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In the past years, the multi-instrumentalist, composer, producer and music enthusiast Jeff Özdemir had been focusing on organising the Live-Mixtape series in Berlin, inviting numerous artists to join him on stage for every single event. However, the year 2020 put an end to this for all the painfully obvious and obviously painful reasons. Undeterred, he instead put together the third instalment of the »Jeff Özdemir & Friends« series, working with singers, musicians and groups such as Knarf Rellöm & DJ Patex, F.S. Blumm, Joanna Gemma Auguri, Elke Brauweiler and Elmer Kussiac for an 18-track … Now, is this a compilation or an artist album? Well, why just either this or that when it can just be both at once? This is »Jeff Özdemir & Friends Vol. 3« after all, emphasis on »&«.

Released on Karaoke Kalk like its two predecessors from the years 2015 and 2017, respectively, »Jeff Özdemir & Friends Vol. 3« sees the man behind Kreuzberg’s 33rpm record store and the 33rpm Records label showcase his qualities as a people remixer, songwriter and versatile musician. He put together a collection of groovy tunes picking up on funk and afrobeat rhythms, introspective ballads, a musically channeled punk attitude, shoegaze sentiments, spoken word passages, drones, glockenspiel sounds, seriously fun experimentation and much more. Just like on the cover artwork - courtesy of Marion Eichmann, Özdemir’s favourite visual artist - everything here seems to discreetly exist for itself while being tightly connected to everything else at same time.

While artists like Ertan Doğancı, Désolé Léo, eng°n, F.S. Blumm and Zap have been long-term collaborators of Özdemir and were featured on previous instalments of the »Jeff Özdemir & Friends« series, new faces and forces also enter the mix. The melancholic »Love Letters« for example marks the first (though hopefully not last) collaboration with singer Joanna Gemm Auguri, while Knarf Rellöm & DJ Patex’s appearance has been dreamt of collectively but hasn’t been fully realised until now.

Whether it’s Désolé Léo’s French crooner soul, the lo-fi synth pop song »Bored« featuring former Commercial Breakup singer Elke Brauweiler or the many different sounds and styles presented under the name Jeff Özdemir: no decision is ever made between either that or this musical direction, but all are being joyfully enjoyed together. Thus, throughout its 70 minutes, the stylistic diversity of »Jeff Özdemir & Friends Vol. 3« does not once border on randomness. Instead, these sometimes very different songs are marked by a shared atmosphere - a direct result of these very different musicians approaching their studio time together less as a chance to make music but more of a chance to carefully listen to and interact with each other.

Just like you’d expect it from someone deeply connected with the local music community who also happens to run a record store, Özdemir is also the kind of person who’ll hand you the worn copy of a record he has just fished out from the bargain bin because he knows about its potential to change your life. The contributions by Vackrow (»Kleistpark«), Gebrüder Teichmann’s old band BeigeGT (»Disco«), and Otto von Bismarck (»Zu viele Erinnerungen«, produced by The Whitest Boy Alive’s Daniel Nentwig) do not even feature Özdemir, but are simply musical pearls that were (almost) lost in the shuffle of music history and unearthed for this very special occasion. That’s just what friends do, don’t they?

