love Supreme at its peak of vinyl perfection — in UHQR format on Clarity Vinyl, with the added bonus of a double 45 RPM cut by Ryan K. Smith at Sterling Sound. Ryan's cut has his characteristic clarity and transparency all set against Quality Record Pressing's usual noiseless backgrounds on 200-gram flawless records. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition you'll also receive a 12" x 12" 12-page booklet featuring liner notes by Ashley Kahn and images from the Coltrane home.

The original master tape is available but it's not in the best shape. This LP was cut from a flat tape copy made by Rudy Van Gelder and used for cutting in the UK in April of 1965. Of course, the original recording was in December '64, so only a handful of months later. This tape was discovered at Abbey Road and had been untouched between 1965 and 2002. So while the original tape is available and while we would always opt for the original whenever we can, in this case this copy was the better choice as the tape has incurred less overall wear and sounds much better than the original.

A Love Supreme was Coltrane's pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped in and created one of the most thought-provoking albums of their relationship.

The album not only enabled Coltrane to express himself with great intensity but also lent him the necessary inner peace to conceive a work of almost 40 minutes in length and to lead his quartet along the same path as himself.

Les Imprimés treat us to a tough as nails 7" pulling two stand out tracks from their forthcoming album in a classic Plug & Ballad pairing. The A side "Falling Away'' starts with a crushing drum break that Martens layers with lush piano runs, sitar, and guitar riffs. The lyrics almost contradict the tone of the track making it a bittersweet affair as he sings about love falling apart - "One day at a time girl you waste my life".On the B side "Still Here" Martens professes his resilience through life's twists and turns over a thundering track that puts a new spin on the B side ballad genre. Martens blends his poetry with his excellent usage of space making this yet another tune from Les Imprimés that is easy to love but hard to categorize.

Following up on the incredible success of El Michels & Black Thought's Glorious Game album the duo treat us to another 7" with two of the standouts from the album. The A Side "Hollow Way" is a testament to the chemistry between Leon & Thought. EMA uses his signature sound with a new approach pulling records from his collection and sampling them. The result is a gritty lofi sonic backdrop that Black Thought flexes his lyrical brilliance on weaving a tune about guns and gun violence. The beat change at the end drives the point home, leaving any samples behind and lets the band remind people why they are one of the most in demand acts out there today. The B side "I'm Still Somehow" is a deeply introspective tune that Thought rhymes about vulnerability and overcoming challenges with heavy lines like "a happy black boy is like an alien" and "one crown, who was run down, somehow still standing tall". Michels again takes his ear and sensibility to the sampler, chopping up an old 45 that makes the perfect backdrop for this powerful and timeless song.

A pop record for tired times. Sugared with bits of shatterproof glass to put more crack in your strap. At long last, verse / chorus. A weathered thesaurus. This is OSEES bookend sound. Early grade garage pop meets protosynth punk suicide-repellant. Have a whack at the grass or listen while flat on your ass. Heaps of electronic whirling accelerants to gum up your cheapskate broadband. Social media toilet scrapers unite! Allow your 24-hour news cycle eyes to squint at this smiling abattoir doorman. You can find your place here at long last. All are welcome from the get go to the finale…a distant crackling transmission of 80s synth last-dance-of-the-night tune for your lost loves. Suffering from Politic amnesia? Bored of AI-generated pop slop? Then this one is for you, our friends. Wasteland wanderer, stick around. Love y’all. For fans of Teutonic synth punk and Thee Oh Sees (who the fuck are they?)” — John Dwyer

A pop record for tired times. Sugared with bits of shatterproof glass to put more crack in your strap. At long last, verse / chorus. A weathered thesaurus. This is OSEES bookend sound. Early grade garage pop meets protosynth punk suicide-repellant. Have a whack at the grass or listen while flat on your ass. Heaps of electronic whirling accelerants to gum up your cheapskate broadband. Social media toilet scrapers unite! Allow your 24-hour news cycle eyes to squint at this smiling abattoir doorman. You can find your place here at long last. All are welcome from the get go to the finale…a distant crackling transmission of 80s synth last-dance-of-the-night tune for your lost loves. Suffering from Politic amnesia? Bored of AI-generated pop slop? Then this one is for you, our friends. Wasteland wanderer, stick around. Love y’all. For fans of Teutonic synth punk and Thee Oh Sees (who the fuck are they?)” — John Dwyer

Blackball Records presents the 20th anniversary edition of Jawbreaker's beloved 1990 debut album Unfun--twelve groundbreaking tracks (sixteen on the CD) that captured the very inception of emo's big band and launched a galaxy of young, earnest bands and the scenes that love them. Unfun has been remastered by John Golden from the original analog tapes; the increased sampling rate boosts some of the bottom end and mid-range. It sounds fucking awesome. The vinyl version is available for the first time since 1992, and the CD and download versions of the record include the three-song Whack & Blite EP, as well as the 7-inch mix of "Busy" as an unlisted bonus track. This reissue features restored original artwork, and all formats include additional band photos from the time of recording. "Want" and "Fine Day" were in heavy rotation on college radio back in the day, and remained set list staples throughout Jawbreaker's run. Unfun wound up on a lot of fanzine top ten lists, and even the mainstream press took notice. Rolling Stone called it "a feast of heavy melody and righteous braying that roars along with all the spit and spirit of Husker Du's New Day Rising."

Alternative rock, or abbreviated to just simply alternative, first came to present in the early ‘70s as independent underground music and gradually developed into the ‘90s as a reaction to the mainstream pop music from that era. Alternative music was represented by bands who were signed to independent labels, but major labels also picked up on the trend, which led to commercial success in the international music charts. The 2LP 90’s Alternative Collected highlights songs by bands such as Faith No More, Nick Cave & The Bad Seeds, Kula Shaker, Eels, R.E.M., Oasis, Live, Soundgarden, Fun Lovin’ Criminals, Smash Mouth, and many others

Out Of The Blue is the debut studio album by Debbie Gibson and was released on August 18, 1987. The album received favorable reviews from music critics and sold more than five million copies worldwide.

Gibson wrote all ten songs on this album at the age of 16 going on 17, Gibson’s youthful exuberance and energy shine through infectiously on this album. No less than five tracks of this album hit the Top 40: “Only in My Dreams,” “Shake Your Love,” “Out of the Blue,” “Foolish Beat” and “Staying Together”.

This album stands out from the competition due to Gibson’s talent as a singer, musician, pop songwriter, arranger, and even producer.

The story of Existence dates back to 2016 when a group of young Stockholm hardcore heads wanted to get into some good old Cro-Mags worship. After some changes in personnel, the current line-up of deranged idiots has been paving the way for a violent future since early 2017. They currently share members with several other bands, including Blood Sermon and Speedway and are all active in the local DIY community in different ways, for example running Alive and Well Fest. With an EP under their belt in 2018, several tours across Europe and beyond, as well as appearances on such stages as Outbreak, the sound began to evolve leading up to the masterpiece that is the debut LP, ‘Go to Heaven’. Clocking in at nearly 40 minutes we don't think anyone can truly be prepared for this insanely epic body of work. From Slayer, to Merauder, to H8000, to Arkangel to Integrity, this is a masterclass in metallic hardcore songwriting by the strong beating heart of Stockholm HC. Songs that take you on a journey from a classic metallic breakdown riff to acoustic guitar sections to sword samples needed a hand that was not afraid of the complexity, leading to Jonah Falco of Fucked Up on mixing duties giving this the depth that it deserved. At times introspective, and at other times classic brute force, the themes of the lyrics are well summed up with the painted artwork by Nora Löwenberg of a face behind shattered glass, exploring the multifaceted nature of humanity and the ever changing place of the self in today’s global world. So if this all sounds like your kind of hardcore, then listening to this LP will truly be… heaven.

