Cerca:g double

Since slipping out a decade ago, Fürsattl’s sole 12” on Claremont 56 has become an in-demand item, thanks to a mixture of its’ undeniable quality and the patronage of several high-profile, well-regarded DJs. Because of this, the label has responded to demand for a reissue of those two tracks and announced the release of a double-album of the krautrock-inspired trio’s works for the label.

Presented in a gatefold sleeve sporting Mark Warrington’s original 2012 artwork and limited to 400 copies, the 2022 album edition of Rheinlust not only tells the tale of the band’s now decade-long association with Claremont 56, but also features a previously unreleased track from the archives, ‘Für Paul’. Tucked away at the end of the LP, the track is amongst the most atmospheric in their catalogue – a slowly building number in which celestial synthesizer chords, ambient textures, echo-laden electric piano chords and lilting synth strings rise above a rubbery bassline and Jaki Liebezeit style drums.

It provides a superb conclusion to a genuinely evocative album of music you can get lost in, but it’s by no means the only highlight. Fittingly, the album’s first slab of wax boasts both tracks from Fürsattl’s hard-to-find debut 12”: title track ‘Rheinlust’, a driving but deep and hypnotic krautrock masterpiece full of elongated chords, restless bass, twinkling motifs and cascading electronic melodies, and the wonderfully epic ‘Links Der Pegnitz’. Clocking in at just under 15 minutes, this sublime excursion features band members trading glistening guitar and colourful synthesizer solos over a funky but laidback groove that sits somewhere between krautrock and cosmic funk.

The album’s second slab of wax showcases Fürsattl’s lesser-known tracks for Claremont 56, alongside the previously mentioned unreleased cut. These two workouts were originally featured on the label’s Claremont Editions compilations and further expand on their now trademark krautrock sound. There’s ‘Leerlauf’, a breathlessly up-tempo, weighty and immersive chunk of low-slung dancefloor creepiness that you’ll want to get lost in time and again, and the twangy and buzzing ‘Haru’, a birdsong-splattered affair that sounds like their tribute to krautrock originals Neu! and Harmonium. Like the rest of the album, these are seriously seductive outings that slowly build towards impactful, emotive conclusions.

After her stunning collaboration with Jim O’Rourke (Le Piano Englouti, BT055), Brunhild Ferrari returns to Black Truffle with Stürmische Ruhe, her first duo with Christoph Heemann. A legendary figure in underground music, Heemann has quietly produced a unique body of work since his beginnings with the absurdist cutups of H.N.A.S. in the mid-1980, including collaborations with Merzbow, Organum and Nurse With Wound, the eerie psychedelia of Mirror (with Andrew Chalk), In Camera (with Timo van Lujik) and Plastic Palace People (with Jim O’Rourke), and the precise cinema pour l’oreille constructions of his solo works. Created together in Ferrari’s Parisian studio (once shared with Luc) between 2011 and 2014, Stürmische Ruhe is a single half-hour piece that folds rain and storm recordings into a intricately woven fabric of haunted electronics, unexpected edits and disorienting processing. Banging with the jarring thump of a slamming door (an element that will reappear periodically throughout the piece as a kind of punctuation mark), it is immediately obvious that concrete sound is used here in a free, poetic way outside of the strict confines of documentary field recording. The wind captured by Ferrari’s microphone roars and whistles, accompanied by thick clusters of wavering tones whose unpredictable rises and falls in volumes are synchronised with the bumping and thudding of windows and doors. At some points the microphone sound melts into a wavering low-bit digital smear before fanning out into broad, atmospheric depths. The cinema for the ear constructed here suggests not linear narrative or documentary, but an organic flow of cross-fades, double-exposures and abrupt cuts, a free-associative dream in which wind and water take on mythical characteristics. Throughout the piece's second half, layers of synthetic floating tones and pinging upward glissandi negotiate a constantly shifting balance with wind-borne whispers and rustles, at times dropping to silence, at others rising up with elemental force. As Ferrari explains in her liner notes, Stürmische Ruhe is a meeting of ‘completely opposite sound worlds’ in which ‘almost-violence’ is joined with a ‘reconciling harmony’. Reaffirming the infinite possibilities of the musique concrète tradition while avoiding its academic tropes, Stürmische Ruhe is accompanied by tri-lingual liner notes from Brunhild Ferrari and arrives in a sleeve graced with the beautiful art informel paintings of her father, Wolfgang Meyer Tomin. Cut at 45rpm for maximum fidelity.

Limited edition 400 copies double pack 7” single presented in a deluxe gatefold sleeve • Includes unique edit of the only song ever credited as co-written by Bowie & Ronson • Includes fully remastered contents of the promotional flexi disc issued in 1974 as well as 2 tracks recorded on Mick’s ‘Slaughter on 10th Ave’ tour at the Rainbow Theatre in London. Record 1 1/Hey Ma Get Papa (C'mon let's do it again) 2/Original 1974 Promotional Flexi Disc - Spoken word and extracts of Love Me Tender Record 2 1/Leave My Heart Alone (Live at The Rainbow) 2/Slaughter on 10th Ave (Live at The Rainbow)

Classic 2001 collection from Detroit's ADULT. 20th anniversary of the original release, 10th anniversary of the first vinyl pressing. Available for the first time in red & black marbled vinyl. "We've wanted to re-release this album for some time," says ADULT.'s Adam Lee Miller, "but we weren't ready until now. We have some new material in the pipeline, and we thought this would be a nice way to reintroduce ourselves." It is indeed a nice way for the hugely respected Detroit duo to herald their return to the world of music, especially for anyone who missed out on Resuscitation the first time around _ the album was never available digitally until the 2012 re-release and vinyl pressing on Ghostly International. The reissue thus presented the chance to own one of the more influential records of the early 2000s: either on double 12" LP or, for the first time, as a digital release. Now, in 2022, the vinyl is available for the first time in a new red and black marble colorway. When it first dropped in 2001, Resuscitation served as a de facto introduction to the duo, collecting a bunch of songs on CD that had only previously been available on hard-to-find singles and EPs. Eleven years later, it does the same thing, except this time around, we can see just how influential its creators' work has been _ and ADULT.'s music only sounds more remarkable with the benefit of hindsight. At the time, Resuscitation's combination of crisp beats, squelch-laden synths and Nicola Kuperus' detached monotone sounded like a broadcast from the future, steeped in the analog synth sounds of forebears like Kraftwerk but possessed of an ultramodern sheen all its own. The duo's visual aestheticwas just as important _ Kuperus' photography adorned all their album packaging (including this re-release), and their liveshows drew on a sense of what a reviewer once called "detached intrigue." Echoes of ADULT.'s aesthetic can be heard today in everythingfrom today's surfeit of analog synth-toting minimal wave bands to the highly stylized divas who dominate the pop charts. But really, in 2022 Resuscitation still sounds like no-one else.

Coming hot on the heels of dynArec's 'Murder is The Number' EP, Sync 24's Cultivated Electronics label presents this double-pack by Alonzo, aptly named 'They Come In Twos'. Originally from Miami and now based in New York, Alonzo has previously released on W.T. Records, Zement, RotterHague, Phormix, Kraftjerkz, and Lost Soul Enterprises. He's also known as Lithium Parasites alongside bandmate, Vidrio. Alonzo's uncompromising approach draws influence from bleak urban landscapes, old city ruins, kinematics and all things bass which he finely represents across these 8 new tracks. Pressed on Yellow and Black vinyl!!!

Denver-based Seafoam (Brian Cavender) is by far the most prolific of the talented Cavender brothers, but he has remained elusive for his 2+ decades-long career in deep funk. After releasing a one-off 12-inch in 1999 on a small Denver label, Seafoam quickly found his way to the Guidance family by way of gatherings at Miami's Winter Music Conference. A string of three twelves on Guidance from 2000 to 2003 cemented his legacy early in his career, however, having never quite reached the same heights as some of the Guidance greats, Seafoam's output mysteriously declined around the time of the label's demise. New releases dried up until the formative reissue campaign of Paris-based Rue De Plaisance in 2017, which culminated in the essential Collected Works 1999-2005 double LP. The flood gates opened, and a whole new generation of diggers and labels turned to his sound. And Seafoam, seemingly untouched by the passage of time, hunkered down in the studio with a steady release schedule-a new lease on life for the occult deep house assassin.

Mr. K is back again with a double-sider that tackles the ups and downs of love and does it in fabulous style with two solid soul classics.

Yvonne Fair was a veteran of the soul music world when she finally got the chance to record her first full length album in 1975. She had recorded multiple singles under the guidance of James Brown (her “I Found You” was reworked by Brown into the chart-topper “I Got You (I Feel Good)”) and, after leaving the JB camp for the auspices of Motown, a clutch of 7-inches with Norman Whitfield. These were gathered together to form her first (and only) full-length, but before the album was completed a final song was added to fill things out. This last minute touch would turn out to be the crowning achievement of her career. “It Should’ve Been Me” didn’t seem to be a notable addition at first. The song was originally done by Kim Weston a decade earlier and then by Gladys Knight. But Fair’s version had something special. In addition to the novel addition of a percolating drum machine pulse, Fair imbued the lyrics with a heartfelt sincerity and gruff emotion that touched listeners in a way that other versions had missed. Released as a single in the UK in late ’75, the song rose to the top ten of the British charts by February of the following year, inspiring Motown to release it as a US single. The song never replicated its UK success in the States, but went on to have a long life as a staple of drag performances and gay club life. Gay club life being the heart of all great club life, it’s only natural that the impact of the song has continued to spread, from Adeva’s hit house version in 1991 to Miley Cyrus’s recent revival of the song. Danny Krivit pays tribute to this storied history with his own version, a simple yet effective edit that stays true to the original but gives DJs a little more room (and fans a little more time to sing along!) than the all-too-brief original.

Continuing on our theme of lovelorn loss and redemption, Mr. K turns his attention to the New Birth’s “Brand New Lover” for our B-side. While the original slowly moves from the tentative, immediate aftermath of breakup to the eventual positive path forward, Krivit’s edit jumps straight to the joyous resolution to find new love, riding a delicious call and response chorus punctuated by signature breakdowns from master producer Harvey Fuqua. Danny’s edit provides a natural uplifting opportunity that never stops building over the course of its extended five minutes. Until now, the track has only been available on the group’s debut 1970 full-length, and never on a 7-inch single.

As always, this release has been mastered to the highest standards and is certain to find a spot in the bags of discerning listeners and DJs alike.

