Cerca:gi lo

finally available again on vinyl, note the new price. The most critically revered and commercially successful Eluvium album finally released on stand-alone vinyl for the first time ever. Originally released on CD and Digital formats only, Copia was eventually available on vinyl exclusively as part of the Life Through Bombardment Vol. 1 box set. With thatset long out of print – and Copia celebrating its 10-year anniversary – we are finally giving this landmark album the vinyl reissue that it unquestionably deserves. Remastered for vinyl by Francesco Donadello at Calyx Mastering in Berlin, this deluxe 2xLP set is packaged in a full-color wide-spine jacket with dual heavyweight full-color inner sleeves. // “The grandest, most sweeping Eluvium record to date.” Pitchfork // “A magnificent set, awash in textures, atmospheres, moods, and emotion.” AllMusic // “Copia is the sound of Cooper surpassing himself, combining his patented minimalist drones with beautifully rendered piano.” – Drowned In Sound // Following a string of increasingly remarkable albums, Eluvium's Matthew Cooper set out to broaden his instrumental palette, while maintaining the uncanny emotional resonance that has become his trademark. The result is Copia, an hour-long epic that applies Eluvium's heartache-inducing ether to a symphony of strings, brass, keyboards and piano. Noticeably absent but hardly missed are the washes of guitars that color most of Eluvium's previous material. The deliberate exclusion of traditional rock instrumentation serves as sufficient proof that the instrument is not Eluvium's driving force. At best it is a catalyst, a vehicle to that netherworld in the back of your head, where your life starts to uncontrollably reevaluate itself. Also Available From Eluvium: False Readings On CD, 2LP, Life Through Bombardment Vol. 2 7LP, Nightmare Ending 2CD, The Motion Makes Me Last CDEP, Leaves Eclipse The Light CDEP, Similes CD, Talk Amongst the Trees CD / 2LP, An Accidental Memory In the Case of Death CD, Lambent Material CD

New Heavy Sounds is super stoked to announce a very very special team up between our favourite punk sisters, Shooting Daggers and Death Pill. Both bands have recorded a brand new song, and what better way is there to present them (or any kind of punk) than a good old split single. So kicking off the Shooting Daggers/Death Pill split, is this never before recorded Death Pill track 'MONSTERS'. Ukrainian punk trio Death Pill certainly made a stir when they hit the UK as part of their first ever European tour. Articles in the likes of the Guardian and Sunday, featured in all the music mags, plus the band showed that they were a pretty ferocious musical outfit, as those who were witness to the full on live experience can testify. Whilst in London, the band also had time to cut 'MONSTERS'. Recorded live in the studio with Wayne Adams (Pet Brick, Big Lad and producer of Green Lung) at the helm, MONSTERS is a short, sharp shock. An angry, sardonic and skewed amalgam of riffs and full on blast beats … it growls and it rips. The band says .. “This track is about how our parents knowingly or unknowingly lose their children. As an example - here are the most painful things you could hear from your folks: "When will you finish your music games?” "You will never achieve anything!” "When are you finally going to do something useful?" Therefore, when there was an opportunity to record a one live song in London, the choice of a song became obvious. Just imagine the "surprise" on the faces of our mums... Many thanks for Ged and Paul from the NHS label for supporting this idea, and to Wayne from Bear Bites Horse for the sick and fat sound” What makes this release all the more exciting, is that Shooting Daggers are dropping their first new music since last year's EP 'Athames'. Sal, Bea and Raquel are most definitely on the way up, their exciting blend of hard as nails hardcore, punk attitude and a neat melodic sense have made them a much sought after outfit, for gigs and festivals here and across Europe. They are slowly but surely proving themselves to be one of THE bands to watch in 2024. If the EP left their growing legion of fans gagging for more, new track 'NOT MY RIVAL' will not disappoint. It's a catchy, pogo-tastic, queercore punk banger, full of feminist grit and a killer earworm chorus. The band says ... "Not My Rival, is a song about dismantling the male gaze, fighting against the internalised patriarchal messages that we all unconsciously absorb. It's about breaking the cycle of female rivalry. We want to encourage lifting each other up instead of tearing each other down" The Shooting Daggers debut album is due in the new year .... you have been warned, this is the shape of things to come. But there’s more ... a very special 7” single strictly limited to 250 copies. Classic black vinyl, with a reversible foldover sleeve with artwork from each band on each side so you can choose your own cover, full colour printed labels housed in a poly overbag