Question everything. Consider your sources. Be wary of ulterior motives, insidious media narratives and even your own unconscious bias. Trust sparingly and try to make smart, informed choices. As the world slides further into ruin, it’s more important than ever to be vigilant and fight back. Luckily, Hacktivist are back to help cut through the noise and bullshit, tooled-up and ready to attack with renewed vigour and reinforced ranks. With Jot Maxi and J. Hurley now sharing the vocal and lyrical load, drummer Rich Hawking and bassist Josh Gurner bringing the beats and rhythms, and guitarist and production don James Hewitt fleshing out the group’s genre-fluid muscle, new album Hyperdialect arrives less like a mission statement and more as a flaming musical Molotov, declaring all-out war. “Hyperdialect isn’t an album for people to just casually listen to,” J insists, “we’ve taken things to the next level, which I didn’t even think was possible. We spit the truth. *We are the truth.*” In 2016, when Hacktivist initially set sights on their enemies with debut album Outside The Box, the world wasn’t fully equipped to heed their warnings and pay attention to its timely rallying cries. They return into a very different one, however – a world that’s sadly now all-too-finely-attuned to the horrors they first forecasted four years ago. “It’s becoming clear that we are on the brink of some type of revolution,” says Jot, with no small dose of conviction or optimism. “Hacktivist are here to bring truth and positivity – the silver lining of a society clouded in poisonous fear. Hacktivist also represents a voice that isn’t afraid of saying what needs to be said. We’re already living in the future. We have the choice to either be shaped by it or to stand up and shape it ourselves. Which path will you take?” It was with those battle lines clearly drawn and ambitions duly set that Hacktivist entered into the creation of Hyperdialect. Starting almost two years ago and developing on the acerbic sonic filth introduced by 2019 singles Reprogram and Dogs Of War, the five-piece felt fired up by their new working dynamic and the collective process involved, with each member actively encouraged to contribute ideas until the best outcome was reached. Unusually, for such a group of bloody-minded insurrectionists, this democratic approach worked wonders – a testament to how much they were all on the same page on these 12 tracks.

"On June 18, Zappa’s historic, final American show will be released for the first time as the new live album, Zappa ’88: The Last U.S. Show via Zappa Records/UMe. The first posthumous archival release from the ‘88 touring band, the album features 29 unreleased performances including two additional performances from the same tour: Zappa’s wild interpretations of the Allman Brothers Band’s “Whipping Post” from the March 16 show in Providence, R.I. and Led Zeppelin’s “Stairway To Heaven” from the March 23 Towson, Md. show. The record is also notable for containing the first official release of the much talked about “The Beatles Medley.”
Zappa ’88: The Last U.S. Show will be released on 2 CD or as a 4LP 180-gram vinyl box. Fully authorized by the Zappa Trust and produced by Ahmet Zappa and Zappa Vaultmeister Joe Travers, the recordings have been newly mixed by Craig Parker Adams in 2020 from the 48-track digital master tapes. The shows were recorded using two Sony 3324 DASH PCM 24 track tape recorders synced together using a Lynx Time Code Module, thus providing 48 track recording capabilities. "

Reissue for KK’s third album, originally issued on the TWINS label in 1993. FULLY REMASTERED edition featuring one bonus track, full color poster by ALTEAU and double-sided lyric insert. Limited to 500 copies.

Reissue for KK’s third album, originally issued on the TWINS label in 1993. FULLY REMASTERED edition featuring one bonus track, full color poster by ALTEAU and double-sided lyric insert. Limited to 500 copies.

I tend to exist in the darker parts of the psyche, Jim Ward admits. “That’s where I’ve always been.” And yet what makes the musician so unique and downright compelling is how exactly at the moment when the world joins him in the darkness — take, for example, the ultra-challenging year that was 2020— it’s then Ward is able to claw his way back into the light. “All I was doing was basically meditating with a guitar,” Ward says of how every night during the pandemic,armed with a guitar as well as a bit of time and purpose, this prolific musician was able to churn out several riotous riffs that ultimately transformed into one of his most personal and profound albums to date. “I’ve always used music as an outlet for anxiety and frustration,” notes Ward, who has played in a slew of monumental bands, from the iconic post-hardcore band At The Drive-In to Sparta, aswell his alt-country project, Sleepercar. In fact, it’s this healing power of music, Ward offers, that led him to Daggers, the lauded musician’s new solo record set for release in 2021 via Dine Alone. “When my world has upheaval, it becomes about doing the work in front of me,” he adds. “And this record was pure joy: talking to my friends on the phone, swapping ideas with them, going into my head for a while, coming out with something.” So while Daggers is officially credited as a solo work, and Ward never entered the room with any of his collaborators due to the COVID-19 pandemic, he’s effusive in his praise for them: notably the twin team of Incubus bassist Ben Kenney and Thursday drummer Tucker Rule, both of whom took Ward’s guitar riffs and helped propel them into fully fleshed-out songs. For Fans of: Sparta, At The Drive-In, The Mars Volta, Thursday, Incubus, Frank Eiro, Bear vs Shark, Glassjaw, ...Trail of Dead, Deftones, Jimmy Eat World, Taking Back Sunday, Queens of the Stone Age, Thrice, The Smashing Pumpkins Key marketing highlights: - Jim Ward is the lead singer and guitarist of Sparta and co-founder of post-hardcore band At The Drive-In. - Ward has toured with the likes of My Chemical Romance, Deftones, mewithoutyou and many more - Ward has received acclaim from Pitchfork, Consequence of Sound, Brooklyn Vegan, Alternative Press, Guitar World, Billboard and more. - Ward has performed on the late night TV programs of Conan and David Letterman. - Ben Kinney From Incubus playing bass on record and Tucker Rule from Thursday playing drums on record