Following a greatest hits compilation in the late 90s the Human League signed to the Papillon label. The line-up
of Philip Oakey, Susan Sulley and Joanne Catherall recorded the “Secrets” album, with keyboard player Neil
Sutton, who co-wrote most of the songs with Oakey, and programmer David Beevers providing the trademark
Human League sound.
• The album’s release in 2001 was preceded by the single “All I Ever Wanted”, but both the single and album lost
promotion and sales when Papillon ran into financial difficulties and was closed shortly after the album’s release.
• This 2LP new edition has been expertly mastered by Cicely Balston at AIR Mastering from the original stereo
tapes using precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves
groove accuracy and transient information creating an incredibly detailed stereo image with a natural high
frequency response.
• Presented in its original sleeve, pressed on 2 x 180 gram heavyweight black vinyl, featuring an obi strip and
housed in a poly-lined inner sleeve, with all the lyrics and credits on the 4 page insert.

a 01. All I Ever Wanted Dave Bascombe Mix 3:31

[c] 03. Love Me Madly? [Dave Bascombe Mix] 4:08

Introducing “Zum Thema Tiere” by “Standing in the Water,” an electrifying EP that merges the captivating worlds of house and techno with the enchanting tails of our favourite creatures =). Prepare to embark on a journey that will make you shake your booty and surrender to the irresistible beats.

The show, which rolled over the open-air stage of the Greek Theatre night after night in the late summer of 1963, attracted fans as if on a pilgrimage to the mountains of Hollywood. Many who could not get hold of a map climbed the surrounding trees to be able to admire the Calypso man at least from a distance.

Also on the lookout and with sound equipment at the ready were the people of the company RCA, which released the eagerly awaited album the following year. Some of the songs like the wriggling "Zombie Jamboree", "Look Over Yonder" and the wonderfully dripping Schmonzette "Try To Remember" were previously only available as studio versions. Most of the other numbers were brand new and sounded for the first time in a sparkling live atmosphere, which is authentically reproduced on this record.

Here a laugh as a receipt for a casual saying, there a rumble of boards, then again concentrated silence of a spellbound listening audience - something like this only happens on stage.

For Belafonte connoisseurs, these recordings are regarded as the crowning glory of the artistically highly productive phase of the years 1959 to 1963. Of the many good albums, this is one of the best.

Personnel: Harry Belafonte (voc); Howard Roberts (cond); William Eaton (clavietta); Ernest Calabria, Jay Berliner (g); John Cartwright (b); Percy Brice (dr); Ralph MacDonald (perc), choir and orchestra

Repress!

OUTTA SIGHT, in association with Sony Music Entertainment UK Ltd., present two Modern Soul Monsters back-to-back.
JEFF PERRY (aka Jeffree) was born into rare soul royalty, the nephew of Robert Bateman, a pioneer of the Detroit sound, and brother of Greg Perry with whom he would co-write and produce for Holland/Dozier/Holland scoring hits for the Honey Cone, Chairman of the Board, Freda Payne and Jeff’s own group 100 Proof Aged In Soul.
“”Love Don’t Come No Stronger…” has transcended its Modern Soul status to become a mainstay of the 21st Century Northern Soul Weekender scene, an essential 45 for any discerning DJ wanting a guaranteed floor-filler.
MANDRILL were formed in New York in the late Sixties by the Wilson brothers, originally from Panama. They were joined over the years by a succession of accomplished musicians who honed their unique Latin-tinged sound that attracted, first Polydor, then United Artists and Arista, who signed them in 1977. “Too Late” was released in ’78 and helped define the “crossover” sound of the Northern Soul scene. It remains an anthemic and sought after 45 guaranteed to pack the floor.

In the beginning there was FAUVE, cult french rock band with unique on-fire spoken-word singing & epic concerts.
4 out of the 5 former Fauve members decided to resume creation and to change everything. They are back on a new name : MAGENTA & with a totally different global identity, up to the music: new foundations. No more rock, pure electronic music from classic french touch to new electro vibes. But still featuring lyrics & singing reminding their former roots. And electronic played live using a drummer & a guitarist on top of machines & keyboards.

This classic album from 1973 saw its creator, Lee ‘Scratch’ Perry exploring synths and starting to develop his Black Ark sound - the enigmatic producer was at the time in the process of building his famous studio and honing his ideas about dub as a musical form.

The LP opens with the eerie “Kentucky Skank”, Perry’s ode to KFC, complete with frying chicken sounds, spliced between winding tapes, a ghostly trumpet, and futuristic moog synthesizer, overdubbed at London’s Chalk Farm studios.

U Roy’s “Double Six” and I Roy’s “High Fashion” & “Hail Stones” illustrate just how strong The Upsetter’s deejay material had become, while versions of the Chi-Lites’ “We Are Neighbours”, Sam & Dave’s “Soul Man” and a re-working of Al Green’s “Love and Happiness” (retitled “Jungle Lion”) all betray the funky soul influence that was increasingly shaping his work.

The backing tracks illustrate the producer at his best; the audio spectrum is fully differentiated while spatial placement an important component - something it would take years for him to achieve at the Black Ark.

Double Seven is available as a limited edition of 750 individually numbered copies on silver coloured vinyl

100% Analogue 33RPM 180g 1LP
Remastered from the Original Analogue Stereo Masters for the First Time!

Hear this album as it was meant to be heard! Absolutely Stunning!
The greatest assembly of musical talent ever on one album! Features Performances by John Coltrane, Miles Davis, Bill Evans, Ben Webster & 27 More Jazz Greats!



In 1958, a young, successful French composer-arranger with a major infatuation on American jazz, worked his way to New York and convinced the very best players of the time to record an album of largely jazz standards. Michel Legrand would go on to win numerous prizes and accolades (3 Oscars, 5 Grammies, 2 Palmes D'or, etc.), but little of what followed matched the sheer brilliance of Legrand Jazz.

Miles Davis, John Coltrane, Bill Evans, Ben Webster, Phil Woods and practically every other session man in town signed up for sessions with Legrand to record his idiosyncratic arrangements of standards ("Django", "Don’t Get Around Much Anymore", "Night in Tunisia", etc.). Instead of regurgitating then current bop styles, he reinvented the very nature of orchestral jazz band repertoire to make a unique and forward-looking statement on the genre.

The sound of Impex's all-analogue LP preserves the wide soundstage of late 50’s Columbia recordings while creating intimate spaces between players on the stage for maximum definition. This rare, highly-praised recording has never sounded as good as it does now. Go big with Legrand Jazz.

Legrand Jazz was greeted by an enthusiastic review in the magazine Down Beat. Dom Cerulli awarded it five stars out of a possible five.

The meticulously recreated outer jacket is packaged in a gatefold with an original photo montage inside honoring Michel Legrand's masterpiece of reinvention and sublime fan-boy enthusiasm.

"The music is luscious and this just may be one of the best-sounding records you'll ever hear." - Ken Kessler, Hi Fi News, Rated 95/100 Sound Quality!

Thelonious Monk could walk from his flat to New York’s famous Philharmonic Hall on the corner of 64th Street and Broadway when he made his very first appearance there with his Big Band in December 1963. And the other musicians could get there on the underground: Phil Woods, Steve Lacy, Thad Jones – all of them were members of Monk’s closest circle of collaborators.

It is no wonder then that the well-known themes were highly agreeable and harmonious. "I Mean You", "Four In One" and "Epistrophy" resounded through the auditorium, the audience was thrilled, Thelonious laughed and danced and a short while later fans could listen to parts of the concert on a recording released by Columbia Records. In a break for a smoke, Monk sat himself down at the piano and played "Darkness On The Delta" – nocturnal atmosphere pure.

Does it bear the patina of times long past? Absolutely not! Thelonious Monk is as red-hot as he ever was.

Blow Your Brains Out formed in 2019 with members of Stand United, Inside, Die Birth, Civil Defense and Soul Vice from Tokyo and Kanagawa. The band are all active members of their local hardcore communities whether it's putting on shows or running a popular radio show called Sick People. Hardcore fans were hyped for the demo with its instant hit mix of Cro-mags and Dynamo style influenced hardcore, and were excited to hear what the band would do next. However, as with all things at this time, they had to put everything on pause. Fast forward to 2023 and the band have recorded their debut 12” ‘The Big Escape’. This sees the band keep true to their demo influences but with greater flair, and will have you humming the tunes in no time at all. It was important for vocalist Kai to sing in Japanese, a language with a unique rhythm and flow that he wanted to match to the riffs, as well as to communicate about topics important to the local, as well as global community, using powerful Japanese words. ‘The Big Escape’ 12” talks about cult religions, political corruption, domestic violence, and companies that force people to work in poor conditions, as well as the suppression of citizens who resist authoritarian forces. I see through their lies and madness and act with the determination I have squeezed out, without succumbing to after-the-fact sophistry or threats. The underlying theme is the understanding that structural issues in society and politics cannot be easily solved, but it’s important to voice dissatisfaction and anger, and resist, and sometimes that’s by running away to survive, but it’s difficult to put this into practice in everyday life. However, there is hope that one day, the big escape will be achieved.