Available on Double Vinyl LP, rammed with super funk smashers from the Queens of Funk

Choki Biki Records is proud to present: Coakley Collabs Vol.1! A new collaboration EP curated by DJ and Producer Josh Coakley; a Dublin based DJ & Producer. Coakley Collabs Vol.1 consists of six Techno orientated collaborations between Josh Coakley and other Irish talent including; blk., Sharpson, jxck, KIRK, Karl Seery and Black Traffic. Each track varies between a blend of Acid, Electro, Trance and Breakbeat, under the umbrella of Coakley’s signature Techno sound. Josh Coakley & Karl Seery – W.O.T.U You might be familiar with the introductory track: W.O.T.U by Coakley and Dublin producer Karl Seery, as it has already received serious airtime on BBC Introducing thanks to Jaguar. This techno banger features an array of rave stabs and classic hardcore breaks, which perfectly represents the collaboration between Coakley’s signature techno sound, and Choki Biki’s Nu-Rave aesthetic. Josh Coakley & blk. – Detroit Next up is Detroit featuring prolific techno producer blk..This dubby – techno track features the iconic acapella of Fedde Le Grande’s iconic ‘Put Your Hands Up For Detroit’. Its use of 808 programming gives an authentic replication of the early Detroit techno productions. Its contemporary hard-hitting nature is influenced by the likes of FJAAK, which blends nicely with its clear influence from Jeff Mills. Josh Coakley & Black Traffic – Fade To Grey Fade To Grey comes from Josh Coakley’s Collaboration with Scott Prendergast AKA Black Traffic. The pair have composed a track that tows the lines between Trance and Melodic Techno. Black Traffic’s signature use of rich textures and melodies contrast with Coakley’s ‘in your face’ techno drum programming. Fade To Grey is already making the rounds in Irish clubs as it was featured in Four Four Magazine as track of the week. Josh Coakley & KIRK – Illusionist Illusionist is an Acid Techno track from Coakley and Carlow based producer KIRK. Illusionist steers away from the direction of the ‘retro’ Detroit sounding Techno and moves towards the more atmospheric sounds of European Acid Techno producers such as A.S.Y.S. & T78. Its arpeggiated 303 programming and use of psychedelic vocal samples creates an atmosphere that would be right pounding throughout a club in Amsterdam. Josh Coakley & Jxck – MYB Next up is MYB, an Electro-Breaks collaboration between Coakley and Jxck. This syncopated belter is sure to make you do exactly what it says on the tin; Move Your Body! Featured by the one and only HOUZ, this Break track has already seen serious support from Techno and Electro DJs alike. With a return to a ‘4 to the Floor’ beat halfway through, this heavy hitter is sure to keep an audience on their toes. Josh Coakley & Sharpson – Who’s In The Garden (feat. Wax White) The Final Track of Coakley Collabs Vol.1 takes a total turn with Who’s In The Garden?. This track is a double collaboration between Coakley, Choki Biki label boss Sharpson, and Irish Hip-Hop group Wax White. This high tempo breakbeat track has a cheeky, lighthearted nature to it thanks to the use of happy hardcore sounding synths and Wax White’s hilarious Dublin Mannerisms thrownout throughout the track. The track comes to a screeching halt with an Electro Breaks breakdown supplied by Sharpson. Coakley’s intricate arrangement and production skills really shine through in this final track, as its numerous ideas fit tightly knit together.

This HOT double-A side features the 70s Torch dancer 'HERE I GO AGAIN' - with it's crashing backbeat and fabulous 'call-to-the-floor' intro. The song was originally released in the USA by Atlantic Records in 1969, to little acclaim at the time, but later spiraled to No.11 in the UK pop charts in 1972 due to demand from the Northern Soul scene. 'TIGHTEN UP' was one of the first songs to be recorded by Archie Bell & The Drells, in Houston, Texas in 1967. The track had originally been developed by the T.S.U. Toronadoes and, coupled with Bell's unique spoken introduction, caught the imagination of the nation earning the band a gold disc and a No.1 R&B and Pop smash. It would become a UK Mod anthem and spawned future club hits care of Willie & The Mighty Magnificents 'Funky 8 Corners' and Frankie Crocker's floor packin' 'Ton Of Dynamite' (also available from Outta Sight, OSV106).

One of the most legendary LPs from Uruguay remains a hidden treasure in the rest of the world. It is the first LP by singer Diane Denoir. Diane was a regular in the “Conciertos Beat” (“Beat Concerts”) of Montevideo's 1960s scene where she performed with Eduardo Mateo on guitar (leader of El Kinto, one of the most influential bands in "candombe beat", and the ones who coined the term), Roberto Galletti on drums and Antonio Lagarde on double bass. Diane was also Mateo's muse throughout the early years of his career, he wrote several songs for her, among them “Esa tirsteza,” “Y hoy te vi,” and the classic “Mejor me voy.” Eduardo Mateo would become one of the biggest names of all times in Uruguay's musical scene. Diane, instead, found herself outside the country when the military coup installed a non constitutional government in Urugay in 1973 and was wisely advised by friends not to go back home to avoid trouble with the new dictatorial regime. A brave defendant of Human Rights, she had been very active against torture, thus becoming a target for the dictatorial regime military intelligence. She exiled in Argentina and Venezuela, and she later settled in Europe and didn't perform in public or record again until recent years when she returned to her home country.



On her eponymous 1972 debut album, Diane fused all her influences in one solid sound through songs created by Uruguayan songwriters (Eduardo Mateo, Urbano Moraes –bassplayer for El Kinto,– Daniel Amaro, Giuso Bellanca), plus Argentinian lyricist Edgardo Lisi. She had released a couple of 7" between 1966 and 1970, but it is her debut album –which would be her only one until her 2008 comeback– that made her legend grow among future generations of music lovers.



It's hard to name artists in the same dimension as Diane Denoir for reference, but be sure that you will love this LP if you like the candombe beat scene of El Kinto, Tótem or the Fattorusso brothers (Hugo and Osvaldo) in their post Los Shakers works, but also the bossa nova sound and even artists of their own like Vainica Doble.



Very limited edition, only 500 copies made. Remastered sound. Comes in upgraded artwork, gimmick cover with printed inner sleeve.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

Without a brutal evaluation of their own becoming, TV Priest might have never made their second album. Heralded as the next big thing in post-punk, they were established as a bolshy, sharp-witted outfit, the kind that starts movements with their political ire. There was of course truth in that, but it was a suit that quickly felt heavy on its wearer's shoulders, leaving little room for true vulnerability. "A lot of it did feel like I was being really careful and a bit at arm's length," says vocalist Charlie Drinkwater. "I think maybe I was not fully aware of the role I was taking. I had to take a step back and realize that what we were presenting was quite far away from the opinion of myself that I had. Now, I just want to be honest." Having made music together since their teenage years, the London four-piece piqued press attention in late 2019 with their first gig as a newly solidified group, a raucous outing in the warehouse district of Hackney Wick. Debut single "House of York" followed with a blistering critique of monarchist patriotism, and they were signed to Sub Pop for their debut album. When Uppers arrived in the height of a global pandemic, it reaped praise from critics and fans alike for its "dystopian doublespeak," but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of tea and marking time via government-sanctioned daily exercise. As such, the personal and professional landmark of its release felt "both colossal and minuscule" dampened by the inability to share it live. "It was a real gratification and really cathartic, but on the other hand, it was really strange, and not great for my mental health" admits Drinkwater. "I wasn't prepared, and I hadn't necessarily expected it to reach as many people as it did." As such, My Other People maintains a strong sense of earth-rooted emotion, taking advantage of the opportunity to physically connect. Using "Saintless" (the closing song from Uppers) as something of a starting point, Drinkwater set about crafting lyrics that allowed him to articulate a deeper sense of personal truth, using music as a vessel to communicate with his bandmates about his depleting mental health. "Speaking very candidly, it was written at a time and a place where I was not, I would say, particularly well," he says. "There was a lot of things that had happened to myself and my family that were quite troubling moments.Despite that I do think the record has our most hopeful moments too; a lot of me trying to set myself reminders for living, just everyday sentiments to try and get myself out of the space I was in." "It was a bit of a moment for all of us where we realised that we can make something that, to us at least, feels truly beautiful," agrees Bueth. "Brutality and frustration are only a part of that puzzle, and despite a lot of us feeling quite disconnected at the time, overwhelmingly beautiful things were also still happening." This tension between existential fear born from the constant uncertainties of life, and an affirmative, cathartic urge to seize the moment, is central to My Other People, a record that heals by providing space for recognition, a ground zero in which you're welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or any audience pressure to commit solely to their original sound.

The highly sought after “I’ll Make It Up” was previously released as B side to One Dollar Of Music, an instrumental also by Carl Dawkins on Duke DU-3 in 1968.

This heavy weight early Reggay beauty is a very special tune with its high pitch vocals, crashing drums, shuffling organ and syncopated rhythm,

all this with subtle psychedelic undertones, Jamaican way of course. This is a truly outstanding track, expensive and nearly impossible to find.

A release on 7inch vinyl was indeed much needed - a must!



On the B side, the brilliant “Hot And Sticky” was previously released on Rio R138 in 1967 as B side to The Rulers “Be Mine”

and was also produced by the Jamaican reggae producer, J.J. Johnson.

The aptly named “Hot And Sticky” is a heavy, raw, relentless Rocksteady track.

It is Rocksteady at its best and very representative of Carl’s production at that time. Great rack.

This rare track has never been repressed on 7” vinyl and is a perfect B side for this killer double sider.

This is a licensed release of the rare and very much in demand SUFFERER by THE KINSGTONIANS.

It was initially released on the Move & Groove label in Jamaica in 1968 followed by Big Shot in the U.K. in 1969.

It was also featured on the eponymous album released in 1970 on Trojan Records TBL 11.

It was reissued once only on 7inch vinyl as part of the Trojan’s Monkey Business 7" Vinyl Box Set.

“SUFFERER” is with "HOLD DOWN" (released by Harlem Shuffle in May 2020) yet another very much in demand Reggay anthem by THE KINGSTONIANS.

This cracking song combines bleak lyrics with a cheerful tune delivered on an uptempo, almost frantic rhythm…


This is a licensed reissue of the very rare 7" vinyl single track. Very much in demand,

it presently trades at about USD300 for a decent copy.

It was originally released on the 1969’s 7inch vinyl single The CRYSTALITES - SPLASH DOWN on New Beat,

a Pama sublabel. This gem has never been repressed on 7” vinyl until now.

SPLASH DOWN is in fact the wicked instrumental version of SUFFERER. This is the first time they are released together on a 7inch vinyl single.

It is the perfect flip for this killer double sider. Super rare and super good.

Legendary 70s group RIPPLE migrated from the Mid-West to Atlanta, GA. They signed with the new Atlanta based record label GRC and struck gold with their first single ‘I Don’t Know What It Is, But It Sure Is Funky’.

Two songs that never gained release at the time were ‘Maybe It’s You’ - a jazzy soul masterpiece that lilts along before springing into a falsetto crescendo and ‘Sweet Lady’ - an eclectic hodgepodge of influences - soul, funk, latin… the original demo runs at under 3 minutes, thankfully we have had an extended edit cleared (thanks to Phil Ward’s talents) so you get a double dose of the amazing keyboard solo.

"To kick off the yearlong celebration and provide the perfect summer soundtrack, Capitol Records and UMe will release a newly remastered and expanded edition of The Beach Boys career-spanning greatest hits collection, Sounds Of Summer: The Very Best Of The Beach Boys, on June 17. Originally released in 2003, the album soared to no. 16 in the US and stayed on the chart for 104 weeks. Now certified 4x platinum for sales of nearly four and a half million albums, the collection has been updated in both number of songs and audio quality, expanding the original 30-track best of with 50 more of the band’s most beloved songs for a total of 80 tracks that span their earliest hits to deeper fan-favorite cuts and from their 1962 debut album, Surfin’ Safari through to 1989’s Still Cruisin’.
Assembled by Mark Linett and Alan Boyd, the team behind 2013's GRAMMY® Award-winning SMiLE Sessions and last year’s acclaimed boxed set, Feel Flows – The Sunflower and Surf's Up Sessions 1969-1971, Sounds Of Summer features nearly every US Top 40 hit of The Beach Boys’ incredible career, including “California Girls,” “I Get Around,” “Surfer Girl,” “Surfin’ U.S.A.,” “Fun, Fun, Fun,” “God Only Knows,” “Good Vibrations,” “Be True To Your School,” “Wouldn’t It Be Nice,” “Kokomo,” “Barbara Ann,” “Help Me, Rhonda,” “In My Room,” and many others. Fifty additional tracks showcase a broad mix of songs from across their wide-ranging catalog with some of the many highlights including “All Summer Long,” “Disney Girls,” “Forever,” “Feel Flows,” “Friends,” “Roll Plymouth Rock,” “Sail on Sailor,” “Surf’s Up,” and “Wind Chimes.”
The collection boasts 24 new mixes including two first-time stereo mixes, plus 22 new-and-improved stereo mixes, which in some cases feature the latest in digital stereo extraction technology, allowing for the team to separate the original mono backing tracks for the first time.
The expanded edition of Sounds Of Summer will be available in a variety of formats, including a 3CD softpack, and as a Super Deluxe Edition 6LP vinyl boxed set on 180-gram black vinyl in two options – a standard set or a numbered, limited edition version featuring a rainbow foil slipcase and four collectible lithographs. Both versions will feature color printed sleeves that replicate the original “Capitol Catalog” sleeves that highlight the entire Beach Boys discography, and all formats will include a booklet with new liner notes and updated photos. The original 30-track version will also be available in its newly remastered and upgraded form on single CD or double gatefold LP on standard weight vinyl or as a higher-end limited edition numbered version pressed on 180-gram vinyl with a tip-on jacket and a lithograph. "

Reissue of the first Dire Straits greatest hits collection, originally released in October 1988 and featuring songs from their first five albums. Fully remastered by Bob Ludwig, and cut by Bernie Grundman and pressed onto 180gsm black vinyl, this vinyl reissue includes ‘Telegraph Road (Live Remix)’ which was previously only available on the original CD format, and a brand new mix of ‘Portobello Belle (Live)’. It is cut over four sides of vinyl for the first time. The original artwork has been reproduced on a widespine sleeve, with original inner artwork presented as a 12” x 12” double-sided insert.