Amidst the crescendo of their celebrated career-which includes six full-length albums, headlining tours, major festival appearances, extensive international road and recording work with Neil Young, and the acclaim that flowed from their contribution to Lady Gaga and Bradley Cooper's, A Star Is Born-instinctively the band wanted to reach for something higher. Enter renowned producer Dave Cobb (Chris Stapleton, Jason Isbell, Brandi Carlile), whose collaborative, spontaneous approach has helped some of Nashville's most talented, flourishing artists make the best of their particular magic. A Few Stars Apart, the new LP from Lukas Nelson & Promise of the Real, was recorded over three immersive weeks and the upshot is unmistakable: a sound that's considered, spacious, and beautifully lush, with Cobb's masterful production every note is in service of the song. While the band's constant work schedule has usually necessitated recording albums in intermittent sessions that stretched over many months, they now found themselves with a rare opportunity to go into the studio and record their songs at a somewhat relaxed pace. It was the ideal setting to allow Lukas' expansive, soulful songwriting, the album's dazzling vocal performances, and the band's exquisite playing, to fully shine. Reviews confirmed in MOJO, The Line Of Best Fit and Classic Rock. BBCR2 play on Bob Harris already.

A collection of songs / mixtape from Sunun + Jiinx - made up of all their own material, a combination of fully realised songs (some of which you might recognise from earlier outings on BKV, Idle Hands, Euphonic Rhythms etc) as well as unheard demos / ideas and alternate versions. The mix was compiled by Jiinx over a period of nightshifts - sat in his (now cubed) car with the computer running through the stereo. You can hear the dry eyes as the tape moves through sleep deprived jungle to new-age and ambient interludes - with voices (including Sunun's own) moving in and out like real world sounds intruding into a dream (there's also a cameo from Jiinx's daughter). The tape operates in the spaces between waking and sleeping and night and day - and manages to walk the line between euphoric rave afterglow and sleepless sickness and disorientation. Definitely one for the shift workers / ravers / insomniacs. Dedicated to the roofless Beemer.

First Word Records is extremely proud to welcome back Children of Zeus with their sophomore album, 'Balance'.

Following the release of their debut album 'Travel Light' in 2018 (which featured in numerous 'Album of the Year' lists), Tyler Daley and Konny Kon spent the next two years extensively touring the UK, Europe, Australia and South Africa.

With shows on ice over the last 12 months, Children of Zeus took the time to mature their sound; 'Balance' is 50 minutes of future-classic British soul music encompassing hip hop, neo-soul, gospel and r&b. Konny's laidback flow once again merges with Tyler's unmistakable buttery vocals across a set of bass-heavy backdrops and smoothed-out keys, taking the blueprint from their debut and evolving it into a deeper, more-refined sound.

As with previous material, the album is largely produced by the duo themselves, though we also see the return of Grammy-winner Beat Butcha, whose previous production credits include Jay Z, Beyonce, Nipsey Hussle, & Griselda (one of Butcha's productions graces first single 'No Love Song'). Title track 'Balance' comes from upcoming producer & Soulection regular, cay caleb and also features the only vocal feature on the album, from rising UK soul talents Akemi Fox and Georgie Sweet.

The Children of Zeus journey began with a mutual love of 90s Manchester pirate radio; consuming hip hop and beats, r&b and street soul, lovers rock and dancehall, garage and bass music. Then followed decades of performing, creating and collaborating in different guises. Over the past few years, the hip hop soul duo have garnered props far and wide; from Jazzie B to Jazzy Jeff. They've done performances for the likes of Soulection and BBC, in addition to hosting their monthly NTS Radio show and collaborating with artists like Black Milk and Goldie.