2 unformated Hard beautyfull tunes : A side brings a terror Speedbreakcore Deathmetal track, dropping into a strange Oriental Bass-music Hard jungle sound... Music changes from something to something different … magnific sound ! B side brings a superb classic Arvo Part style in a meltdown with a downtempo fat Hardbreak sound.

Hard Dubstep, production from the Peace Off crew for rought Deejayz... Banging stuff in the vein of Niveau Zero, Broken note and Bong-Ra.

In 2017, musicians and regular collaborators Gigi Masin and Jonny Nash were invited to a residency at artist Xavier Veilhan's "Studio Venezia" project at the Venice Biennale. For this immersive installation, Veilhan transformed the French Pavilion into a fully functioning recording studio, inviting artists to record original works during a series of residencies. Masin and Nash recorded a series of improvised compositions primarily for Piano and Guitar which were eventually edited down to 6 pieces, collectively entitled "Postcards From Nowhere".

Initially released in 2019 as a limited-edition collaboration with London-based design and branding consultancy Commission Studios, "Postcards From Nowhere" is now fully available on vinyl featuring new artwork and printed inner sleeve featuring photographs by Luke Evans.

The issue was always: How could I transport my work as a producer and beatmaker on to a stage? How can something, that is happening behind locked doors in the studio, emerge into a live experience?" With this vivacious live quartet, he has found his answer.
Songs from a productive solo career spanning a period of over 10 years, Sepalot has a wide variety of songs to pick and choose from. Even in the live set up, his ove for electronic music remains unaffected and the subtle influence of Hip Hop is un- deniable. Despite this being the initial state of the project, a distinctive sound has evolved from jamming together in dark rehearsal rooms. The different characters compliment each other like a puzzle on stage, though Sepalot's part as producer and svengali is undisputable.
FABIAN FU?SS on the drums - longtime partner on the drum set and the voice behind Sepalot's unmistakable radio hit "Rainbows". ANGELA AUX on the bass and mostly the voice of the quartet is a writer and solo artist in his own right. Having released albums on Millaphone his roots are undeniably in hip hop with a heavy tinge of folk. MATTHIAS LINDERMAYR on the trumpet, who originated from a family of musicians, is highly decorated jazz virtuoso. His very own releases grace modern jazz specialist label Enja Records. ... and finally SEPALOT, bringing them together and making them more than the sum of its parts.

The electronic beats, the pulsating bass, Sepalot's enthusiasm for ambient sound design - all this remains unchanged and is garnished with the element of jazz. A unique, unequalled sound that strives for higher ideals and has immense international potential.

REPRESS

This is the standard version with no poster or hand numbered sleeve. Repress of this chiller classic from 2015. "Talk From Home" showcases Kraft's emotional depth as a producer, and skill as a multi-instrumentalist. Recorded over a few weeks in the winter of 2014, the intimacy of the recordings shines through in a melancholic yet hopeful world of melody and tone.

Next on Allchival is a compilation tracing the musical pursuits of Cork’s (via Belfast) Finbarr Donnelly and his trilogy of bands – Nun Attax, Five Go Down To The Sea? and Beethoven - before his untimely death by drowning in London’s Hyde Park in 1989. From the post punk of the first band via the discordant indie of the second to the chaos of Beethoven’s short lived existence this compilation shines some light on one of Irelands most enigmatic frontmen over a ten year period. Released on 18th April Record Store Day on a 15 track LP and an expanded CD version with 24 tracks. Featuring tracks released on Setanta, Creation, Kabuki & Abstract plus previously unreleased Fanning Sessions, the LP also comes with a fanzine with detailed liner notes and ephemera.

Nun Attax, formed in the late 70s, are synonymous with the Downtown Kampus at Cork’s Arcadia Ballroom, the lynchpin of the city’s post-punk music scene. Their live performances being the stuff of Southern legend - unforgettable, incendiary events, examples of which can be heard on the tracks here White Cortina, Reekus Sunfare. In the early-80s the band changed its name to Five Go Down To the Sea? and recorded the Knot A Fish EP 7’’ for London–Irish label Kabuki Records and soon after the band left recession-ridden Cork for the UK capital.

Squatting south of the River, working on building sites and collecting welfare under several aliases recording and gigs were sporadic but by 1984 they had hooked into the early Creation scene, and played gigs at Alan McGee’s Living Room club. Working with The Mekons Jon Langford they release The Glee Club on Edward Christie’s Abstract Sounds label. Following it up with the last of their three releases as Five..on Creation itself the band’s chaotic existence led to its demise only re-emerging in 1988 as Beethoven. Down to two original members – Donnelly and guitarist Ricky Dineen – plus two new additions their only release – a 12” on the fledgling Setanta records – features a cover of “Day Tripper” backed with original tracks and was NME’s Single of the Week in the summer of ‘89 when such things carried weight. The planned second single doesn’t go ahead after Donnelly’s death.

Dedicated to Nora Forster, John Lydon's wife of nearly five decades, who passed away on April 5th 2023! Public Image Ltd. (PiL) announce their 11th studio album and first album in 8 years, End of World, to be released on 11th August 2023 on PiL Official via Cargo UK Distribution, followed by a 37-date UK and European Tour. The band began writing and recording End of World in 2018, during their 40th anniversary tour.

After The Great Pause, the band regrouped in the studio and "there was just this massive explosion of ideas," Lydon says. The result finds PiL set to release 13 of the best tracks they have ever written. The announcement comes with the release of new single Penge, which John describes as, "something of a mediaeval Viking epic." Earlier this year, PiL released Hawaii, the most personal piece of songwriting and accompanying artwork that John Lydon has ever shared. The song is a love letter to John's late wife, Nora, who had been living with Alzheimer's since long and sadly passed away on April 5th this year.

A pensive, personal yet universal love song that has resonated with many since its release in January, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. "It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most," John says. "It's also a message of hope that ultimately love conquers all. As I say in the song, all journeys end and some begin again, but this is the beginning of a new journey with us. And, oddly enough, as bad as Alzheimer's is, there are great moments of tenderness between us. And I tried to capture that in the song." Celebrating their 40-year anniversary in 2018, the band is widely regarded as one of the most innovative and influential bands of all time. PiL's music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums.

With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub - Lydon guided the band from their debut album First Issue in 1978 through to 1992's That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now_ in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now_ was self-funded by PiL and released on their own label 'PiL Official' via Cargo UK Distribution.

In 2018 PiL celebrated their 40th anniversary with a career-spanning box set and documentary, both called 'The Public Image Is Rotten', and a 32-date UK/Europe tour, plus dates in Japan. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be touring the UK and Europe in September and October 2023.

Dedicated to Nora Forster, John Lydon's wife of nearly five decades, who passed away on April 5th 2023! Public Image Ltd. (PiL) announce their 11th studio album and first album in 8 years, End of World, to be released on 11th August 2023 on PiL Official via Cargo UK Distribution, followed by a 37-date UK and European Tour. The band began writing and recording End of World in 2018, during their 40th anniversary tour.

After The Great Pause, the band regrouped in the studio and "there was just this massive explosion of ideas," Lydon says. The result finds PiL set to release 13 of the best tracks they have ever written. The announcement comes with the release of new single Penge, which John describes as, "something of a mediaeval Viking epic." Earlier this year, PiL released Hawaii, the most personal piece of songwriting and accompanying artwork that John Lydon has ever shared. The song is a love letter to John's late wife, Nora, who had been living with Alzheimer's since long and sadly passed away on April 5th this year.

A pensive, personal yet universal love song that has resonated with many since its release in January, the song sees John reflecting on their lifetime well spent and in particular one of their happiest moments together in Hawaii. The powerfully emotional ballad is as close as John will ever come to bearing his soul. "It is dedicated to everyone going through tough times on the journey of life, with the person they care for the most," John says. "It's also a message of hope that ultimately love conquers all. As I say in the song, all journeys end and some begin again, but this is the beginning of a new journey with us. And, oddly enough, as bad as Alzheimer's is, there are great moments of tenderness between us. And I tried to capture that in the song." Celebrating their 40-year anniversary in 2018, the band is widely regarded as one of the most innovative and influential bands of all time. PiL's music and vision has earned them 5 UK Top 20 singles and 5 UK Top 20 albums.