‘Mehldau can truly translate his thoughts and feelings into complex and lasting music. He is one of those people whose brain and fingers and musical ability is all one beautiful entity.’ – Jamie Cullum

Nonesuch Records releases Brad Mehldau’s Jacob’s Ladder on 2 x 140g black vinyl on June 17th . The album features new music that reflects on scripture and the search for God through music inspired by the prog rock Mehldau loved as a young adolescent, which was his gateway to the fusion that eventually led to his discovery of jazz. Featured musicians on the album include Mehldau’s label mates Chris Thile and Cécile McLorin Salvant, as well as Mark Guiliana, Becca Stevens, Joel Frahm, and others. The album’s first single, ‘maybe as his skies are wide’, builds off an interpolation of one portion of Rush’s classic ‘Tom Sawyer’.

Mehldau explains, “We are born close to God, and as we mature, we invariably move further and further away from Him on account of our ego. Jacob’s Ladder begins at that place closer to God with the voice of child, and then moves into the world of action. God is always there, but in our discovery and conquest, and all the joys and sorrows they bring, we may lose sight of him. He sets a ladder before us though, like in Jacob’s dream, and we climb towards him, to find reconciliation with ourselves, to stitch up all those worldly wounds and finally heal. The record ends with my vision of heaven – once again as a child, His child, in eternal grace, in ecstasy.

“The musical conduit on the record is prog,” Mehldau continues. “Prog – progressive rock – was the music of my childhood, before I discovered jazz. It matched the fantasy and science fiction books I read from C.S. Lewis, Madeleine L’Engle and others at that time, aged ten through twelve. It was my gateway to the fusion of Miles Davis, Weather Report, Mahavishnu Orchestra and other groups, which in turn was the gateway to more jazz. Jazz shared with prog a broader expressive scope and larger-scale ambitions than the rock music I had known already.

“The prog from Rush, Gentle Giant, and Emerson, Lake and Palmer here only hints at the genre’s conceptual, compositional and emotional range. These bands and others have continued to influence newer groups that bring prog impulses into the arena of hard rock and screaming math metal, like Periphery, whose music is included here, and also inspired the screaming vocals on ‘Herr und Knecht.’ I tried to avoid a direct tribute approach to all the songs, and opted in some cases for excerpts, or reworking of themes.”

Although Brad Mehldau is best known as a jazz composer and improviser, he has made several albums that fall outside of the mainstream jazz genre, including his 2001 Largo, produced by Jon Brion. Wide-ranging in texture and big in scale, it features woodwind or brass ensembles are on several tracks, as well as a heavy emphasis on powerful drums. In 2010, Nonesuch released his second collaboration with Brion, Highway Rider, which includes performances by Mehldau’s trio – drummer Jeff Ballard and bassist Larry Grenadier – as well as drummer Matt Chamberlain, saxophonist Joshua Redman, and a chamber orchestra led by Dan Coleman. Mehldau also orchestrated and arranged the album’s fifteen pieces for the ensemble.

Mehldau’s 2014 collaboration with Mark Guiliana, Mehliana: Taming the Dragon featured Mehldau on Fender Rhodes and synthesizers and Guiliana on drums and effects, playing twelve original tunes – six by the duo and six by Mehldau. His 2019 album Finding Gabriel featured performances by him on piano, synthesizers, percussion, and Fender Rhodes, as well as vocals. Guest musicians included Ambrose Akinmusire, Sara Caswell, Kurt Elling, Joel Frahm, Mark Guiliana, Gabriel Kahane, and Becca Stevens, among others.

Second Sub Pop album by acclaimed UK act TV Priest finds them building on the
post-punk of their early material and maturing into a powerhouse of tense, politically
caustic, and thoughtful rock music.
Without a brutal evaluation of their own becoming, TV Priest might have never made
their second album. Heralded as the next big thing in post-punk, they were
established as a bolshy, sharp-witted outfit, the kind that starts movements with their
political ire. There was of course truth in that, but it was a suit that quickly felt heavy
on its wearer’s shoulders, leaving little room for true vulnerability. “A lot of it did feel
like I was being really careful and a bit at arm's length,” says vocalist Charlie
Drinkwater. “I think maybe I was not fully aware of the role I was taking. I had to take
a step back and realize that what we were presenting was quite far away from the
opinion of myself that I had. Now, I just want to be honest.”
Having made music together since their teenage years, the London four-piece piqued
press attention in late 2019 with their first gig as a newly solidified group, a raucous
outing in the warehouse district of Hackney Wick. Debut single ‘House of York’
followed with a blistering critique of monarchist patriotism, and they were signed to
Sub Pop for their debut album. When ‘Uppers’ arrived in the height of a global
pandemic, it reaped praise from critics and fans alike for its “dystopian doublespeak,”
but the band - Drinkwater, guitarist Alex Sprogis, producer, bass and keys player Nic
Bueth and drummer Ed Kelland - were at home like the rest of us, drinking cups of
tea and marking time via government-sanctioned daily exercise. As such, the
personal and professional landmark of its release felt “both colossal and minuscule”
dampened by the inability to share it live. “It was a real gratification and really
cathartic, but on the other hand, it was really strange, and not great for my mental
health,” admits Drinkwater. “I wasn’t prepared, and I hadn’t necessarily expected it to
reach as many people as it did.”
As such, ‘My Other People’ maintains a strong sense of earth-rooted emotion, taking
advantage of the opportunity to physically connect. Using ‘Saintless’ (the closing
song from ‘Uppers’) as something of a starting point, Drinkwater set about crafting
lyrics that allowed him to articulate a deeper sense of personal truth, using music as
a vessel to communicate with his bandmates about his depleting mental health.
“Speaking very candidly, it was written at a time and a place where I was not, I would
say, particularly well,” he says. “There was a lot of things that had happened to
myself and my family that were quite troubling moments. Despite that I do think the
record has our most hopeful moments too; a lot of me trying to set myself reminders
for living, just everyday sentiments to try and get myself out of the space I was in.”
“It was a bit of a moment for all of us where we realised that we can make something
that, to us at least, feels truly beautiful,” agrees Bueth. “Brutality and frustration are
only a part of that puzzle, and despite a lot of us feeling quite disconnected at the
time, overwhelmingly beautiful things were also still happening.”
This tension between existential fear born from the constant uncertainties of life, and
an affirmative, cathartic urge to seize the moment, is central to ‘My Other People’, a
record that heals by providing space for recognition, a ground zero in which you’re
welcome to stay awhile but which ultimately only leads up and out. For TV Priest, it is
a follow-up that feels truly, properly them; free of bravado, unnecessary bluster or
any audience pressure to commit solely to their original sound.

2026 Repress

Casual Connection is back with another double dose of classic mashups over more recent instrumentals. Back to back club Bangers.

Soul Jazz Records follows up one its most popular Studio One releases with a brand new selection of rare and classic releases by women in reggae. Featuring legendary artists such as Marcia Griffiths, Rita Marley and Hortense Ellis (with a guest appearance by her brother Alton), alongside a host of rarities from lesser known names such as Nina Soul, Nana Mclean, Denise Darlington, Myrna Hague and also Doreen Schaeffer, a vocalist who was a founding member of The Skatalites.

There are notable covers (from Tyrone Davis’ soul classic Can I Change My Mind to the Band’s 60s psychedelic classic Turn Turn Turn in a rub-a-dub style!). Doreen Schaeffer reversions Alton Ellis’s seminal I’m Still in Love with You, Nina Soul reversions the slack rocksteady anthem Barb Wire. A number of these tracks are almost impossible to find and many have never been issued ever since their initial release.

The music on the album is of course 100% killer and features backing from all of the seminal groups at 13 Brentford Road including The Skatalites, Sound Dimension, Soul Brothers and the Brentford All Stars, and ranges from ska, rocksteady, roots, lovers and more from the 60s, 70s and 80s. All produced by Clement ‘Sir Coxsone’ Dodd at Studio One Records, the number one sound in reggae music.
The album is released on Soul Jazz Records as a double-vinyl with gatefold sleeve, download code, the CD comes in slipcase and both come with extensive sleevenotes.

For more than twelve years, Morphology have been re-writing the rules of electronics. Michael Diekmann and Matti Turunen have melted electro, IDM and techno into their own unique sound. To celebrate their achievements, FireScope has sifted through the impressive discography of this Finnish pairing to bring long out of print tracks to a life.

Twelve 1 collects music released between 2009 and 2016, a dozen works that span labels like Abstract Forms, AC Records, Cultivated Electronics, diametric., Semantica, Stilleben and Vortex Traks. Opening with the cold love affair of “Manmade Woman,” this collection brings together frosted floor funk, cerebral armchair electronics and a quality of composition that only Morphology can provide. Embedded in the album are outposts of electro menace, tracks with that extra bit of bite such as “Dementia” and “Dalek Invasion. Deep and thought-provoking pieces abound, such as the otherworldly dreamscapes of “Magellan Probe” and “Moebius Strip” which were first heard on Arne Weinberg’s diametric. An understated balance permeates the record, broad concepts are interwoven with subtle shifts to bring a timeless quality to pieces like “Spacetime Interval”, “Europa” and “Plankton.” A perfect expression of over a decade of work.

Not only does this double LP gather rare tracks never before heard together, but also each piece has been lovingly remastered to breath new life into these wonderful works. Twelve 1 celebrates the music of Morphology in all its glory, two masters of modern electronic music who continue to re-define and re-design genres.

For more than twelve years, Morphology have been re-writing the rules of electronics. Michael Diekmann and Matti Turunen have melted electro, IDM and techno into their own unique sound. To celebrate their achievements, FireScope has sifted through the impressive discography of this Finnish pairing to bring long out of print tracks back to life.

Twelve 2 brings together a decade’s worth of music released between 2009 and 2019, a dozen works that traverse genres and labels like Abstract Forms, AC Records, Analogical Force, Central Processing Unit, Cultivated Electronics, diametric., Inner Space Records and Vortex Traks. Spliced beats and bulging bass lines introduce the album with "Karma Flies.” Rhythmic patterns are condensed and stretched in “Inversion Layer” and “Amphidiscosa”, the latter’s aquatic undercurrents melting an organic touch with the coldness of the machine. Darker tones lurk, the long shadows cast by “Convince the Computer” spread to other tracks like “Nucleosynthesis.” Yet, despite these more sombre shades, pieces with a human element punctuate the album. The frenetic pace of “Fluid Dynamics,” with its playful melody, throbs with the pulse of a city while the ebbs and flows of the watery “Active Optics” explore an ever morphing and shifting sound. An imagined future is never far away in Morphology’s machinations. These other places are given sound in the frigid grooves of “Sentinel,” the primal beauty of “New Horizons” and the stark structures of “Landforms.”