From travelling light, to travelling nowhere, it's been a time where we've all had to reflect on the lives we lead. This album is about equilibrium; walking the thin line of life and striving to keep your footing firm at all times, ever pushing forward. Balancing the rough with the smooth and the work with the play.

The Children of Zeus sound is now fully grown. It's time to bring 'Balance' into the universe. This is unashamedly big people music to be played out of big speakers. The definitive sound of UK street soul in 2021. The story continues..

What began as a challenge to fight creative stagnation, soon grew into a fully-fledged audio-visual project for Belgian DJ, producer and live artist, Biesmans. Setting himself the goal of making three tracks per week for a month, he re-scored ‘80s pop culture moments – including films, TV shows and games, resulting in a brilliant 12-track work encompassing new wave, indie, dark wave, electro and
disco.
Moving his modular-heavy studio to Berlin in 2014, the ensuring years saw Joris Biesmans drop heat on Correspondent, Disco Halal, AEON, 17 Steps and Future Disco. He’s been a core member of Watergate
family since his arrival in the capital, working as the club’s sound technician. He made his debut on Watergate Records in 2020 with the well-received ‘Electric Love’ EP.
The ‘Planes, Trains & Automobiles’ album took shape in April last year as the lockdown was starting to take grip and Biesmans needed a positive distraction. Ensconced in the music of his childhood and ‘80s
pop cultural fodder, he locked himself in his studio and set about creating, later digging through archival footage to match the music. Biesmans, who previously undertook work scoring films, was so absorbed by the process, he’d sometimes do it in reverse; allowing the vintage media be the guide. Throughout the period, the clips were shared each Monday, Wednesday and Friday on his Instagram, building up a firm following from fans, friends and colleagues. And thus, the project found its wings, developing into an album.
Throughout the dozen tracks, highlights are plentiful; from the neon ambience of the Kraftwerk-inspired ‘ ‘Cosmic Cruise’, which later accompanied a smoky scene between Tom Cruise and Rebecca de Mornay in ‘Risky Business’; the sun-soaked, retro-pop title track, which became the album’s first single, and was paired with a jubilant dance scene from the Breakfast Club; ‘Cold Void’, the album’s second single, which saw Biesmans link up with fellow Belgians Boi Wonder and Tom the Bomb for a dark wave creation built around a heavy guitar solo and set against a backdrop of Blade Runner clips; and the silky electro funk of ‘Another World’ that soundtracks scenes from Miami Vice.
Biesmans explains about ‘Planes, Trains and Automobiles’: “I started this as a lockdown challenge, in which I would make three tracks per week for a month, alongside providing videos where I re-scored
footage of 80s pop culture moments. Inspired by the movie of the same name, I picked the title because it ties to the theme of ‘mobility’. Our society is based upon being mobile and when Corona hit us, we
could taste a bit of being immobile. As an artist that meant, I could focus on making music 100%. No distractions, no weekend gigs, no parties just making music. This new lifestyle resulted in my first album.
A journey into the past but looking forward to the future, experimenting with other genres and techniques to make a real album that goes beyond club music.”

Demon Records presents the narrated TV soundtrack of a partially ‘lost’ six-part adventure set in a
future Ice Age, starring Patrick Troughton as the Doctor.
The Doctor and his friends land on Earth in the future, and find it in the grip of a new Ice Age.
They join a team of scientists struggling to hold back the huge glaciers that threaten all human
life. A giant creature is discovered inside the ice and quickly comes to monstrous life – it’s an Ice
Warriors from Mars! It intends to find its crashed spaceship, where a whole crew of Warriors is
waiting to be revived…
Presented across a trio of 140g Molten Ice vinyl discs, this 1967 TV soundtrack – only four
episodes of which survive as film recordings - is narrated by Frazer Hines, who co-stars as the
Doctor’s companion Jamie, with Deborah Watling as Victoria. The guest cast includes Bernard
Bresslaw as the Ice Warrior Varga, Peter Barkworth as Leader Clent, and Peter Sallis as Penley.
Incidental music is by Dudley Simpson, and the familiar strains of the Doctor Who theme are
courtesy of the BBC Radiophonic Workshop.
The coloured LPs are presented in fully illustrated sleeves which, when assembled together, form
the cover image. Original episode billings, and full cast and credits, are included.
Dummedy-dum, Dummedy-dum, Dummedy-dum, Dum-dum…

A welcome departure from their first effort, the record has gained greater reconection in recent years when contemporary audiencies could fully aprreciate the strenght and harsher direction the duo decided to take for their follow-up album.
More rhythmically-oriented tunes whilst revisiting some old-favorites like Daguerrotipo or La Edad del Bronce (both off their first album, but albeit in new mixes).