With a shifting line-up and unique sound - fusing rock, dance, folk, pop and dub - Lydon guided the band from their debut album First Issue in 1978 through to 1992's That What Is Not, before a 17 year hiatus. Lydon reactivated PiL in 2009, touring extensively worldwide and releasing two critically acclaimed albums This is PiL in 2012 followed by their 10th studio album What The World Needs Now_ in 2015, which peaked at number 29 in the official UK album charts and picked up fantastic acclaim from both press and public. (The album also peaked at number 3 in the official UK indie charts and number 4 in the official UK vinyl charts). What The World Needs Now_ was self-funded by PiL and released on their own label 'PiL Official' via Cargo UK Distribution.

In 2018 PiL celebrated their 40th anniversary with a career-spanning box set and documentary, both called 'The Public Image Is Rotten', and a 32-date UK/Europe tour, plus dates in Japan. John Lydon, Lu Edmonds, Scott Firth and Bruce Smith continue as PiL. They are the longest stable line-up in the band's history and continue to challenge and thrive. PiL will be touring the UK and Europe in September and October 2023.

Svitlana Okhrimenko (artist name: Svitlana Nianio) is a Ukrainian artist, musician, and signer. She is one of the most prominent representatives of the independent music scene of Kyiv in the late 1980s — early 90s. She has repeatedly recorded and performed in collaboration with other musicians and bands, such as Oleksandr Yurchenko, Sugar White Death (Cukor Bila Smert’), Ivanov Down, GeeNerve & Taran, and Blemish. Svitlana still performs and publishes new recordings today.

“Transilvania Smile” is one of the first solo works recorded in 1994. During this time, Svitlana repeatedly visited Germany, where she had the experience of playing in parks and on the streets, gathering contacts of the local art scene. Her cooperation with the international choreographic group Pentamonia, based in Cologne and consisting of several girls who performed in theaters, took part in various performances, and were engaged in music. They met in the 1990s during joint performances with "Sugar-White Death." After that, they corresponded, and the idea of doing something together arose. Svitlana attended several of their performances, which inspired her to write music for a new project, and the band members helped to realize their creative ideas. Later, they started rehearsing together.

The name “Transilvania Smile” was invented by the project participants, and it symbolized the mold on the mirror and the reflection of a smiling vampire. However, shortly before the premiere, they changed it to “Firefox”, as the participants actively used flashlights and the play of light and shadows in the scenography.

The premiere occurred in the local Urania theater, previously a gallery. Isabel Bartensein directed the choreography, and Svitlana played, sang, and improvised. She said it was an excellent experience for her and the band. Besides Cologne, they also performed in Aachen.

Later, Michael Springer offered Svitlana to record this material in his "Phantom" studio. They had already worked together and recorded music for their project (Svitlana Okhrimenko / Phanton). Michael was also interested in the Ukrainian independent scene and participated in the creation of several compilations that featured bands from Kyiv and Kharkiv. Svetlana played the piano and harmonium in the studio and also sang. After the recording, the material was never released in its entirety. Two compositions appeared on the cassette compilation “Shovaisia” (Hide) in 1995, some episodes were re-recorded for the “Kytytsi” album in 1999, but for a long time, the full version of this recording remained practically unknown to listeners and was kept in Svitlana's and Michael’s archives.

This album is one of the most personal and insightful works of Svitlana Nianio from the 90s, which you can now get to know in its original form and sound.

The first encounters of Chassol with Indian music date from his teenage years where, thanks to John Mc Laughlin and his band Shakti, he could hear ragas, rhythm structures and Indian instruments mixed with jazz.

Then came Ravi Shankar, Hariprasad Chaurasia and the devotional songs.
More recently, the documentaries by Louis Malle (Phantom India) and by Johan van der Keuken (The Eye Above The Well) left their marks on him and after having harmonized New-Orleans in "Nola Cherie", the choice to attempt at an harmonization of life, sounds, motifs, noises and traffic from Northern India quite naturally grew on him.

In Calcutta and Varanasi, India's most ancient city, he went to shoot sitarists, percussionists, singers, dancers, the kids, the Ganga, the city and the apparent chaos of the traffic.

Indiamore spreads over four movements, one same tonal harmonic suite of warm and real pop chords that marries the modal Indian music usually resting on a sole continuous bass line played by the tampura.

In repeating these images, in treating their sound as a music material and in harmonizing the actors' speech with his own harmonic obsessions, he achieves to blend a documentary approach into a

RAWAX welcomes Ferdinand Steinbacher aka Brevis Bounce to the artist family! We are very happy to present you this great talent HOUSEWAX. After joining a RAWAX micro GARDEN FESTIVAL with Move D, Ferdinand went home and started (impressed from David's set) to jam. He uploaded the video on social media. Luckily we saw it and asked him to make us some tracks - the result is his first vinyl release called "Vibrant Remedy" which will be out in January.
Highly recommended!

When picturing the German techno scene, one likely imagines the concrete monoliths of its capital city Berlin rather than the vineyards and valleys of the enchanting city of Stuttgart in the southwest. But small cities lack the oversaturation and noise of the metropolis, allowing them to develop their own inspired and distinctive subcultural visions. Stuttgart’s David Löhlein exemplifies this potential, manifesting a singular style of sight and sound through his Vision Ektase project and residency at Lehmann Club. Now, Löhlein’s warm-blooded techno is slinking, slithering and seducing its way through BNR, with the upcoming Hotel Pool EP release.

There’s no hesitation before plunging into the EP’s titular track, with its rushing fingered basslines and rolling polyrhythms. Löhlein cites solo travels in Columbia as the source of his Latin influences, and one hears them throughout “Hotel Pool” in vocal and percussive samples. Elements more commonly found in Latin and tribal house feel uncommonly fresh once Löhlein recontextualizes them within a 144 bpm techno foundation. The words “groovy” and “sexy” are usually reserved for the stuff of Buddha Bar compilations, but “Hotel Pool” is exhilarating because it serves both of the former and none of the latter.

A stream of hedonism flows beneath all of the four-tracker, but if the opener is erotic, A2 “La Piscina” is psychedelic. The bass flutters like a mescaline come-up, as infinite loops of chattering voices and deep bamboo pipe notes mesmerize. Again, Löhlein takes certain genre tropes - in this case from psytrance - and transposes them through his own stylistic signature with thrilling results. Ask Löhlein if he likes psytrance and the answer might be “Yes, when it’s techno.”

Leading the flip, “Cuando Vengas” heats up around a dark and sticky loop of ambiguous, organic origin. Here Löhlein’s masterful sample and drum programming is clearly on display, with vocal chops and subtle rhythmic variations leading the dancefloor to shivering bliss. The EP closes with “I Just Want,” a sparse, cold, and bitcrushed stalker of a track that seems to answer Baudrillard’s famed question “What are you doing after the orgy?” That the Hotel Pool EP’s wild romp ends in the Berlin oeuvre perhaps proves the city’s primacy in the German techno scene, but after a few listens one begins to wonder what rare pleasures they’ve been missing in David Löhlein’s Stuttgart.

Legendary drummer Kenny Clarke compared Jean-Luc Ponty to Dizzy Gillespie Fellow violinist Stuff Smith marveled, "He plays violin like Coltrane plays saxophone." Born in 1942, the French violinist Jean- Luc Ponty transported jazz violin playing into the world of modern jazz. On Frank Zappa's urging, Ponty moved to the States in 1970. Over the next years he toured with Zappa, the Mahavishnu Orchestra, and Chick Corea's "Return to Forever".In the early 1970s Ponty bought himself a sequencer and synthesizer and carried them around while traveling so he could record new ideas. By 1982 Ponty had a well- deserved reputation as a forerunner in jazz-rock and jazz fusion.
In a retrospective interview for this re- release of the 1983 album Individual Choice, JLP said:
"What I was recording in that new sequencer gave me the idea to go for a totally different concept, to use these recordings as rhythmic backgrounds, sometimes without drums or percussion. I planned to record a new album in which I would play all the background parts with my synthesizers and add my violin later on in the studio."
Ponty also invited a couple guests to contribute to the recording.