Not only does this double LP gather rare tracks never heard together before, but also each piece has been lovingly remastered to breath new life into these wonderful works. Twelve 1 celebrates the music of Morphology in all its glory, two masters of modern electronic music who continue to re-define and re-design genres.

To celebrate the 25th Anniversary on 25th March 2022, the diamond-certified GRAMMY®-nominated double-disc opus will be released as a 25th Anniversary Super Deluxe Box Set on June 10, 2022. The Life After Death 25th Anniversary Super Deluxe Boxed Set consists of 8-LPs and a commemorative booklet featuring rare photos from the album cover shoot, liner notes by Sheldon Pearce, and exclusive reflections from members of the team who worked on the original album release. In addition to the original album, it includes the Hypnotize 12”, Mo Money Mo Problems 12”, Sky’s The Limit 12”, and Nasty Boy 12”.

Life After Death features 112, Jay-Z, Lil’ Kim, Ma$e, Bone Thugs-n-Harmony and Too $hort, along with tracks like “Kick In The Door,” “What’s Beef,” “Notorious Thugs,” “Ten Crack Commandments” and “Sky’s The Limit,”. The album hit #1 on the Billboard 200 chart and the US Top R&B/Hip Hop chart. It went diamond in the U.S. alone, double platinum in Canada, and platinum in the UK. The album received a GRAMMY® nomination in the category of “Best Rap Album.” “Hypnotize” earned a GRAMMY® nomination for “Best Rap Solo Performance,” and “Mo Money Mo Problems” was nominated for “Best Rap Performance by a Duo or Group.” Among dozens of lists and retrospectives, Rolling Stone touted Life After Death among its coveted “The 500 Greatest Albums of All Time.” The RIAA has awarded the album a Diamond Certification for more than 5 million copies sold of the double-LP.

Truly sensational modern soul double sider. Fantastic group vocals, swirling string arrangement and top notch punchy production. Impossible to find on original format (came out on private press on KickBack Records). Spun only by a handful of deejay around the world, to include George Mahood and our very own Dj Camembert. Recorded at United Artist studio, Beverly & 3rd Street Los Angeles California in 1978. Co-Produced by JJ Wilson who was also the band leader at the time and Bert (Humberto) Agudelo who was also Chief Engineer on this project and is a mastering engineer known to have worked at Liberty/United Artists Recording Studio. He also produced the famous Rocky movie album on United Artist. Executive producer Cecil Lyde Holden from the well known Lyde, Fisher & Giles band, who has cut the classic Serve Me Right to Suffer in 1977 on HAB records. Enjoy and support the venture, and if you like the Starfire too, please bundle up and spare something. One in every home!

Music For Nations release - essentially a reissue of the record from last year's ‘Kvitravn’, augmented with livestream audio from their worldwide streaming event last year, housed in limited deluxe packaging. 2CD with 28 double page booklet includes disc 1 – 'Kvitravn' (original album tracklisting) and disc 2 'Kvitravn – First Flight of the White Raven' (livestream audio featuring tracks from Kvitravn). 2LP set in gatefold sleeve pressed on 180gm vinyl with an 8 page booklet. Specialist promo/marketing activity across all relevant media outlets.

When Mani Festo isn't designing the artwork for Club Glow - the collective he forms part of alongside Borai, Denham Audio and LMajor - or running his own imprint "Flightpath", he uses his DJ sets and production to pay homage to the soundsystem-oriented music that made him. A real artist of the moment, the past couple of years have seen Mani Festo get the recognition he deserves, with many citing his prowess in capturing the darkly seductive essence of hardcore's antecedents, creating something at once nostalgic and futuristic.

Those searching for this fine balance will not be disappointed by Pathfinder EP, the next instalment of Basement Trax: a series which focuses on club-fuelled Techno and Electro. "Powertriip" is a full-bodied electro slammer, coloured by the metallic textures of an industrial soundscape. The title track continues with the same high-voltage pressure, this time with hi-hats that give it double-time energy.

The B-side is about computer love: "Big Rooms" is driven by a highly-processed acid melody whilst "Auto Sequence" is a dizzying take on breaks with high-pitched arpeggios and deranged vocal chops that add to the track's eeriness.

The album, which features some incredibly exciting and varied names including neo soul up-and-comer Greentea Peng, American jazz & soul vocalist Lady Blackbird (on ‘Sunlight’) and British blues vocalist Natalie Duncan, shows off both the rich history and calibre of Goldie and James Davidson’s individually but also how they can create something together that’s so cohesive and forward thinking. The sound the duo have been able to create is also partly due to their geographical locations over the past 18 months, bouncing ideas between Davidson’s studio in Bournemouth on the south coast and Goldie’s house in Phuket, Thailand; showing two songwriters and producers at the top of their game responding to a year and a half in very different atmospheres but similar trying circumstances.
Lead single from the album ‘Dassai Menace’ (released with double A-side ‘Fathoms’) was picked up by Virgil Abloh who used it to soundtrack his Louis Vuitton SS22 fashion film ‘Amen Break’ (watch here), with Goldie walking in the accompanying catwalk show. Goldie will also be in residence throughout the month of February 2022 on BBC Radio 1 alongside the likes of world renown DJ’s Sama' Abdulhadi, Folamour, Or:la, LCY and Scratcha DVA.

Available for the first time on 180 Gram 45rpm Double Vinyl! One of Diana's most sought after albums!

The first-ever live concert recording from Grammy®-winning vocalist/pianist Diana Krall was Recorded at the Paris Olympia Theatre. Here finally, captured in amazing audio quality, is an album showcasing the magic of Krall’s concert performances.

Krall and her band – perform some of the tunes from Krall’s studio recordings, such as "East of the Sun (West of the Moon)" and "Devil May Care." They are joined by special guests John Pisano (acoustic guitar) and Paulinho DaCosta (percussion) for several tracks, including the Gershwin’s "S’wonderful." The Orchestre Symphonique European, conducted by Alan Broadbent with special guest conductor Claus Ogerman, is featured on the upbeat "Let’s Fall in Love" and a haunting interpretation of "I’ve Got You Under My Skin."

Audiophile Audition / audaud Rated 4 1/2 stars
"ORG has remastered the tapes for audiophile 45 rpm vinyl. The results are flawless. There is warmth in the tones that reflect the acoustic sound of the band. The separation is precise, especially in the mixes with the orchestra. The intricate registers and suppleness of Krall’s voice are presented with impeccable clarity." - Audiophile Audition, audaud, September 2011

Soundstage Rated 5 out of 5 for Recording Quality!
"A favourite of audiophiles because her music and voice lend themselves to purist recording techniques, Diana Krall perpetually sounds in great form on her recordings... The sound, remastered by Bernie Grundman, is clear, spacious and well defined -- outstanding in every way, the backing players as vivid as Krall's voice and piano..." - Marc Mickelson, soundstage, May 2009

"One of Diana Krall’s most beloved CDs, Live in Paris, has been given a loving audiophile LP remastering treatment by ace engineer legend, Bernie Grundman and produced by an audiophile label new to us, Original Recordings. The shimmering string arrangements on Let’s Fall in Love and I’ve Got You Under My Skin, are testament alone to the real life power of vinyl..." - Audiophile Audition

"Bernie Grundman’s remastering for vinyl puts Live in Paris in the gold plated category for the legions of Krall aficionados. This two-LP audiophile edition would make an ideal late night listening experience, or the perfect background soundtrack for a special dinner party." - Audiophile Audition

Also on this recording is a special bonus studio track, a rendition of Billy Joel’s "Just The Way You Are" featuring Michael Brecker's beautiful tenor sax solo.

Tape

The trio Susana Santos Silva / Torbjörn Zetterberg / Hampus Lindwall emerged in 2015 with their first album, which was received with critical acclaim. The unique conceptual approach to composition & improvisation rooted in both free jazz and contemporary classical music was described as “guaranteed a unique listening experience” (JazzIn), “It is art!” (Gapplegate Music Review) and “unique sound and style” (New York City Jazz Record). On their new album »Hi, who are you?«, they have taken the musical creation a step further by adding live electronics for real time sound treatment. Different techniques from experimental electronic music is juxtaposed with simple use of electric guitar effects to obtain tight and highly emotional sound.

Susana Santos Silva - trumpet Torbjörn Zetterberg - double bass, and electric noise on track 5 and 10 Hampus Lindwall - pipe organ and live electronics

SUMMER OF SOUL (…Or, When The Revolution Could Not Be Televised) Original Motion Picture Soundtrack accompanies Ahmir “Questlove” Thompson’s directorial debut documentary SUMMER OF SOUL, which won the Grand Jury Prize and Audience Award at the Sundance Film Festival. Like the documentary, most of the audio recordings that were recorded during the 1969 Harlem Cultural Festival have not been heard for over 50 years, keeping this incredible event in America’s history lost – until now. The SUMMER OF SOUL (…Or, When The Revolution Could Not Be Televised) Original Motion Picture Soundtrack is a joyous musical celebration and the rediscovery of a nearly erased historical event that celebrated Black culture, pride and unity. For the album, Questlove carefully selected 16 live renditions of jazz, blues, R&B, Latin, and soul classics performed over the course of The Harlem Cultural Festival in 1969 as chronicled by the film. Performers include The 5th Dimension, Gladys Knight & The Pips, B.B. King, Nina Simone, The Staple Singers, David Ruffin and Sly & The Family Stone! Extensive promo & marketing activity across all media outlets. The CD format was released in Jan. Standard black vinyl 17 track double LP in gatefold sleeve. Promo/marketing activity.

"The dazzling symphonic album he always threatened to produce" UNCUT 5/5
"A soulful symphonic masterpiece" ROLLING STONE

Originally released in Japan only on CD in 2002, Plush's Fed lives up to the cult-like adulation it has garnered ever since. A stunning symphony of Bacharach-inspired pop, Toussaint-swing andMelody Nelson-era-Gainsbourg, it's an album bound together by Liam Hayes' maverick genius, an uncompromising Brian Wilson-esque quest for sonic perfection. Positively indulgent in every way, this sumptuous record has long deserved to be treated to a deluxe vinyl edition. Lovingly overseen by Hayes and recent collaborator Pat Sansone (Wilco/The Autumn Defense), it will finally be available on the format it should've always been, this Record Store Day 2018. Remastered and presented as a double LP - cut specially at 45rpm - it comes housed in a beautiful gatefold jacket with expanded artwork throughout.

Its expansive, singular vision infamously took years to realise, involving Earth Wind & Fire's horn arranger (the legendary Tom Tom MMLXXXIV) amongst other elite personnel. Recorded with five different engineers (including Steve Albini and John McEntire), Hayes meticulously extracted every ounce of pop from each note. A long list of renowned studio ringers (including soul drummer Morris Jennings) and Chicago regulars (McEntire, Rizzo, Parker) among many others provide playing of demonstrably professional precision. As such, Hayes' complex, meandering melodies are rendered far more coherent and satisfying than they otherwise might have appeared, bringing his epic, anguished pop to a rarely seen level of perfection and depth. This unstinting dedication to the overarching vision was rewarded handsomely - artistically, at least.

However, as might have been expected, his deluxe approach resulted in a bill too steep for any American or European label to ultimately support. It has since seemed unlikely that it would see the light of day on either side of the Atlantic. Yet we were determined not to allow Hayes' lifetime achievement to go unnoticed or let music fans across the world miss out on one of the finest albums of this century.

A wide-eyed opus of stunning intensity, Fed oozes Hayes' impeccable influences without ever becoming overwhelmed by them. Incredibly, it touches upon Blaxploitation soul, Boz Scaggs-soft-rock, hints of jazz and blues, timeless baroque and skewed pop. In one long minute, the stabbing, soulful "So Blind" moves through five different melodic segments, horns shift easily from haunting backdrop to explosive forefront, smoothly giving way to strings as Hayes' voice casts its bewitching spell. The ambitious soul of "Having It All" has been described as the diffident cousin of Marvin Gaye's "Save The Children" whilst the breezy "Greyhound Bus Station" is pure 70s AM Gold, evoking the easy warmth of Jimmy Webb's beloved Land's End period. The sublime resignation of "No Education", a beautifully slow number that begins, "Never read a book in my life/ But I feel just fine" is post-rock ballad heaven. Arriving towards the end, the title track arrives as a majestic suite, moving from a horn-and-guitar-led instrumental via shifting melodies to Hayes' compelling vocal bursts.