Attention Banger Alert! Parissior Is a Spanish Dj Producer Who Has Been Producing Countless Tracks for Many Years Now. His Style Could Be Described as a Mix of Dark Disco, Indie Dance, Italo, Trance but Personally We Think It Goes Much Further. He Has a Total Mastery of the Art of Production (Something We Have Rarely Seen), It Looks More Like Sound Design It Sounds So Huge. His Tracks Are Not Just Dj Tools to Be Played but Bangers to Send in Pick Time. It Is Extremely Powerful, We Have Already Verified This During Our Recent Skylax Evenings (Especially for Our Event &Ldquo;série Noire”) and We Can Tell You That the Effect Is Devastating. for Us, He Managed the Perfect Ep, the One That All the Italian Indie Dance Producers, Even the Biggest Names in the Genre, Failed to Create. There's Nothing Cheesy About It, We've Been Listening to His Music Non-Stop Since We Received It, No Weariness in Sight. This Guy Is Monstrous. the 12 Inch Begins With the Brilliant Antennae, Which Is the Perfect Mix of Italo New Wave & Trance, Followed by Canes Venatici Which Could Have Been Created by Daft Punk if They Had Chosen to Be Less Commercial and Put Their Balls on the Table Instead of Hiding Behind Masks. Ceres and Alpha Apodis Follow the Same Line. We Miss Words So Much This Maxi Is Gigantic. a F%c$ing Masterpiece. to Add a Final Touch, Just Note That Many of His Recent Productions Have Been Recently Played a Lot by Pablo Bozzi & Soft Crash at Hör Berlin....

Top-Sampler mit 10 Klassikern, produziert von Reggae-Legende Philip 'Fatis' Burrell, der in den 1980er Jahren in den Channel One-Studios auf Jamaika seine Arbeit begann und später das Label Vena Recordings gründete, das im Laufe der Zeit zu Kings & Lions und später zum legendären Xterminator-Label wurde. Mit neun Protagonisten seines Labelstalls, angefangen bei Luciano und Sizzla, über Marcia Griffiths und Ini Kamoze bis Charlie Chaplin und Beres Hammond.

Andy Sharrocks started writing songs in 1976. He found a vehicle for these songs with punk band Accident On The East Lancs. This started out as a covers band, but Andy soon became frustrated when the other members wanted to stay that way. The band disintegrated but Andy retained the name, forming a new cutting edge four piece playing his songs. He financed their first single in 1979 on his own label Roach Records. This was a double A side as one of the sides was a ditty called We Want It Legalised. The other side was a Bo Diddley kind of groove called Tell Me What Ya Mean, which Record Collector magazine recently said sounded like a song The Strokes should cover. This line up fell apart when immediate success failed to arrive, but Andy formed another band out of the ashes of local band Wilful Damage, and the guitarist out of the original covers band. They recorded and released on Roach Records another double A sided single in 1981 as well as an album released on cassette tape on Cargo Records. The singles now exchange hands on the collectors market for over seventy pounds, the album has been rereleased on vinyl twice, once on a German label, and once on UK’s OZIT/MORPHEUS Records which came with a bonus live album The singles have been released on many punk compilations and We Want It Legalised is about to be released on a new Manchester punk compilation on Cherry Red Records. They played many free festivals including Deeply Vale three times, and did many great supports including The Fall, Tractor, Here And Now and Crass. Andy left the band in 1982 for personal reasons, and had a one single deal with I Believe In Love on the Vibes and Vibes record label in 1985. Refusing to compromise and do covers, Andy found it impossible to make a living doing his own material which was now primarily Americana, after discovering alt.country through Steve Earle and Lyle Lovett in 1985. He went on the road as a tour manager, which is where he met Hilly Briggs, who went on to produce Andy’s first solo album in 2004 called Walking In Familiar Footsteps, which featured ex Rolling Stones Guitarist Mick Taylor, Bluesband and Manfreds frontman Paul Jones and Bobby Vee’s sons Jeff and Tommy on drums and bass respectively. Andy was now living in London and was gigging regularly on his own or with a revolving circle of musicians going under the collective title of Andy Sharrocks & The Smokin’ Jackets. He played over five hundred gigs all over London and the UK. He also did many supports for Mick Taylor, Buddy Whittington, Steve Gibbons, The Strawbs, Curved Air, and supported John Mayall on a UK nationwide tour, and played the Jazz Café in Camden twice with John. He also played The Hells Angels Bulldog Bash three times, The Skegness Rock n Blues Festival, The Herelbeke Blues festival in Belgium and The Colne Blues Festival. In 2009 he released another album called Dirt with The Smokin’ Jackets, which came out to great critical acclaim. Andy is now releasing a triple album of truly magnificent UK Americana, called Country Rock n Roll n Durty Blues. Press Quotes : "Country Rock ‘n’ Roll ‘n’ Durty Blues is a sprawling album of original rock and blues which takes you from Muddy Waters to modern Americana" – Nigel Carr, Louder Than War // "Good honest earthy rock ‘n’ roll done the old fashioned way with passion and aplomb" – Mark Radcliffe, BBC // "Country Rock ‘n’ Roll effortlessly lives up to its title … and more" – Pete Feenstra, Get Ready To Rock // "As a listener it really is bloody good fun - Briticana, Americana with a very English voice

Re-issue for the iconic post-punk band coming all the way from Watford. The album showcases a collection of unreleased recordings – mostly conceived between 1981 and 1983 – and it is a right companion to their two studio masterpiece: "Epic Garden Music" and "Feeding The Flames".