They were no less than George Duke (keys), Allan Holdsworth (guitar), Rayford Griffin (drums) and Randy Jackson (bass).
Individual Choice has been re- mastered by 2023 Grammy Nominee Christoph Stickeland includes new liner notes.

Odd Nosdam really doesn’t need an introduction, unless you’ve been living under a rock for the last 20 years then undoubtedly you’ll know what’s up, and what an absolute humbling pleasure it is to now introduce Nosdam to the Where To Now? catalogue with two new cuts that flow from ethereal, meditative contemplation through to downtown abstracted machine damage..

The record opens with ‘End is Important’, A looping, spiritual lament which forces observation, or resolution around the concept of ‘Endings.’ Passages from Tsunetomo Yamamoto’s ‘Hagakure’ seep in and out of the mix throughout, where spiraling and glistening arpeggios dance across a glorious choral mantra, intended to elevate minds towards some kind of plume of awakening. This is a heady and deep cut which finds Odd Nosdam in full introspection mode.

‘Here to Know’ recalls the work of Patrick Cowley in his best downtown ultra slow swinging funk suit, or the more obvious nods to John Carpenter’s Assault on Precinct 13 OST. However, this is far from a straight up ode to creeping machine funk - Nosdam’s injection of energetic, pulsing synth stabs move the piece into a more surreal territory, creating a masterful and experimental injection of life and colour into an otherwise smoked out landscape.

“Where I found myself when Where To Now? reached out - asking if I'd consider a vinyl release with the label - was over in Barcelona spending time with loved ones at my family's apartment in the district of Sant Gervasi.

After my initial contact with WTN?, I ventured north to Cadaqués to visit Salvador Dalí's house in Port Lligat, where Gala & Dalí spent some 50 summers. While inspired asf touring the glorious property, I captured recordings from a looping video screening in an open air theater. These recordings became the foundation of Here To Know.

Sometimes there’s a break in the road. End Is Important was realized after re-watching the Jim Jarmusch film, Ghost Dog. Stealthy and evanescent, a familiar voice carries this slow-diver with a message to the world warped cruiser in all of us.” - Odd Nosdam

1979 Linda Williams gold from the Arista archives gets a much welcomed official, remastered reissue.

With an intro that does exactly as its title suggests, 'Elevate Our Minds' became a huge rare groove record in the mid to late '80s. Produced by the late, great Richard Evans who worked with the very best in the business, from Gene Chandler and Marlena Shaw, to Ramsey Lewis and Ahmad Jamal, it's supremely arranged, blending a Bossa Nova beat and trumpet trills with Linda's distinctly New York authenticity that comes through in the vocals. Like a trip to the blissful beaches of Rio whilst bringing a touch of the New York disco glam along for the ride. Exotic yet familiar, all in the same breath.

On the flip, 'City Living', a straight up New York disco killer - oozing with funk, dripping in brass blasts, off beat hats and spruced up synths, it's a primetime ode to the hustle and bustle of the city. Williams' glorious tones, assisted by a majestic troupe of backing singers, glisten alongside the classy drumming and polished bass badness that lays behind it.

A truly enigmatic character from the golden era of Jamaican roots music, Icho Candy is an artist that has, to me, always been shrouded in mystery. A devout rastafarian born with a gift for prophetic songwriting, Candy always writes in a way that is true to himself and his deep seated beliefs, regardless of the external pressures he endures as a veteran artist, an incredible feet for an independent artist with a career that spans fifty years.

First recording for the great Joe Gibbs and Jack Ruby in the late seventies, Icho’s big break in the industry came with the hit record “Captain Selassie”, a track that is widely considered to be one of the greatest rastafari anthems in dancehall. During this time Icho also recorded for labels such as Jah Life, Rockers International, Tesfa, Jah Shaka and many more. Like so many of the great artists in the eighties Icho recorded and toured in America for an extended period alongside Sugar Minott, Nicodemus, Nitty Gritty, King Kong before returning to Jamaica to record two amazing albums for the late Jah Shaka.

The A side of this latest seven inch gives us the classic writing style of Icho Candy. Pairing his lyrical depth with an early 70’s Phil Pratt style production. An eerie horns line meets the clean sharp, older school backing vocals provided by The Mighty Viceroys to create something magical, the type of record we thought we may have already heard on some scratchy 45 deep in a soundmans crate.

Yakka once again returns to the label on B side duties, providing another Tubby inspired voyage into dusty fx units and quick draw fades. The bassline increases, the vocal decreases but the vibe never ceases.

Welcome home Icho Candy

warehouse find !

4th Wave appeared on the Techno scene in the mid-90’s and like a comet shone blindingly before quickly passing rarely to be seen again.

Fortunately 2 glorious EP’s were left in its trailblazing wake; the Touched EP for Carl Craig’s Planet E label in 1995 and Attention Please for Kirk Degiorgio’s Op-Art offshoot label in 1996.

This release has been approved by Steve Paton - the producer behind 4th Wave - who wasn’t easy to track down. Lovingly remastered from the original first generation DAT masters, this EP adds a bonus track “Lounge Music” previously released on the Objet’s D’Art III Compilation and never before available on vinyl.

The music is classic golden-age UK Techno. Detroit influenced with a European twist - the original copies are scarce and only available for collectors prices on the used market. This re-issue makes all four 4th Wave Op-Art tracks available to a new generation and collectors alike.

Selected Songs 1997-2003 compiles some of the finest moments in the recording history of Hydroplane, the Melbourne-based indie-pop three-piece that operated alongside The Cat’s Miaow through the second half of the nineties. It’s the third release in what feels, now, like a loosely planned series by World Of Echo, documenting the music made by this group of friends in Melbourne sharehouses (The Cat’s Miaow’s Songs ’94-’98, 2022), or in the case of The Shapiros (Gone By Fall, 2023), while traversing the International Pop Underground.

Hydroplane would be familiar to anyone already following these breadcrumb trails – Andrew Withycombe, Bart Cummings and Kerrie Bolton were the group’s core, all members of The Cat’s Miaow. With Cat’s Miaow drummer Cameron Smith itinerant, having moved to London, the trio used this opportunity to expand their music. It’s a subtle, but important shift. If The Cat’s Miaow was about the perfect, minimalist, two-minute pop song, Hydroplane’s music was far more open-ended, embracing the loops and drones, sampled house-y shuffle beats, the burbling of a Roland Jupiter-4 synth, all of which the trio joined, effortlessly, to their endless capacity for moving, elegant melodicism.

They may have only planned to release one seven-inch single, but the sound Hydroplane created was so bewitching, so compelling, that the project’s lifespan ran for around half a decade, and they ended up releasing three albums, including a self-titled debut recently reissued by Efficient Space, and seven singles. There are all kinds of compelling things happening in the music compiled here – the hazy repetition of the gentler side of Krautrock is in here, somewhere, which also suggests Stereolab at their most intimate and disarmed; the gently drifting guitars, gauzy and oneiric, set the songs adrift and floating, each one lost in its own imagined, distracted world. Songs like “The Love You Bring” set indistinct tonal floats across dance rhythms, in a way not quite heard since My Bloody Valentine’s “Instrumental” – but with the added gift of Bolton’s gorgeous voice.

This loose coalition with dance music, and the quiet experimentalism at the heart of Hydroplane, also gestures towards peers like Hood, Acetate Zero and Other People’s Children, and releases on renegade labels like Wurlitzer Jukebox and Enraptured. Like those groups and labels, The Cat’s Miaow were reconciling independent pop music’s past – sweet melody and melancholy, chiming and droning guitars – with the futures promised by DIY electronics and nascent digitalia, the interface of indie and IDM that led to some of the underground’s most blissful, texturally swoonsome music. All that is here, but also, the poise of the melodies is pure Cat’s Miaow, though, with Bolton’s voice sailing, pacifically, over some of the most pared-down, gorgeous music made during their decade.

It was a time, too, when such music could make waves – “We Crossed The Atlantic”, one of their early singles, was picked up by John Peel, who played it repeatedly on his legendary radio show, the song reaching #13 on his 1997 Festive 50. That the song itself was a cover of a tune by 1960s Australian beatnik-pop-poet Pip Proud felt even more perfect – a group of outsiders paying tribute to another outsider, played on the radio one of the few broadcasters brave and human enough to take a chance on this music. But it was a time where everything was up for grabs, and genres were flowing into each other: folk songs went drone; indie re-discovered noise; ambient pop floated, again, out onto the dancefloor. And while they may have been sequestered away in Melbourne, Australia, Hydroplane felt core to that scene, a quietly driving force.