An album of such brilliance, Fed can comfortably sit alongside such staggering statement pieces as David Bowie's Young Americans, Randy Newman's 12 Songs or Harry Nilsson's Nilsson Schmilsson. Indeed, for all the sprawling elements that went in - lengthy guitar builds, exploding horn sections, solemn strings, female backup chorus - it is a deeply personal and original record. Employing a distinct "more is more" aesthetic, he demonstrates remarkable restraint in producing an album of such intimacy. "My creation has drowned me," he memorably sings on languid opener "Whose Blues", yet he navigates the shifting styles and ideas with enviable ease.

On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colours and paints), on a vinyl double LP for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period.

A Polaroid. Still life with tangled leads and consumer electronics, late twentieth century. Black and various shades of dirty white are the dominant non-colours. The image’s spatial depth remains diffuse, the links between its elements speculative. A note stuck to the wall (a legend, perhaps, or an all-explaining blueprint in text form?) is impossible to decipher. You can’t see what connects the picture’s signs. You have to hear it.

farben says: Every sound is a text. A bearer of meaning in search of a reader. Hoping the ideas inscribed in its autonomous existence will be understood as intended. While its beauty lies precisely in misunderstanding, in reading the coded message a new way every time. A thousand colours of sound, a thousand different ways to hear, to see, to understand.

On textstar+ Jan Jelinek brings together the material from the CMYK series, four EPs he released between 1999 and 2002 under the pseudonym farben (the German word for both colours and paints), on a vinyl double LP for the first time. The selection of tracks has been remastered from the original tapes, joined by two additional pieces that appeared on compilations during the same period. Another new element is the Polaroid, showing the origins of a world: Jelinek’s home studio in Berlin at the time.

farben says: Move your body! The project has its roots in Jelinek’s love of house as a reductionist vision of soul. Of four to the floor as a proposition that can be accessed anywhere. Of electronic dance music as a realm of possibility that can be continually expanded. farben was written as contemporary house music. As a text about excitement and euphoria. The arrangements were made directly while recording to DAT, on a twelve-channel mixing desk. Several track titles suggest a link to live concerts, coupled with the context of machine music and bedroom recording. Others affirm pop music’s most extravagant stock phrases about various states of love.

Jelinek produced the tracks with the aim of making music for dancefloors. An idea that failed very productively. In the locations to which it was originally addressed, the project barely figured. But people did listen, and they listened all the more closely to this music that opened up new acoustic and associative scope for house. farben is the opposite of genre: a music spawning new terms (clicks & cuts, micro-house) that never manage to fully capture it.

farben says: Signifiers. The four CMYK EPs are designed as a network of references that cannot be missed but that can also never be precisely deciphered. The vectors of sound, word and image point to Isaac Hayes and Ornette Coleman, to Detroit and the first generation of the Red Army Faction, to Karl Marx and Friedrich Engels. So multifarious that they are distorted to the point of recognition. Overall we hear sonic docufictions whose appealing vagueness derives precisely from this oscillation between clarity and ambiguity, which is also the source of their poetry: the lyricism of the pure circulation of signs.

The artwork is based on photographs of former Red Army Faction members, broken down into the four colours of the CMYK model. The motifs dissolve into individual dots of a single colour, so close to the faces that their expressions are only hinted at. Taken together, the individual colours compose a new whole out of fragmentary material, defying definition and thus maintaining their vibrancy. The same occurs on the level of sound. The sampler Jelinek used for these tracks had to be fed with floppy disks, imposing a memory limit of 1.44 megabytes per audio quotation from soul or jazz records. As a necessary consequence of this, the individual references, like the dots of colour, are dissolved into details and abstractions. They appear as splinters that recombine in new ways to create new meanings. The joy of collapsing metaphors.

farben says: New departures. Even two decades after its original release, textstar+ does not come across as an epitaph to the modern era. Instead, it appears as a euphoric affirmation of the utopias of the twentieth century, translated into new sound texts via the aesthetic strategies of abstraction, collage, networking and speculation. 1.44 megabytes of history, one thousand signifiers, one album. From “Live ...” to “... Love”.

Arno Raffeiner, 2021

Justin Thurgur has been at the heart of the UK's World Music scene for over twenty years; principally in his collaborations with the former Fela and Femi Kuti keyboardist, Dele Sosimi, and with the pianist and composer Kishon Khan, most recently in his groups Lokkhi Terra and Cubafrobeat. He has also worked with the likes of Afrobeat drum legend Tony Allen, and with the Cuban giants Giraldo Piloto, Julito Padron and Changuito. Thurgur is also a member of the seminal English folk group Bellowhead.

'Many Faces' brings together this musical journey, with Afro-infused grooves and nods towards Cuban Jazz and Dub, with Thurgur's early passion for the likes of Miles Davis, Coltrane, Lee Morgan, Wayne Shorter, Herbie Hancock, et al....

It features both Khan and Sosimi, who have contributed as co-writers as well as bringing their own inimitable sounds on piano, rhodes and hammond organ. Alongside them are some of the leading musicians on the UK's African, Cuban and Jazz scenes, plus collaborations with rising star singers Jade Pybus and Sahra Gure.

Justin Thurgur - trombone (and some additional keys)

Graeme Flowers - trumpet and flugel horn

Simeon May - tenor, baritone and alto sax

James Allsopp - bass clarinet

Jade Pybus - vocals (on 'Woman')

Sahra Gure - vocals (on 'Be A Little Wiser')

Kishon Khan - piano, rhodes and hammond organ (on tracks 1,3,4 and 5)

Dele Sosimi - piano (on tracks 2 and 6) and vocala (on track 6)

Phil Dawson - guitar

Suman Joshi - double bass (except track 5)

Jimmy Martinez - double bass (on track 5)

Tansay Omar - drums (on tracks 1,3 and 4)

Kunle Olofinjana - drums (on tracks 2 and 6)

Yoann Julliard - drums (on track 5)

Afla Sackey - congas and djembe (on tracks 1,2 and 6), shekere and cowbell, and vocals (on track 6)

Oreste 'Sambroso' Noda - congas (on tracks 3 and 5)

Evie Hilyer-Ziegler - violin and viola

Paul Sartin - violin

Track 1 written by J Thurgur and S Gure

Tracks 2 and 6 written by J Thurgur and Dele Sosimi

Track 3 written by J Thurgur

Track 4 written by J Thurgur and J Pybus

Track 5 written by J Thurgur and K Khan

Recorded at Fish Factory by Simone Gallizio and Sean Douglas, at Boneman Studios by Justin Thurgur, at Better Pass Your Own Studios by Phil Dawson, at Thank You Please Studio by Kishon Khan and at 224 Studios by Matteo Musetti.


Mixed at Hi Street Studio by Mauro Caccialanza.

Mastered at Gearbox by Caspar Sutton-Jones.

Artwork by Matthieu Dufour

Photos of by Siobhan Bradshaw, Justin Thurgur, Stephanie Sian Smith,

Chantal Azari, Alex Bonney, Heather Hoyle, Nicole Thurgur, Joanna Mendel, Tansay Omar, Richard Gearey, Faye Hilyer-Ziegler and Svetlana Onye.

A brand new multi genre label. Releasing Jungle, Hardcore and Jungle Techno that pay's tribute to the orginal 90's vibe but presents it with a modern take. TufStuf focuses on the harder and faster side of rave, with rough layered breakbeats, deep sub bass, and emotive and catchy melodies.

With already some very experienced, talented and create producers signed to the label there is many exciting things to come. The second EP focuses hard and heavy amen Jungle with deep soundscapes, melodic vibes and emotive vocals with plenty of heavy basslines as well.

EP comes with a 12 x 12 inch full colour double sided artwork insert.

NOAHFINNCE’s ‘STUFF FROM MY BRAIN / MY BRAIN AFTER THERAPY’ is a collection of songs written before and after therapy.

The debut double EP collection features guest vocals from Chris Freeman of Hot Mulligan and builds the world of NOAHFINNCE’s unique, hyperactive brain.

The project tackles issues like depression, anxiety, ADHD, past trauma and the path toward prioritizing mental health.

Deeply personal, but always expressed with a cheeky, quirky, not-so-serious sense of humour, NOAHFINNCE showcases the big personality that has amassed a huge YouTube following and led
him toward being a leading voice in Trans/LGBTQ+ youth issues.

With songs like ‘AFTER THERAPY’ and ‘LIFE'S A
BIT’, NOAHFINNCE is poised to break out as this
year’s new star of the new wave of pop punk.

For fans of YUNGBLUD, Waterparks, Set It Off.

LP pressed on cloudy blue vinyl.

Manchester rock band Oceansize built a career and reputation of constructing sonic soundscapes from out of nowhere into the most monolithic, dynamic behemoths heard in aeons.

The band formed in 1998 and released four albums before calling it a day in 2011. They gained favourable comparisons in the press to bands like Mogwai, Tool, Nirvana, Jane’s Addiction, My
Bloody Valentine, Can and Faith No More among
others.

Oceansize challenged themselves and thus by the same token ensured the listener didn’t become comfortable while listening. And let's face it, - comfortable is, after all, boring.

‘Everyone Into Position’ was Oceansize’s second
studio album. Beggars Arkive are reissuing the
album on splattered yellow double vinyl.

With vinyl variants selling out almost immediately, Prosthetic Records is proud to RE-ISSUE a stellar new vinyl pressing Double LP Gatefold of ANIMALS AS LEADERS top selling, self titled debut release.

For fans of Blue Öyster Cult, Blue Coupe, and Classic Rock! Albert Bouchard is best known as one of the founding members of Blue Öyster Cult. The original band sold millions of albums for Columbia Records with such classic songs as “Don’t Fear the Reaper” and the #1 hit on the Billboard Mainstream Rock chart “Burnin’ For You”. As a songwriter, he wrote many BÖC songs including the very popular “Astronomy” (which was covered by Metallica on their 1998’s release Garage Inc) and the live staple “Cities on Flame with Rock and Roll”, which he also sang lead vocals. “Imaginos 2 – Bombs Over Germany (minus zero and counting)” sees Albert continuing the Trilogy of Imaginos, a concept album about an alien conspiracy that is brought to fruition during the late 19th and early 20th century through the actions of Imaginos, an agent of evil. The album weaves scripts and poems by the late Sandy Pearlman. It features guests Ross The Boss (Dictators), Joe Cerisano (Silver Condor, TSO), and reunites original Blue Öyster Cult members Eric Bloom, Donald “Buck Dharma” Roeser and Joe Bouchard, as well current BOC member Richie Castellano, who all contribute to this latest installment. The album also features reworks of classics like “Cities on Flame with Rock and Roll”, “The Red and the Black”, and “Dominance and Submission”. Due to the overwhelming response to Imaginos II, we are now releasing a Double LP gatefold version which includes an extended version of “Independence Day”, plus the bonus “When War Comes (Instrumental Mix)”.

Repress !

Post-punk milestone, back in print on vinyl and CD in its original form. Many fans consider it their finest hour. Vinyl includes a digital download card and Sonic Youth poster!! Daydream Nation was Sonic Youth's sixth full-length, their first double-LP, and their last for an indie label before signing with Geffen. Widely considered to be their watershed moment, the album catapulted them into the mainstream and proved that indie bands could enjoy wide commercial success without compromising their artistic vision. More recently, Daydream Nation has been recognized as a classic of its time: Pitchfork ranked it #1 on their '100 Greatest Albums of the 1980s'; Spin listed it at #13 on their '125 Best Albums of 1985-2010'; Rolling Stone put it at #45 on their '100 Best Albums of the Eighties' list and #328 on their '500 Greatest Albums of All Time.' It was one of 50 recordings chosen by the Library of Congress to be added to the National Recording Registry in 2006. 2007 saw the release of an expanded four-disc vinyl box set, but now the album is back in its original form after years of being out of print and highly sought after. As a special 21st century bonus, the vinyl now includes a digital download card—radical adults rejoice!