The Wah Wah edition has been mastered from the original tapes by Eugenio Muñoz, reproduces the original sleeve artwork and and features an insert with photos and info. It is a strictly limited edition of 500 copies only.

Billy Harper is one of the great tenor saxophonists in the post-Coltrane mold. Originally from Houston, TX and with a degree from the venerable University of North Texas College of Music, Harper emerged on the New York City jazz scene in the late 1960s performing with Art Blakey, Max Roach, Lee Morgan and others. Known for his soulful and propulsive tone, Harper was already a highly regarded and prolific session man before the release of his debut album as a leader on the cult favorite Strata-East label in 1973.

Recorded in 1975, Black Saint was the second album for Billy Harper as bandleader and is the most acclaimed and fully realized of his long career. The inaugural release of the Italian label Black Saint – to which the album lent its name – is comprised entirely of Harper compositions; the peaceful and subdued opener “Dance, Eternal Spirits, Dance!,” the swinging and fiery “Croquet Ballet” and the side-long epic “Call Of The Wild And Peaceful Heart.” Harper’s group features trumpeter Virgil Jones - a graduate of Roland Kirk’s mid-60s groups and session player for McCoy Tyner, Charles Tolliver and others - along with Joe Bonner on piano, David Friesen on bass and Malcom Pinson on drums.

Black Saint is too melodic and swinging to be free jazz but too forward-thinking to be described as modal post-bop; Harper’s advanced compositional sense and galvanic tenor work make this an album of pure fire music. This is a beautiful album back into print on its original format for the first time in over 40 years.

Comet Records presents the Tony Allen & Afrika 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket.
1978's No Accommodation for Lagos, Tony Allen's third solo album, is an effortless Afrobeat masterpiece. The Afrika 70 band floats through two of Tony's heaviest and most churning compositions.
With this album, we start to hear Tony Allen's unique style of Afro-Funk that he would explore for decades to come as a solo artist - it is groove-focused, a rolling meditation on rhythm.
The first track, "No Accommodation for Lagos" is one of Tony's most pointed and churning songs, recorded in a chaotic period following the army raid of Fela's compound. There is a seriousness to the funk, a real burning purpose in the performance of every instrument, from the horns to the shekere. Tony's performance is supercharged - he clearly showed up to the studio that day with a fire in his heart. The followup track, "African Message," is an Afrobeat compositional staple. Tony sits back in the cut through most of the supremely funky track until about seven minutes in, when he steps into the spotlight to express himself fully - his emotions, his frustrations, his convictions - in a fiery duet between his drumkit and his voice. The percussionists coalesce around him in support, lifting Tony up as he gives it his all.
Tony Allen was a musical and compositional visionary, and this album finds him beginning to explore that vision outside of Fela's immense gravitational pull. They are the start of a new era in Tony's fruitful career as a solo artist, opening the floodgates for his distinctive Afro-Funk sound and laying the foundation for the next generation of Afrobeat musicians to come.

“The Hunt for the Gingerbread Man 2: Get the Dough” embraces the juxtaposition between a fantastical world made of candy and pastries, and the dark and unforgiving lifestyle of the veteran emcee. Sonically immersive, and nostalgic of an era in hip hop that celebrates pain and hardship through whimsical storytelling, this album reaches deep into the life of the protagonist “Mr. Ginjy Breadman” aka “The Gingerbread Man” - and doesn’t let go until you’ve become fully invested in his tumultuous life journey in the “United Cakes of America.”