Compiling material from across their brief but mercurial career, this double album perfectly captures the magic and mystery of Hydroplane’s dreamlike, perfect pop songs.

Monsieur Dimitri from Paris works his magic on Casbah 73's organic disco grooves with a remix treatment that surpasses all expectations.

'To Be Free' and 'Doing Our Own Thing' had a fantastic response when released on 12", at the end of 2019. It received wide support from people in the know like Red Greg, Danny Krivit, Folamour, Soul Clap, Kenny Dope and many others. The first pressing quickly sold out and the tracks were sounding strong on discerning dancefloors until, well, "The Thing" hit and everything stopped.

Despite this, the record has continued to grow by word of mouth, and so we thought it would be wonderful to have a 7" version with an edit or even a remix of the jazzy funky disco banger 'Doing Our Own Thing'. No one better than Dimitri from Paris for the job, one of the DJs who happened to tell us he loved the track. His two-part edit of 'Doing Our Own Thing' is a bomb that will make people dance for years to come.

Clear Vinyl So Far…The Best Of brings together the cream of Sinead O’Connor’s four album releases on the Chrysalis label.

Originally released in 1997, it features the Number 1 worldwide hit “Nothing Compares 2 U” as well as her early singles “Troy” and “Mandinka”, it showcases Sinead’s enormous talent and fearless uncompromising style.

This is the very first time that this album has appeared on vinyl, and is being released to coincide with National Album Day in the UK, with the emphasis on female artists.

The album is presented in a 5mm sleeve and includes the tracks “Success Has Made A Failure Of Our Home”, as well as “Heroine” and “Just Like U Said It Would B” which were previously only available on the US version. This is pressed on 2 x clear vinyl.

Following a string of releases from Future Times to Opal Tapes, US producer Huerco S. takes on the full-length format for NY based Mexican Summer Records. Such releases and a hectic tour of DJ sets has enabled him to carve out a reputation for high quality, lo-fi recordings, and for a producer keen on exploring a broad aural palette, there’s every chance to push the boundaries on new LP ‘Colonial Patterns’.

Whoop whoop, it’s the sound of the inimitable KRS One’s ‘Sound of da Police’ and the mind bogglingly clever ‘Hip Hop vs Rap’, reissued here for the first time ever on 7 inch vinyl, housed in an original artwork picture sleeve this is a must have for anyone in the know.

First up ‘Sound of da Police’. A song that spoke out against the long running history of the Black community experiencing police brutality, violence and racism at the hands of those that were meant to be protecting them. The hard-hitting words from KRS touch on the history of slavery and it’s manifestation into systemic racism throughout the ages since.

“Change your attitude, change your plan
There could never really be justice on stolen land”

Couple that with a rough breakbeat, chopped through the MPC alongside choice funk samples and that legendary police siren ‘Whoop, Whoop’ and you had a certified golden era rap classic that ignited the fire in the belly of many across the globe.

On the flip, ‘Hip Hop Vs Rap’. A bumping hip hop loop lays the foundation for KRS to work his genius melding all manner of classic hip hop lines that are the perfect ammunition to cut up on the decks and results in a flow that certifies that hip hop is the culture that you live and breathe.

“Rap is something you do,
Hip-Hop is something you live!”

It’s a true, headsy b-boy gem which deserves a place in every collection.

Vargmal Records continues to explore immersive, thought-provoking techno with an abstract spirit by presenting Corners EP from the emergent collaborative UK project Terrain. The Kosovo-based label was launched in 2022 with a considered balance of classic and contemporary techno, featuring Italian techno pioneer Leo Anibaldi and commissioning attendant remixes by contemporary Italian maestro Donato Dozzy.

Continuing the label's embrace of subliminal sounds for adventurous dance floors, Terrain deliver four tracks of snaking, subtle rhythms pivoting away from rigid structures towards a more fluid kind of techno. It's a sound the duo of Joe Baker and Voytek Stanley channeled on their debut release and they expand on the principles from that record in superlative style on Corners.

The EP opens up with the weighted pressure of 'Blind Spot', a dense workout pivoting on a fractured kick punching out underneath interwoven sheets of texture and atmosphere. 'Vintage' develops this theme with dubby chord washes which bloom out over the fine detail of the deceptively complex beat configuration. 'Corners' meanwhile adjusts the temperature from cooly meditative to subtly fierce accents Terrain edge into their sound.

It's an elegant fusion that remains at ease with the overall mood of the EP, but a noticeable shift in energy for the B side. 'Singularity' completes the picture with additional input from Localhost, welcoming layers of noisy melodics which sit comfortably on top of Terrain's dubby pulses. More open and searching than the introspection which holds sway elsewhere, it's a tonal shift that opens the sound of Terrain out and brings a sense of balance to their assured second record.

Coke Bottle Clear Vinyl. High Vis were formed in 2016 from the ashes of some of the UK's best hardcore bands. Gild-toothed frontman Graham Sayle's anguished lyrics about life in working class Britain were familiar to fans of Tremors' full-throttle thrash, but alongside his former bandmate Edward `Ski' Harper and veterans of Dirty Money, DiE and The Smear, High Vis sought to transform that energy and intensity into something entirely new.Like scene-mates Chubby and the Gang did by pulling in unlikely source material from classic doo-wop or Micromoon have by combining everything from psychedelia and metal into their high potency mix, High Vis' 2019 debut album, No Sense No Feeling showed the band were never going to be constrained by any sense of genre rules or regulations. Its claustrophobic rattle bore traces of Joy Division, Bauhaus, Crisis, The Cure and Gang Of Four lurking in the shadows. 2020's synth-driven EP, Society Exists, was further evidence of the band's restless creative MO.High Vis' second album Blending sees them open their viewfinder wider than ever before. Alongside longstanding favourites such as Fugazi and Echo and The Bunnymen; Ride and even Flock Of Seagulls were shared reference points as the band worked on the album together.From the anthemic sweep of opener "Talk For Hours", through the title track's psychedelic swirl and "Fever Dream"'s baggy groove, it sees High Vis' sound blossoming into something with an unlimited richness. The hazy drift of "Shame" or the melodic jangle of "Trauma Bonds" may take them until uncharted waters, but they still have all the power and bite that made No Sense No Feeling so remarkable.Lyrically, the album represents another leap forward too. Talking frankly about poverty, class politics, and the challenges of everyday life, Sayle's lyrics have always addressed the downtrodden and discarded communities across Britain slipping below the waterline. This time around, Sayle's lost not of that social consciousness, but he's looked at himself and his own emotional landscape, and in the process created something that feels more universal, that reaches a hand-out to people and ultimately gives a message of hope."To me, the lyrics are less selfish," reflects Sayle. "In the past, I couldn't see past whatever was going on with me. It's about accepting things and being open to conversations and learning to talk to people rather than just thinking that we're all doomed."The song "Talk for Hours" is a prime example of that. Born out of an afternoon meeting up with an old group of mates "repeating the same thing and not actually learning anything about each other" it offers to actually break the cycle and to listen and speak frankly about shared feelings and experiences. "Trauma Bonds", meanwhile, traces the broken lines of those living in lost communities, but ultimately realises that despite our shared scars, there's still hope to move on to a better future."The message of the album is you're not who you're told you are," Sayle summarises. "You're not your class background. Whatever it is, you're not that. Don't resign yourself to thinking you can't be this and you can't be that."It's a vitally important message right now, and one that could be the motto for not only Blending, but for High Vis themselves.

Happy to see the 'Doing It In Lagos' compilation from 2016 on Soundway being repressed. It's one of the few comps out there that put together so many amazing boogie tracks hailing from Nigeria. Nowadays it's really tough to find good condition copies of the original records, and if you do it will cost you a lot of cash too. This 3 LP with 7 inch bonus takes ((arguably) the standout tracks from the LP's and to create this 20 track opus. It's safe to say that it has a great bang for buck ratio if you like that infectious boogie sound infused with catchy synths, bumpin' basslines and often killer drumcomputer programming.