First Word Records continues its series of special collaborative releases for it's 15th anniversary with an absolutely firing double-header from 14KT and Tall Black Guy.
On this limited 7" vinyl, the two renowned US beat-makers revisit two of their previous First Word singles, turning out flips of each other's tracks, also featuring a multitude of talent, in the form of Moonchild, Muhsinah, Stro Elliot and James Poyser of The Roots.

Following on from the first volume in 14KT's jazz project 'IAMABEENIE', here he flips TBG and Moonchild's collab, 'I Will Never Know', originally from Tall Black Guy's 2017 sophomore album 'Let's Take A Trip'. The original neo-soul bump is transformed into a deliciously epic latin affair, drenched with deep Brazilian vibes throughout - this is one to draw for at those steamy get-downs; a slinky slab of dancefloor fire.

Tall Black Guy returns to First Word for the first time in a minute, and takes on the Muhsinah-lead joint 'The Power Of Same', the lead single from 14KT's 2019 acclaimed album, 'For My Sanity'.

As to be expected, TBG delivers his unmistakable blend of dope dubbed-out spacey soul and boom bap kicks & snares, complete with guitar licks from Stro Elliot, and keys from James Poyser. Two of the dopest producers in the game, this one is completely 1000% essential.

The journey continues and this time with a double vinyl pack from the UK resident Jake Flory with 6 hypnotic tracks plus a powerful remix from Cristi Cons.

Played by Raresh. Limited Copies. Vinyl Only. 180gr.

Greg Dowling and Shane Johnson return to the Go Deep label for their third album, ‘This Bit of Earth’. Beginning work in the relative normality of 2019 and finishing over the strange summer of 2020, the resulting music mirrors the thoughts that such upheaval brings out - our world and our place in it - while also functioning as a kind of travelogue of journeys past and planned, real and imaginary.

Mixing samples with modular synths, programmed drums with jazz loops, and quirky plugins with outboard gear, the album ranges far and wide while retaining a warm, natural core sound.

The title track opens proceedings on an ambiguous note. A simple double bass motif weaves around a misheard vocal sample, layers of piano and vibraphone take up the call, and the whole thing gradually spins off axis to a distorted, disjointed finish. ‘Suburban Key’ follows on a groove of busy drum work and deep sub bass, the stately piano and strings setting the stage for an undulating synth solo.

Further in, ‘Alice on Jupiter’ takes a deep breath and blends field recordings, gently swelling pads, modular bursts and a recurring picked melody.

‘Back Trace Dub’ strolls the imagined streets of Irish author Kevin Barry’s ‘City of Bohane’, noting the “taint of badness” in the air and revelling in the tense, dub-noir atmosphere. Later on, the spoken word intro of ‘I Could See’ expresses the dread of confinement and the relief and ecstasy of release, a theme the music reflects as it steadily builds to a joyful climax.

And closing the album on an optimistic note, the languid, emotional Culatra Ferry remembers better, beautiful days in the sun and looks hopefully forward to more.

“Highlights are the stunning sonics of Suburban Key, with its dusty groove and fast paced drums, stately piano, and cinematic strings reminiscent of a Four Hero orchestral masterpiece. High As Scaffold is full of warmth and soul and is yet another example of Fish Go Deep going even deeper into the dark blue waters of their brilliant musical minds.” Ban Ban Ton Ton review, Japan

“So good. Real beauty” Laurent Garnier, Radio FG, France

“Really liking this, would love to support on radio” Colleen 'Cosmo' Murphy, WorldwideFM, UK

“Lovely album” Osunlade, Yoruba Soul, US

“Very very nice album...love the new directions here” Charles Webster, Openlab, SA

“Absolutely beautiful piece of work” Darimont, RWAV, Germany

“A lovely LP of eclectic sounds” Jimpster, Freerange Records, UK

“Delightful album this. Very much appreciate the musicianship and we need that in the world right now as the commercial music world starts to fire up its nonsense for the new beginning” Vince Watson, Yoruba, Netherlands

“Such a fucking great body of work, and on par with ANY of the great albums I've listened to recently” Billy Scurry, Ireland

“There’s some REAL magic here. Possibly the deepest year from this duo” Charles Levine, Soul Clap, US

“A fabulous surprise. I'm sure if he were still alive Jose Padilla would have hailed this as his number one album of the year, it certainly is mine” Steve Miller, Afterlife, UK

“Great album... will play in next shows” Franck Roger, Real Tone, France

“Beautifully produced and great atmospherics” Ashley Beedle, Black Science Orchestra, UK

Radio and DJ support from Ron Trent, Hector Romero, Ame, Cian Ó Cíobháin, Bill Brewster, DJ Sprinkles, Harri, Honey Soundsystem, Alexkid, Moodymanc, Hifi Sean, Kassian, Freddie Garcia, 6th Borough Project, Stuart Patterson, Lars Behrenroth, Fred Everything, Mark Roberts, Cut n Shut, Will McGiven, Stefano Tucci, Tristan Jong, Matthias Schober, Trevor Fung, Ben Davis, Max P and more.

Alexia (real name Alessia Aquilani) was born in La Spezia (Italy). In 1990 she joined the DWA Team, first as a studio vocalist, singing on the hit song "Please don't go" by Double You, then she took part in the "ICE MC" project, a musical project with a rapper and Alexia as singer. All of Europe was dancing and singing to the songs "Take away the colour", "Think about the way" and "It's a rainy day" and everybody became familiar with Alexia's beautiful clear voice. In 1995 Robyx decided to compose a song especially for her. "Me and you" was her first single and within just days of its release, its presence was felt across Europe, reaching no.1 in Italy and in Spain.

As a follow-up to "Me and you", the new single, "Summer is crazy", came out in 1996. The song reached the top of the charts and became the signature tune for "Festivalbar", the most popular Italian summer music festival. It was no.1 in Italy, Spain and Finland, top 20 in France, top 40 in the rest of Europe and was one of the biggest summer successes of 1996.

As summer drew to a close it was time to create a new song fit for Alexia's incredible voice. In November 1996 Alexia released her third single, “Number One”. It proved to be a smash hit, going to no.1 in Italy and many other countries. In January 1997 recording of her first album “Fan Club” began. It was released in May 1997 together with a new single, "Uh la la la", for the imminent summer season. "Uh la la la" was the most played and danced song of that summer! It reached no.1 in Italy, Spain and Finland and made top ten throughout the rest of Europe. The album sold more than six hundred thousand copies and was awarded many gold and platinum discs.

Double black vinyl LP, compiling the rare Home Recordings of Sandy Denny. Never pressed to vinyl and in partnership with the Sandy Denny estate. Twenty-seven 1960s recordings of pre-Fairport Sandy Denny – nearly all making their vinyl debut! This essential collection includes two different demos of her classic “Who Knows Where the Time Goes” (and other songs penned by her – some later recorded by Fairport), plus heartfelt covers of songs by Jackson C. Frank, Fred Neil, and traditional folk songs. The definitive collection of Denny’s home demos and authorized by her estate.

First time on vinyl for this album. Proto Jazz-Punk multi-genre splatter album, released on CD in 1993, My Wife Doesn’t Understand Me is available on vinyl for the first time as a double LP, playing at 45rpm for superior sound quality. The accompanying download includes radio edits of live favourite 6-8-1 (The Burn-Up) and Blue Funk, plus Ructions (60s Stereo Mix) and Qualm-Free Zone. A statement of intent from the off, this is an album first and foremost. No singles, a piece of work to be listened to as a whole - from short shards of humorous observation (Cover Versions), politics (Margaret Thatcher We Still Hate You), straight-as-a-die covers (A Taste Of Honey and Jean-Pierre) to the closing Musique Concrete of the title track, prisoners were never taken. Terry Edwards and The Scapegoats look forward to the vinyl edition of My Wife Doesn’t Understand Me to bemuse, baffle and delight once again as it did on it’s release when Acid House was on it’s way out and Britpop was on it’s way in.

While Bauhaus have been waiting to continue their reunion shows, founding member David J has been trawling through his archive of tapes and diaries from the early 80s in coll;aboration with sound sculptor Tim Newman to present two volumes of unique spoken word and songs, including a vocal contribution from Black Francis of The Pixies and guitar overdubs by Warren Defever of His Name Is Alive and Adrian Utley of Portishead. Sleeve notes by Andrew Brroksbank of the Bauhaus Archive

Back on vinyl for the first time in 3 decades, Hysterics is pressed on double silver vinyl LP. As essential vinyl reissue from the recently revived King Rocker stars. Following the release of the critically acclaimed King Rocker documentary (staring Stewart Lee), Robert Lloyd’s cult post-punk are selling out tours and receiving the long-overdue recognition they deserve. Long out of print, rarity-packed deluxe edition of their second album is a worthy follow-up to that of their debut and a harbinger of great things to come.

Superchunk’s Incidental Music: 1991-1995 is the band’s second compilation of singles, B-sides, and EPs, originally released in 1995 shortly after their landmark album Foolish. It collects fan favorites from soundtracks such as “Shallow End” and B- sides like “On the Mouth,” as well as covers of The Magnetic Fields, The Verlaines, The Chills, and even Motörhead. AllMusic’s Fred Thomas says it all: “Incidental Music is an essential piece of the Superchunk discography and a snapshot of the band as it transitioned from the scrubby radiance of its early days into the more nuanced songwriting machine it became throughout the mid-’90s.” Exclusively for Record Store Day 2022, the double LP makes its first reappearance on vinyl since its original release, with LP1 on opaque green and LP2 on opaque orange housed in a gatefold jacket.

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
 ‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl

A SIDE: "COME INTO MY PARLOUR" - 1969

Genre: Early Reggae/Boss Sound

“COME INTO MY PARLOUR” is a killer Reggay anthem adored by early Reggae fans, on par with the likes of “John Jones” or

“Hold Down” previously released on Harlem Shuffle Records. Extremely popular, it has never been repressed since,

it is impossible to find in good condition and is very much in demand.

With its suggestive lyrics, bold organ, pulsing beat and lovely melody, it is easy to see why “Parlour” is still so much in favour 50 years after its release. Essential!



B SIDE: "CHECK HIM OUT" - 1969

Genre: Early Reggae / Boss sound

It was initially released as the A side of “The Vampire” by the Upsetters on the Upsetter label in 1969 in UK.

"Check Him Out" is a cheerful and infectious Reggay tune with wonderful harmonies from the group.

A marvelous track. Listening closely, it appears to be a musical advertisement giving directions to a record store in Kingston that Perry owned at the time!!!

It has never been repressed on 7” vinyl. It is a very much in demand song and a perfect B side for this killer double sider…

CIRCLE OF SILENCE melden sich mit ihrem neuen Album "Walk Through Hell" zurück, das düsterer als seine Vorgänger ausgefallen ist und ein wahres Schmankerl für jeden Power Metal Fan ist, der heftig, düster und melodisch mag.
"Walk Through Hell" ist das vierte Studio-Album von CIRCLE OF SILENCE.
Zum ersten Mal wurden alle Songs komplett in Drop-C Stimmung geschrieben, was dem Album ein schwereres und insgesamt düstereres Gefühl verleiht, viel düsterer als bei den vorherigen Alben.
CIRCLE OF SILENCE sind davon überzeugt, dass dies ihr bisher bestes Album ist, und dass es von allen Fans von härterem und dunklerem melodischen Power Metal geliebt werden wird.
Krachende Doublebass-getriebene Tracks, stampfende Groover sowie epische Hymnen - alles, was das Headbanger-Herz begehrt, findet sich zusammen mit vielen tiefgründigen und persönlichen Texten auf diesem Album.
Durch die Pandemie konnte die Band, im Vergleich zu früheren Alben, viel Zeit in die Arbeit an ihren Songs investieren. Epische Soli und Leadgitarren sowie ein bis zu 5-stimmiger Gesang verleihen dem neuen Album eine gewisse Epik.