Thirteen years after the studio release of “The Hunt for the Gingerbread Man,” this sequel album is a testament to MF Grimm’s vivid imagination and innate ability to create stories that transport you beyond our earthly realm. Anthropomorphic cookies, pastries, and gingerbread men are the primary characters in MF Grimm’s tales of violence, crime, drugs, and love, in the ghetto known as “Candyland.”

Perhaps the most compelling aspect of the twenty-one-track album is its unrelenting dedication to both the authenticity of MF Grimm’s infamous life story, and the innocent and irreverent nature of the characters themselves.

The album is produced, mixed, and mastered by Darko the Super.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
With their debut album, ‘Isn’t Anything’ (originally released in 1988),
my bloody valentine revolutionised alternative music and heralded a
new approach to guitar music for generations to come. The album
birthed a sound which became a template for thousands of new
subgenres, heralding a new approach to guitar music and studio
production. Not only was it a new type of music, it paved the way for a
new type of journalism; inciting comparisons to elemental
phenomenon, tapping into how the music affected the psyche.
Shields and Butcher frequently sang in a similar vocal range that
allowed their voices to blend together. This had the effect of making
their gender indistinguishable, to the point where their voices could
be used as another melodic layer to complement the vertigo-inducing
sounds made by Shields’ guitars. It is a record characterised by the
ominous sense of space that inhabits many of its songs, which
veered between the harried and propulsive, to the subdued and eerie.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
The second my bloody valentine album, ‘loveless’, was released in
1991. Musically, it took an unexpected leap forwards, standing ahead
of anything released at the time. Shields and the band moved further
towards a music of pure sensation, creating textures and tones that
could be felt as much as heard; with ‘loveless’ the band created an
album that overwhelmed the senses. ‘loveless’ is widely considered a
flawless whole and rightly regarded as a masterpiece; a 1990s
equivalent to ‘Pet Sounds’, ‘In A Silent Way’ or ‘Innervisions’, a record
constructed by exploring the edges of what a recording studio is
capable of. It is a record best experienced as a whole, in one sitting -
a listening experience like no other and unmatchable in its sonic
brevity.

Domino are immensely proud to announce the signing of my bloody
valentine, with new physical editions of the band’s seminal catalogue
being made available. ‘Isn’t Anything’ and ‘loveless’ have been
mastered fully analogue for deluxe LPs and also mastered from new
hi-res uncompressed digital sources for standard LPs, with each
being made available widely for the first time ever. Fully analogue
cuts of ‘m b v’ will also be available on deluxe and standard LPs
globally for the first time.
my bloody valentine, the quartet of Bilinda Butcher, Kevin Shields,
Deb Googe and Colm Ó Cíosóig, are widely revered as one of the
most ground-breaking and influential groups of the past forty years.
During an era in which guitar bands denoted, at best, a retroclassicism, not only did my bloody valentine sound unlike any of their
contemporaries, the band achieved the rare feat of sounding like the
future.
Re-emerging in 2013, after two full decades in relative hiding, my
bloody valentine’s third album, ‘m b v’, is by turns their most
experimental record but also their most melodic and immediate; proof
real of their unerring desire for re-invention. Continuing to push
boundaries of both music and genre, ‘m b v’ is an album of
astonishing music, some of which could lay claim to being of a type
never been made before. Otherworldly, intimate and a visceral listen,
‘m b v’ is a startling and beautiful metamorphosis of what was known
of the my bloody valentine sound, pushing the boundaries of genre
unlike any other band. The album’s closer, ‘wonder 2’, is an example
of this, seeing Shields meld hypnotic guitar with drum & bass to
astonishing result.

Repress

Clear Vinyl

A long-awaited vinyl-only sampler showcases some of the most seminal and vanguard recordings from one of the finest minds behind the American electro and Miami bass scene. The four tracks listed here are all original recordings from 1984-85 fully licensed by the author himself James McCauley and accurately remastered via Omaggio Records. Thirty-five years later, its still the case to say: "Welcome to the Future".

Repress
This repress comes on black vinyl.



A long-awaited vinyl-only sampler showcases some of the most seminal and vanguard recordings from one of the finest minds behind the American electro and Miami bass scene. The four tracks listed here are all original recordings from 1984-85 fully licensed by the author himself James McCauley and accurately remastered via Omaggio Records. Thirty-five years later, its still the case to say: "Welcome to the Future".