If you are new to these sounds it's a perfect intro into the works by these very talented musicians that had a high output during the end of 70's and 80's, we encourage you to dive deeper into material from the hands of for example Jake Sollo, Dizzy K. Falola, Tony Okoroji, Odion Iruoje, Nkono Teles. You will find many more names along the way..

Compliments for Uchenna Ikonne who co-compiled this and accompanied the release with liner notes.

The free folk/jazz sound of modern Los Angeles. Featuring a heavy bunch of musicians and vocalists including Moor Mother.

"Fearlessly Accessing the Divine Spirit From Here on Out" is the vinyl debut from pianist, composer, and producer Diego Gaeta. He has previously released projects as Club Diego and with the trio Human Error Club (whose members Mekala Session and Jesse Justice helped produce this record). He has quickly become a fixture in a number of Los Angeles musical environments, working with Lionmilk, The Pan Afrikan Peoples Arkestra, Carlos Niño, Black Nile among others. This album is a synthesis of these many LA environments, and carries chamber, jazz, ambient, and folk influences, ultimately giving it an uncategorizable feel similar to works by Arthur Verocai or David Axelrod.

Gaeta recorded the initial ideas for the album by himself after experiencing a burst of creativity during the lockdown of 2020, in the aftermath of a season of protests in Los Angeles, on a piano at his home in El Sereno. "I was constantly not in tune with myself, always awaiting outrage and tragedy in a very unstable world. However, hitting the streets in support of various ongoing pandemic community actions felt necessary and it marked a point in time that ushered in large societal changes. The weight of that era made me feel allergic to making art at the time. All of these ideas came after that period, expressing my reflections subconsciously. I remember that the ideas came in a short amount of time, and then they developed."

Once he had created the tracks as Ableton sessions, he realized the gravity and context of how he was processing his ideas so he, as he puts it, "felt like taking them outside the hands of midi and into the hands of friends." Gaeta was able to assemble his dream band, which ended up being a 9-piece ensemble, or a nonet. "I felt that at some point I was channeling the geometrical balance of that nonet...it's almost as if I had a sextet and then the three of the sextet that's not the rhythm section were doubled. It's a really dense sextet, that's how I see it."

The recording process began the following summer in June 2021 as the musicians were all adjusting to the newfound dynamic of getting tested for COVID, waiting a few days, and then meeting up to record. "We were eating Indian food, some of us were smoking, it was a nice memory, but I felt a little stressed, because I was the bandleader, and I felt the emotional weight of my music."

The title track and single, featuring vocals by Jimetta Rose, begins with a speech by Gaeta delivered when playing with Black Nile in 2019 at the Levitt Amphitheatre in MacArthur park. Gaeta provides the following account: "Even though it was in 2019, socio-political tensions and issues were at the forefront for me at that time. I wrote a speech that was intended to be critical of the US but it ended up becoming a collage inspired by different women that had messages of freedom that spoke to me the most. I quoted Nina Simone and Georgia Anne Muldrow, it wasn't something that I read but something that she said "kicking it with consciousness and style" that phrase stuck with me, so I used it in that speech. Although critical, the speech had a positive feeling to it, and it was hopeful. I gave that speech while fireworks were going off."

Moor Mother & Zeroh are found on their respective tracks, Memory Screen & Eccolo - both delivering a distinct, commanding vocal performance. Low Leaf colors the track Soft Spot with harp, a beautiful ballad nestled in the center of the album. Other players include Gregory Uhlmann on guitar, Jon Kaye on violin, Devin Daniels on alto saxophone, Caleb Buchanan on bass, Dante Luna on vibraphone, Patrick Behnke on viola, Bryan Baker on tenor saxophone/flute, and Mekala Session on drums.

"I’d like for us tonight to embody a freedom oriented life. Freedom isn’t just a dream, it’s a place we must all arrive at together, as one by one the people of the Earth help each other to be Free of power, hate, and insecurities. Let’s kick it with consciousness and style. Can y’all dig that? YEAH. I can too. So now we’d like to present to you a spiritual transmission I like to call: 'Fearlessly Accessing the Divine Spirit of Freedom From Here On Out.' YEAH" - Diego Gaeta

Life is nothing without love. Love is the force that drives our journey in life. Life is love and love is life.”

UK jazz master Chip Wickham follows last year’s brilliant soulful long-player Cloud 10 with a deftly crafted, reflective EP of beautiful spiritual jazz sounds influenced by the soulful sounds of Yusef Lateef. Chip’s music has always drawn from a broad world of influences from hip-hop to Roland Kirk and from classic funk to the classic ‘60s Brit-Jazz sound of Tubby Hayes. But Love & Life finds him foregrounding his wonderful flute playing and producing a perfect fourtracker of reflective, peaceful jazz that elevates and inspires as well as a trademark slice of boppish soul jazz – the jaunty Space Walk.

Elsewhere lead single Love & Life is a joyous jazz waltz with an uplifting, bouncing groove and Slow Down Look Around is introspective and intimate, featuring Chip’s signature flute with a beautiful solo from UK trumpeter Malcolm Strachan. Chip explains that the track presents “a big lesson for us to learn as the world changes around us with such speed. The technology changes but our human needs remain the same: peace, tranquillity and time to think.”

Life is nothing without love. Love is the force that drives our journey in life. Life is love and love is life.”

UK jazz master Chip Wickham follows last year’s brilliant soulful long-player Cloud 10 with a deftly crafted, reflective EP of beautiful spiritual jazz sounds influenced by the soulful sounds of Yusef Lateef. Chip’s music has always drawn from a broad world of influences from hip-hop to Roland Kirk and from classic funk to the classic ‘60s Brit-Jazz sound of Tubby Hayes. But Love & Life finds him foregrounding his wonderful flute playing and producing a perfect fourtracker of reflective, peaceful jazz that elevates and inspires as well as a trademark slice of boppish soul jazz – the jaunty Space Walk.

Elsewhere lead single Love & Life is a joyous jazz waltz with an uplifting, bouncing groove and Slow Down Look Around is introspective and intimate, featuring Chip’s signature flute with a beautiful solo from UK trumpeter Malcolm Strachan. Chip explains that the track presents “a big lesson for us to learn as the world changes around us with such speed. The technology changes but our human needs remain the same: peace, tranquillity and time to think.”

2024 BLACK VINYL REPRESS.
One can hardly imagine the genre-busting, culture-crossing musical magic of Outkast, Prince, Erykah Badu, Rick James, The Roots, or even the early Red Hot Chili Peppers without the influence of R&B pioneer Betty Davis. Her style of raw and revelatory punk-funk defies any notions that women can’t be visionaries in the worlds of rock and pop. In recent years, rappers from Ice Cube to Talib Kweli to Ludacris have rhymed over her intensely strong but sensual music.

There is one testimonial about Betty Davis that is universal: she was a woman ahead of her time. In our contemporary moment, this may not be as self-evident as it was thirty years ago – we live in an age that’s been profoundly changed by flamboyant flaunting of female sexuality: from Parlet to Madonna, Lil Kim to Kelis. Yet, back in 1973 when Betty Davis first showed up in her silver go-go boots, dazzling smile and towering Afro, who could you possibly have compared her to? Marva Whitney had the voice but not the independence. Labelle wouldn’t get sexy with their “Lady Marmalade” for another year while Millie Jackson wasn’t “Feelin’ Bitchy” until 1977. Even Tina Turner, the most obvious predecessor to Betty’s fierce style wasn’t completely out of Ike’s shadow until later in the decade.

Ms. Davis’s unique story, still sadly mostly unknown, is unlike any other in popular music. Betty wrote the song “Uptown” for the Chambers Brothers before marrying Miles Davis in the late ‘60s, influencing him with psychedelic rock, and introducing him to Jimi Hendrix — personally inspiring the classic album ’Bitches Brew.’

But her songwriting ability was way ahead of its time as well. Betty not only wrote every song she ever recorded and produced every album after her first, but the young woman penned the tunes that got The Commodores signed to Motown. The Detroit label soon came calling, pitching a Motown songwriting deal, which Betty turned down. Motown wanted to own everything. Heading to the UK, Marc Bolan of T. Rex urged the creative dynamo to start writing for herself. A common thread throughout Betty’s career would be her unbending Do-It-Yourself ethic, which made her quickly turn down anyone who didn’t fit with the vision. She would eventually say no to Eric Clapton as her album producer, seeing him as too banal.