CIRCLE OF SILENCE melden sich mit ihrem neuen Album "Walk Through Hell" zurück, das düsterer als seine Vorgänger ausgefallen ist und ein wahres Schmankerl für jeden Power Metal Fan ist, der heftig, düster und melodisch mag.
"Walk Through Hell" ist das vierte Studio-Album von CIRCLE OF SILENCE.
Zum ersten Mal wurden alle Songs komplett in Drop-C Stimmung geschrieben, was dem Album ein schwereres und insgesamt düstereres Gefühl verleiht, viel düsterer als bei den vorherigen Alben.
CIRCLE OF SILENCE sind davon überzeugt, dass dies ihr bisher bestes Album ist, und dass es von allen Fans von härterem und dunklerem melodischen Power Metal geliebt werden wird.
Krachende Doublebass-getriebene Tracks, stampfende Groover sowie epische Hymnen - alles, was das Headbanger-Herz begehrt, findet sich zusammen mit vielen tiefgründigen und persönlichen Texten auf diesem Album.
Durch die Pandemie konnte die Band, im Vergleich zu früheren Alben, viel Zeit in die Arbeit an ihren Songs investieren. Epische Soli und Leadgitarren sowie ein bis zu 5-stimmiger Gesang verleihen dem neuen Album eine gewisse Epik.

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

High Roller Records, black vinyl, ltd 500, 425gsm heavy cardboard cover with 7mm spine, 20 page A4 booklet, 2 x double sided poster, 3 x A5 photo card in a sepcial envelope, 4 track black vinyl 10" with p/s and insert, Original transfer by Marcus Mossmann (R.I.P.) at PHONOGRAPHIC ARTIFACTS in March 2021. Audio cleaning, restoration and mastering by Patrick W. Engel at TEMPLE OF DISHARMONY in April 2021. Cutting by SST Germany on Neumann machines for optimal quality on all levels... The ultimate audiophile edition of this eternal NWOBHM classic!

Liam Gallagher is not the kind of artist who was going to be stopped by the sizeable problem of not being able to play to an audience during lockdown. So when the idea of playing a playing and filming a live stream show came up, he looked at the precedent set by the Sex Pistols and The Clash and decided to hit the River Thames, armed with a boatload of attitude, a phenomenal live band (including Bonehead) and an arsenal of classic songs.



The show has been captured in full on the new live album ‘Down By The River Thames’, which will be released on May 27th via Warner Records.



Originally streamed on December 5th 2020, the show became one of the most memorable performances of the lockdown era. From iconic Oasis favourites (‘Supersonic’, ‘Cigarettes & Alcohol’) to big hitters from his two all-conquering #1 solo albums (‘Wall of Glass’, ‘Once’), Liam’s inimitable snarl boomed across the Thames and dominated London’s gloomy winter skyline. There were plenty of welcome surprises too: debut solo performances of the Oasis songs ‘Hello’, ‘Fade Away’ and ‘Headshrinker’, and the first live version of ‘All You’re Dreaming Of’. Liam’s voice is absolutely on point throughout, with a full-throttle snarl of anger and attitude that doesn’t compromise any of the finesse of the studio recordings.



Liam commented, “So here it is, the gig they said we could never pull off! As we were in lockdown, bored and depressed, rock ‘n’ roll came to save the day once again. It was a top night and a top gig and it’s captured here on record for you to all enjoy.”



‘Down By The River Thames’ is now available to pre-order now. It will be released on orange double-vinyl, CD and digital formats. The CD and download formats will be available at a special price of £5.



‘Down By The River Thomas’ provides a timely reminder of Liam’s live experience, which returns this month when he headlines a Royal Albert Hall show for the Teenage Cancer Trust. It will be followed by his summer UK headline tour, which includes two nights at Knebworth Park – all 160,000 tickets sold-out in a matter of moments – as well as other mammoth outdoor shows in Manchester, Belfast, Glasgow and Dublin. Please see his website for a full list of his international tour dates.



Liam will also release his eagerly anticipated third studio album ‘C’MON YOU KNOW’ on May 27th. Previewed by ‘Everything’s Electric’, the biggest solo hit of his career so far after hitting the Top 20, the album is available to pre-order now.

Following a 15-year hiatus from publishing, Neapolitan techno's founding imprint - Conform Records - made an emphatic resurgence in 2020 to resume its intrinsic role in the progression of electronic music, ensuring that the genres' virtuous roots and formative values remained instilled within its future. Having re-released its entire back-catalogue in digital format from its original DAT distribution in the 90s, label head Gaetano Parisio now shifts his focus to the modern audience, with contemporary records that serve to marry these two golden eras of dance music.

Showcasing his immense theoretical knowledge and authenticity, earned through decades of experience in the industry, Parisio's latest project - his 6 part "Fragments 2930" EP - honours the meditative euphoria of Conform's early releases. Militant and driving in their effect, each cut presents its own melodious theme; running parallel to the strong percussive undercurrent of high impact techno that can be heard across the extended player. "Fragments 2930" was initially conceived as a single sound block and later fragmented into these 6 single units. As represented in its title, "Fragments 2930" also includes the catalogue numbers 29 and 30, with the double vinyl characteristic of a 2-release miniseries.

Available to purchase on vinyl from May 27th and across digital platforms on June 10th, Gaetano's latest release is further proof that the label's discography now only grows to hold more future classics.

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
 ‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl

It’s the desire to celebrate their sonic bounty that first got Oberst and the band excited about
the idea of comprehensive reissues. But this wouldn’t be a Bright Eyes project if a moment
devoted to appreciating the past weren’t turned into an opportunity to connect with the future.
That’s where the companion EPs (on Opaque Gold vinyl) come in. Or as Oberst puts it, “the
supplemental reading” for the primary reissues: one six-track EP per reissued album, each
featuring five reworked songs from that album. “My thing was they had to sound different from
the originals, we had to mess with them in a substantial way.” Plus one cover that felt “of the
era” in which that particular albums was made - a song that meant something to the band at
the time. To help the EPs come alive in the fullest way, Bright Eyes called in lots of old friends,
like Bridgers, M. Ward, and Welch and Rawlings, as well as new ones like Katie Crutchfield of
Waxahatchee.
‘Fevers And Mirrors’ is pressed on Merlot Wave coloured double vinyl.

As boundless as their music, WHORSES debut
with a double album, like it’s the most natural thing
do to. But is it?
 For sure for these four noise cowboys: their
nameless first brainchild pulls together a fat
number of eighteen tracks, and although there
might be some signs of schizophrenia showing,
this true pièce de resistance breaths honesty and
pure expression through every pore.
 Hitting hard and moving deep in one and the same
creation: yeah, you’re in for a ride.
 WHORSES are a band of extremes, bringing out
the roughest and softest in themselves and in
everyone who dares to dive into that pool of blunt,
deep cutting, ever evolving and limitless sounds.

Hits package from the original 'Pop Idol', celebrating 20 years since he won the competition. Includes that massive initial #1 "Evergreen", plus "Light My Fire", "Leave Right Now", "The Long And Winding Road", "You And I", "Your Game", "Fridays Child", "Daniel" and many more... A 20 track single CD and double LP set pressed on black vinyl, both of which include 2 new songs, plus a deluxe 2CD set containing 13 bonus songs of session tracks/remixes/demo's. Upcoming nationwide UK tour dates to promote this release. TV promo includes The One Show, Sunday Brunch, BBC Breakfast, Lorraine, ITV Jubillee Street Party, Britain's Got Talent and more TBC. Radio promo includes Zoe Ball interview, Jo Wiley session, R2 playlist, Magic FM and ILR support. Extensive coverage across all press.

Trees Speak are back!
Speak’s new album, “Vertigo of Flaws: Emancipation of the Dissonance and Temperaments in
Irrational Waveforms” comes as a double-vinyl edition, single CD and digital release. The limitededition first pressing only of the vinyl includes a bonus 45 enclosed in an 8-page 7”x7” booklet
insert housed within the gatefold sleeve with cover artwork created by Soviet Union propaganda
artist Lazar Markovich Lissitzky in 1911.
Trees Speak are back!
This new release is a vast leap into an ocean of space and sound, a quantum leap into cybernetics, biology, anti-gravity,
time travel, dream speech and transfiguration. A seriously next step release!
Showing no signs of slowing down their rapid creative pace – incredibly this is their fourth album in the space of just over
one year – ‘Vertigo of Flaws’ is a mighty 29 tracks, one and a half hours of music across one double album that is surely
going to be a defining point in their musical career, a giant leap into the sonic unknown, an epic exploration of intensity
and sound.
Alongside their now trademark German krautrock motoric-beat rhythms, angular New York post-punk attitude, tripped-out
60s spy soundtrack, psyche-rock, and 70s synthesizers and vocoders, here you will also hear a new cosmic spacial
awareness (both personal inner space and galactic outer space) and a truly wilful pushing of sonic boundaries - as police
sirens, static noise, alarms, radio signals, avant-garde voices, and orchestral string quartets, all collide to add beautiful
dissonance to uber-powerful, intense, addictive and propulsive rhythms - in the process creating a truly unique
soundscape that Trees Speak have made wholly their own.
If you ever wanted to hear Can, Hawkwind, Destroy All Monsters, Pere Ubu, electric eels, John Cage, Liquid Liquid,
Tangerine Dream, Suicide, Neu!, Laurie Spiegel, Art Ensemble of Chicago, John Barry, Mother Mallard’s Portable
Masterpiece Company, Sun Ra, Stockhausen, John Carpenter, Electro-Acoustic and Musique Concrete and Mars in one
band - then this is it!
Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic nighttime magic of Arizona’s natural desert landscapes. ‘Trees Speak’ relates to the idea of future technologies storing
information and data in trees and plants - using them as hard drives - and the idea that Trees communicate collectively.
Special guests from the hyper-creative hub of the Tucson music scene on this release are Gabriel Sullivan, Ben Nisbet, Saul
Millan, Stephani Guilmette, and Davis Jones.
The album Vertigo of Flaws was recorded in Brooklyn, New York, and Tucson, Arizona during the plague of 2021.
Extract from Vertigo of Flaws sleevenotes:
‘As we travel through space and time, avoiding the discarded remains of the industrial period, the
deconstruction of social norms through the expression of art, music, and philosophy guide the human
experience towards the unknown.
All that remains are musical echoes scattered throughout the universe, like ancient vibrations that now
populate the cosmos. These waves now show signs of decay. Melody, beauty, tonality have all but fallen
away as dissonance blossoms. As John Cage wrote in 1937,
“Whereas, in the past, the point of disagreement has been between dissonance and consonance, it will be,
in the immediate future, between noise and so-called musical sounds. New methods will be discovered,
bearing a definite relation to Schoenberg’s twelve-tone system and present methods of writing percussion
music and any other methods which are
free from the concept of a fundamental tone”.
Similarly, George Van Tassel claimed the Integratron as capable of
rejuvenation, anti-gravity, and time travel. So, what remains of the
“people”? We have adopted from them our own Zeitgeber: their pulses
now guide our sun, our planets, our earths, and are the new circadian,
diurnal, and ultradian rhythms of the galaxy. Traumsprache, dream
speech, is now the internal language of trees.
Decaying metal and machines liberated the note unto nature’s table,
and we sip the delicious nectar of music once more irrational, elaborate,
violent, vast. The past is the future, musical disintegration its own rebirth.
We are nature, once more the computer of the Universe.’