In 1973, Davis would finally kick off her cosmic career with an amazingly progressive hard funk and sweet soul self-titled debut. Davis showcased her fiercely unique talent and features such gems as “If I’m In Luck I Might Get Picked Up” and “Game Is My Middle Name.” The album Betty Davis was recorded with Sly & The Family Stone’s rhythm section, sharply produced by Sly Stone drummer Greg Errico, and featured backing vocals from Sylvester and the Pointer Sisters.

The tone always makes the music. But only those who actually make the sound An ancient-house-avantgarde dream has always been there since the legendary -Warehouse- days of Ron Hardy, to bring more sounds and tones constantly to an independent, repetitive development. And thus beyond the limits of an executive creative artist on the otherwise purely commercial sense what we call in common -beyond imagination-. -Raw Footage-, the latest album concoction of Chicago house legend Ron Trent (Prescription) on his new imprint -Electric Blue- works in the best sense of Stanislav Lem heroes Trurl & Klapauciusals, cruising like those two metal brains frantically invented by the universe of 4/4-Sounds to get insane tracks out of the new material matter located there, and put them together to brand new ones. This trackwerk varies as well as of course between classical Chi-Town to the context of contemporary, epic house dubs and lives in a perfidious manner from the interaction of various computer
modules that constantly spits out new and exciting interactions. In the end, the software sings only as digital output of great analog sounds, which may well be understood as a mocking voice to the majority of contemporary Homeboy wackiness formats.-Unpredictable- and less -cryptic- might fit here as a keyword excellent, where you kick out of the rough house plant a significant entertainment value must, without the need to posess necessarily the same nerves of steel. Anyone who has ever really wondered what House sound could be appropriate for a journey through the vastness of the universe is, gets there now at this point completely to his fullest expense. Trent 2012 and its tracks on this album reflect a lot about the revolutionary founder of -Spirit of music- from the mid-80s, who is recorded then as now but with inadequate slogans such as -light years ahead of its time-. For as
Trents body of work -Raw Footage- is also particularly scary genius material, although still of totally solid stress field and background from the musical spectrum between the Windy City and the Motor City engine bridled her.-But heres to the Future- For Sir Trent more than twenty years after -Altered States- and the relevant follow-ups, thats not really a problem!
Der Ton Macht immer die Musik. Nur wer macht eigentlich den Ton Ein uralter-House-Avantgarde-Traum war und ist es seit den legendären
:Warehouse: Tagen eines Ron Hardy, Sounds und Töne immer ständig neu zur selbstständigen, repetitiven Entfaltung zu bringen und somit die kreativen Grenzen des exekutiven Künstlers über die sonst im rein kommerziellen Sinne gängige Vorstellungskraft hinaus zu sprengen.
:Raw Footage:, das neueste Album-Machwerk von Chicago House-Legende Ron Trent (Prescription) auf seinem neuen Imprint :Electric Blue: kommt im besten Sinne der Stanislav Lem Heroen Trurl & Klapauciusals, und cruiost wie jene beiden Metallgehirne wie wahnsinnig durch das All der 4/4-Sounds, um aus dem dort befindlichen Materiematerial neue, wahnsinnige Tracks zu erfinden und zusammenzustellen. Dieses Trackwerk variert denn auch wie selbstverständlich zwischen dem klassischen Chi-Town-Kontext bis zu kontemporären, epischen House-Dubs, und lebt auf perfide Art
und Weise aus der Interaktion verschiedenster Computermodule, die dabei ständig neue aufregende Interaktionen ausspuckt. Am Ende singt eine digitale Software nur noch als Output großer analoger Sounds, die durchaus als Spottgesang auf den Großteil eitgenössischer Homeboy-Frickelei Formate verstanden werden dürfen.:Unberechenbar: und weniger kryptisch mag hier als Schlagwort vortrefflich passen, wo man dem rohen Housewerk ganz erheblichen Unterhaltungswert abgewinnen muss, ohne das man dazu unbedingt gleich Nerven wie Drahtseile benötigt. Wer sich je
eigentlich gefragt hat , welcher House-Sound so für eine Reise durch die endlosen Weiten des Universums angemessen sein könnte, kommt an dieser Stelle jetzt völlig(st) auf seine Kosten. Trent 2012 und seine Tracks reflektieren mit diesem Album zwar viel von dem revolutionären Gründerspirit einer Musik aus der Mitte der 80er-Jahre, die damals wie heute dennoch nur unzureichend mit Slogans wie ihrer Zeit um Lichtjahre voraus zu erfassen ist. Denn wie Trents Gesamtwerk ist eben auch :Raw Footage: insbesondere furchteinflößend genialer Stoff, wenngleich auch immer noch vom ganz und gar soliden Spannungsfeld und Background des musikalischen Spektrums zwischen der Windy und der Motor City her aufgezäumt. :But here's to the future: - Für Trent auch mehr als zwanzig Jahre nach :Altered States: und den einschlägigen follow-ups nicht wirklich ein Problem!

Straight outta Rockaway Beach, Queens, New York City, USA, THE WORLD, Prison is a state of mind, an experience, a loose collective, a band, a jam band and a bunch of psychedelic dudes who aren"t your average bunch of jambanders. All that, all at once, ALL THE TIME. You get what you"re dealing with here? No...you don"t. The only way to REALLY get it is to go to Prison -- and if you"re not from greater NYC and haven"t showed at any of the shows, here"s your best bet: their breakout album, Upstate. And whatta breakout! So high, you can"t get under it; so wide, you can"t get over it! How wide? Every song has two titles, that"s how wide. And almost everybody sings, like, all the time. That wide. Sure, you can break down the numbers -- five guys, five songs and four sides of vinyl in one gatefold sleeve -- but that won"t get you Upstate, either. Prison is the sound of everybody in the room figuring out where to go, individually and collectively. As they go through it, the meaning changes, the destination changes, the words mean something different. It"s meaning and no meaning, rising and falling, sinking and flying on the back of something massive cacophonized by three guitars, four vocals, a bass and drums. A lot of information bouncing around and enough time to really get you out of yourself! Take a look at the titles: each one a dichotomous inquest that the assembled Prison-ers march upon with fervor, glee, vengeance -- a whole spectrum of feels and perspectives woven into the jam for you to see. The Prison population changes with the seasons, and during the season this album was recorded, Sarim Al-Rawi, Mike Fellows, Sam Jayne, Matt Lilly and Paul Major were in Prison. Sarim you might know from Liquor Store, Mike"s made a bunch of scenes and records as Mighty Flashlight, Sam, who passed away in 2020 (R.I.P., brother) was in Love as Laughter -- and Paul Major you know from Endless Boogie, who Matt had roadied for -- and despite being "just a skateboarder who loves music" with no previous experience on the drums, he and Sarim inaugurated the Prison experience, like, seven years ago. Since then, it just fell together and it keeps doing so. A free thing called Prison.

Gatefold / Printed Inner Sleeves / Aqua Vinyl

Das 10. Album von ASKING ALEXANDRIA erscheint im Jahr ihres 15. jährigen Bandjubiläums. Es ist eine Art Retrospektive, bei der die Band ihre früheren Veröffentlichungen wieder aufgreift und sich von den beliebtesten und erfolgreichsten Songs ihrer Diskografie inspirieren lässt. "WHERE DO WE GO FROM HERE?" enthält einige der härtesten und lautesten Songs, die die britische Hard-Rock Band im Laufe ihrer Karriere veröffentlicht hat. Im Rahmen der Albumkampagne werden drei Tracks inkl. der neuen Radio Single "Psycho" vorab veröffentlicht, während die Band in Großbritannien, Europa und USA auf Tour sein wird. Mit über 2 Mio. Spotify-Followern, 4 RIAA Gold-zertifizierten Singles, 6 Alben in den Billboard Top200 Charts (davon zwei #1 Alben) und den jüngsten Erfolgen am Radio ("Alone Again" war die erste #1 Rock-Radio-Single der Band) sind ASKING ALEXANDRIA für eine weitere erfolgreiche Kampagne im Jahr 2023 gerüstet. "WHERE DO WE GO FROM HERE?" erscheint am 25. August und wird Digital, als farbiges Vinyl, auf CD und auf Kassette erhältlich sein.