To celebrate the 3 years anniversary of Mother Tongue and remind us all the sheer quality of the Madre Lingua album project from last year, MT’s own Patrick Gibin curated this special remix double A-sider!

Patrick himself teamed up once again with Kaidi Tatham to refreak the EDB & Gary Superfly collaboration ‘Pressure’….the result is pure nasty and rude house vibes aimed at the dancefloor!

On the flipside Mark De Clive Lowe gave a spacey and beatless twist to the electronic opus ‘Apollo 3000’ another big favourite from Madre Lingua moving things into more abstract territories!
The best of both worlds on a single phat 12 inch!

It started, as it so often does, with two old friends hanging out.

John Shima and C P Smith were joking around one evening in their home city of Sheffield. At some point, Smith challenged Shima that, if the latter could produce a record using nothing more than a small modular synth setup, then Smith would release it on his Central Processing Unit label. As heads will know, while Shima has drops on imprints like FireScope and Subwax Excursions to his name, he had never previously released anything via CPU. Shima accepted, and thus we now have his CPU debut, the four-track EP CPU Modular 1.

The specific setup that Shima worked with for these tracks was Smith's Doepfer A-100P6 Suitcase, a small but mighty combination of modules and programmers. It's no surprise that Shima was able to familiarise himself with the equipment in double-quick time - after all, Shima was an early adopter of the Eurorack modular format back in the day. What emerged from the CPU Modular 1 sessions was a quartet of devastatingly effective DJ tools, mid-set rollers which will get the dance moving something crazy.

Opener '003' kicks the EP off as it means to go on. There's something at once stiff-necked and buoyant about the rhythms here, all thwacking Roland tones and snares which crack like someone whipping a length of sheet metal. While the beat barrels unyieldingly onwards, the programming in the tuned modulars is more exploratory and even trippy, full of delay-laced bleeps and flighty rhythmic motifs. It comes together for a cracking mix in the vein of artists like Jerome Hill and London Modular Alliance. Second A-side cut '010' is no different, the street-beat groove and grumbling low-ends underpinning all manner of modular wizardry.

CPU Modular 1 is really timeless stuff, a set of percussion-heavy, future-focussed beats which recalls Smith's own CPU drop 'DJ Tools Vol.1 - 808 Tracks'. '011' kicks of CPU Modular 1's second-half with a dose of Drexciyan dystopia, playing an atonal loop off of an insistent bass wiggle and neurotic hi-hats. Even when Shima tightens or slackens the modulars here, '011' remains unyielding, a dose of pure 'Wip3out' energy that you could happily groove to all day long. The EP closes out with '005', a gnarled, gurgling production which still retains the dancefloor punch of the rest of the record.

For his Central Processing Unit debut, John Shima was tasked to produce four tracks using a single small modular setup. Unsurprisingly given the pedigree of this seasoned machine-funk pro, Shima aced the assignment.

Beach House release their eighth album, titled ‘Once Twice Melody’.
 ‘Once Twice Melody’, the first album produced entirely by Beach
House, was recorded at Pachyderm studio in Cannon Falls, MN,
United Studio in Los Angeles, CA, and Apple Orchard Studios in
Baltimore, MD.
 For the first time, a live string ensemble was used, with arrangements
by David Campbell.
 ‘Once Twice Melody’ was mostly mixed by Alan Moulder but a few
tracks were also mixed by Caesar Edmunds, Trevor Spencer and
Dave Fridmann.
 2CD in wide spine sleeve with silver and black print, inner CD wallets
and a 9.5” x 14.5” pull-out poster.
 Standard 2LP format features 140g double vinyl in wide spine outer
sleeve with silver and black print, inner sleeves and 24” x 36” pull-out
poster.
 Double cassette format (tape 1 - gold, tape 2 clear) features O Card
outer sleeve with silver and black print, two cassette cases and five
panel J Card insert

The ‘Fever Dreams Pt 3’ EP features four brand new songs from Johnny Marr’s anticipated first double LP - ‘The Speed Of Love’, ‘Night and Day’, ‘Counter-Clock World’ and ‘Rubicon’. Timed well to follow on from Johnny’s live run with Blondie, the EP will be released on limited edition gold vinyl on May 20th, with 2.5k units available worldwide.

Early previews of ‘Fever Dreams Pts 1-4’ have been met with widespread acclaim, with Uncut stating that the double album is "The most ambitious album of his career".

Singles including ‘Sensory Street’ has been a mainstay on the BBC Radio 6 Music A-List, the album’s electro-soul opener ‘Spirit, Power and Soul’ was also playlisted by 6 Music and BBC Radio 2, described as “his strongest solo composition yet” by the Evening Standard, “an exercise in progressive creative ambition” by DIY, “invigorating” by Uncut, with “defiance in its DNA” by CLASH and simply “banging” by The Telegraph.

Earlier EP ‘Fever Dreams Pt 2’ has seen Johnny heralded as “a master songwriter” by The i Newspaper and, “a project unlike anything he's done before" by Music Week.

2022 will see Johnny Marr return to the live stage, joining Blondie as a special guest on their ‘Against The Odds’ headline tour through April and May, including London’s O2 Arena, before heading out on The Killers’ headline US arena tour, beginning in August through to October.

Featuring Squirrel Flower and Liam O’Neill (SUUNS). Recommended If You Like: Mount Eerie, Low, Richard Swift, the Weather Station, Lomelda, Fleet Foxes, Squirrel Flower, L’Rain. Cedric Noel is a songwriter, bassist, collaborator and producer currently based in Montréal, Québec. The newest longplayer from Tio'tiá:ke/Montreal staple Cedric Noel lands with a stunning sense of surety and self. Hang Time stands as a high water mark for a songwriter who's spent the past decade quietly expanding the borders of his music. Longtime fans will recognize the fluid elements of the album’s open-ended rock formations: reflective strumming, soaring choruses, searing guitar lines, subtle bass grooves; all occasionally dissolving into pools of pure ambience. New listeners will find surprises throughout: threads of folk pop, ambient and sound collage fasten the foundations of this expressive whole. However, what’s most striking on Hang Time is Noel’s newfound sense of voice, both literal and metaphorical. Written primarily in 2017-18 during an intense period of self-reflection, this collection of songs finds Noel wrestling profoundly with his sense of identity, self and place. The album’s material was captured faithfully at The Pines, a beloved downtown Montreal studio whose doors shuttered shortly after amidst the strain of the pandemic. Noel worked closely and patiently with friend and engineer Steve Newton, ensuring the songs had the time and space needed to come fully to fruition. Hang Time features subtle rhythm work from drummer Liam O’Neill (SUUNS) and guest spots from Brigitte Naggar (Common Holly) and Tim Crabtree (Paper Beat Scissors) among others. The album opens in mid-air with ‘Comuu’, a song that implores a becoming-more while hovering triumphantly. Then follows a suite of songs (‘Headspace’, ‘Keep’, ‘Stilling’) that recall the heart-rending power of y2k-era Low, albeit with a more vigorous beat. On ‘Bass Song’, an intimate duet with musician Ella Williams (Squirrel Flower) that explores the depths of interpersonal constriction. At the crux of the album sits ‘Born’, a deceptively pleasant-sounding song that explores the confounding emotionality of adoption before fading into a distended soundfield. Throughout the back half of the album, Noel double’s down on this commitment to his genuine, proud, Black self. The most confrontational track, ‘Allies’ finds him refraining “Are you on my side?” as a trailing guitar solo interweaves a Malcolm X soundbite, eventually engulfing the composition. Glorious lead single ‘Nighttime (Skin)’ traces the artist’s sense of ancestral dissociation through to a triumphant moment of pride in self-acceptance. Throughout Hang Time, Noel finds a way to ask hard questions (both of the listener and himself) in ways that are compassionate, open and honest. The ebb and flow of tension and tenderness that moves within these tracks helps to grow the heart and redefine what Black music can be in 2021.

PRESSED ON RED SMOKE-COLORED VINYL!

When it comes to authentic, ride-or-die hip-hop, few crews have as much resonance as Mobb Deep. Featuring two double-threat MCs who also produced – Havoc and the sadly-departed Prodigy – the crew changed the hardcore rap game in 1995 with their sophomore classic The Infamous, and went on to rule the dark corners of hip-hop for the second half of the 90s and well into the 2000s. After multiple Mobb Deep platters in the ‘90s, Prodigy entered the 2000s as a solo artist with force, rolling over a stomping, piano-freaked backdrop laced by producer The Alchemist, with “Keep It Thoro.” It has held up over time, proving itself as an anthemic classic that the streets and clubs still respect. Flaunting a smooth-but-menacing flow, Prodigy’s no-nonsense lyricism on “Keep It Thoro” is prototypical modern age brag rap. Countless MCs have followed his flow, from Fabolous to Joey Bada$$. The song is short and sweet, clocking in at just over 3 minutes. There are no wasted verses, just hardcore rhymes that stay with you. But “Thoro” was the tip of the iceberg on what proved to be one of the more coveted rap full-lengths of the era. The album boasted other charting singles, including “Rock Dat Shit” and “Y.B.E.” (featuring B.G.), but it can be argued that the album’s real gems are buried deeper. “Genesis,” “What U Rep” (featuring Noreaga) and “Three” are all sinister yet pensive. “Wanna Be Thugs” and “Delt With The Bullshit” are strong and evocative Mobb Deep cuts, featuring production and vocals by Havoc. And alongside other standouts, perhaps the deepest cut of all – especially in light of Prodigy’s recent and way-too-soon passing due to complica- tions from Sickle Cell Anemia – is “You Can Never Feel My Pain,” which details the health issues and challenges this talented MC and producer had been facing his whole life. H.N.I.C. was Prodigy’s first solo album, but it is perhaps his best. Among fans he will never be forgotten, for his skills, his storytelling and his no-B.S. approach to the art of MCing.

Light Green Marbled Vinyl
Naarm/Melbourne 4-piece screensaver is back with a double A-side 7-inch single just 6-months after delivering their 10-track debut album Expressions of Interest on Upset the Rhythm (UK) and Heavy Machinery (AU) to positive international response.
See praise for the record on Maximum Rock ‘n’ Roll, KEXP, and Post Trash. The album has also been a regular feature on Henry Rollin’s KCRW Santa Monica radio show.
The band return with two distinctly different tracks that extend upon the blend of post-punk, new wave and synth-punk on their debut.
Side A, Clean Current is a burst of high-energy: nervy guitars and groovy bass underpinned with krautrock drums and cosmic synth noise, overlayed with delay heavy vocals. Repeats is the flipside of the coin, a moody post-punk stomper, led by gritty sawtooth synth, chorus-soaked guitar, textural percussion and soaring vocals. Lyrically Clean Current spits out retorts aimed at the engulfing nature of anxiety whilst Repeats critiques the repetition of modern life, languishing human existence.

Released for the first time in CD and Digital format in 2017 this is the sixth album by Luca Trevisi LTJ Xperience.

It contains some of his most played songs such as Get Down, Let There Be Groove, Put Me Down and the one that gives the title to the album Beggar Groove here in its two versions.

The release is in a limited edition double album on White vinyl. Luca LTJ Trevisi (LTJ Xperience) trained as a producer DJ in the late 1980s. Resident first at the Kinki Club in Bologna and then at Cap Creus in Imola, he is one of the first Italian DJs to program house and above all to re-propose Black Music, Jazz and Latin Bossa, all the genres that then over time gave way to Acid Jazz and Nu Jazz.

He began his work as an artist and producer with Irma Records and in the 90s also his activity as an international DJ who saw him play at the Blue Note and the Jazz Café in London, at the Giant Steps in New York and at the Jazz Festival in Montreux.

In 1999 he released his first solo album under the name LTJ Xperience. To date he has released 7 albums all on Irma Records, several compilations, many singles and remixes also collaborating with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R., Music For Dreams, Apersonal Music.