Der Osloer Sänger, Songwriter & Gitarrist Julian Karlsson aka Selmer hat seine Selbstbeobachtungen während des Badens in 8 Songs eingefangen, aus denen sein Debütalbum 'Body Wash besteht, das über das norwegische Indie-Pop-Kraftpaket 777 Music (Boy Pablo, FUR) erscheint. Selmer nutzt seine Dusche ausdrücklich als Raum, um seine Gedanken zu sortieren, die sich unweigerlich in Melodien verwandeln. Die LP enthält Kooperationen mit Paul Cherry (Eyedress, Cuco, Temporex), Whose Rules (Dev Lemons, Ralph Castelli) und JEZ_EBEL, wurde von Marius Elfstedt (Tigerstate, Mall Girl) abgemischt und co-produziert und von Kelly Hibbert (J Dilla, Flying Lotus) gemastert.

It's the pair you've all been waiting for! FINALLY!

Alan Tew's Drama Suite Part II. What can we really say? Honestly? We guess the first thing that strikes you is how clean the drums are. Almost impossibly slick but dripping so, so heavy with the neck-snapping funk you'd expect from perhaps the most sought-after library funk set of them all! The cheapest on Discogs is, currently, £1300+. Now's your chance to remedy that. If you know, you know. And we think you know...

"The Rub" is a cool, low-slung heavy-funk roller with relaxed brass and alto flute phrases. Up next, "Money Runner" is another edgy funk glider, its easy-tempo moving in harmony with slinky rhythmic riffs and featuring a seemingly ad-libbed electric piano solo. Strutting along after, "White Elephant Walk" is another laconic, deeply stoned walking theme with electric piano and alto flutes. There follows a couple of brief "walking" links before the brilliantly tense "Master Plan" slowly builds. Expectancy grows to the main theme around a minute in and then a melodic theme builds slightly to the 3 minute mark before floating down gradually and elegantly to its climax. It's utterly fantastic. The smoky, after-hours "Night Watch" is a slow, cool gem featuring alto flutes and synths.

Now we're talking, "The Fence (a)" is just sensational and worth buying this album all on its own. It's likely the reason you're here, anyway. Another impossibly funky, slow and easy tempo with a bass riff to die for, dramatic guitar with gorgeous electric piano and alto flute phrases. It was sampled for "Action Satisfaction" by J5, way way back. "The Fence (b)" is a slower, more deliberate version of the previous heater, but it's no less essential. Indeed, it's absolutely jaw-drooping. Closing out this remarkable side, "Surveillance" is another horizontal masterpiece of relaxed yet dramatic jazz-funk. Vibes ad-lib in centre section and give you an idea of how Roy Ayers making library funk in the mid-late 70s might've sounded. Sensational.

Flip over for "Total Silence", a near-beatless and understated scene-setter featuring neat interplay of guitar and synthesizer themes over bass and hi-hats. The slow "Eyes" follows, a brief gem with subdued electric piano solo and a light climax. The fantastic "Drama Backcloth (1a)" is up next, a repetitive piano and bass refrain with guitar figures over the top. Its creeping crime-funk vibe was pilfered for "Outta Town Shit" by Ghostface Killah in 2006. "Drama Backcloth (1b)" is a short, subdued version without the guitar figure. "Drama Backcloth (2)" features an expectant, background marimba figure over light rhythm whilst the cool "Drama Backcloth (3)" centres around a relaxed riff and the angular "Drama Backcloth (4)" presents eerie progressions with piano interjections. It's decidedly non-rhythmic!

We're then onto 14 (!) different half-minute "Scenechanges", all jazzy and funky, some cool and dramatic, some slow and rhythmic. All ace and groove-fuelled. The aptly-titled "Final Statement" closes proceedings, a slow, pensive theme on guitar joined by cool brass and a solo trumpet to its climax.

As with all of our KPM re-issues, the audio for Drama Suite Part II comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. And as usual, the sleeve reproduction duties were handed over to Richard Robinson, the current custodian of KPM’s brand identity. We're not quite sure what else to say about this landmark record, other than, GET IT!

Delasi, the Koforidua-based producer, singer and rapper has released his new single ‘Amplifier’ featuring Nii Noi Nortey.

Prophetic, spiritual and frenetic, ‘Amplifier’ is Delasi’s testimony in musical form. A manifestation of Delasi emerging triumphant after many years in limbo as he searched for a long-awaited breakthrough in the music industry.

Produced by Delasi himself alongside Morgan Greenstreet, ‘Amplifier’ is underpinned by the texture of coastal rhythms indigenous to Accra and tightly ornamented with bustling drum breaks, electronic synth lines and jazz sensibilities.

Veteran Ghanaian multi-instrumentalist and sound designer Nii Noi Nortey appears on the track to deliver an explosive and rhythmically intense saxophone performance throughout as it tastefully builds to an emphatic crescendo.

Self-described as a prayer, the track’s maximalist and percussive instrumentation is cleverly juxtaposed with minimal lyrics where Delasi’s faint vocal repeats a series of repeated phrases like evoking the mood and semblance of a meditative chant and religious experience. Harkening to the work of afrofuturistic jazz musicians like Sun Ra and Pharaoh Sanders.

Speaking on the track’s meaning, Delasi said: “‘Amplifier’ is my prayer and like with other songs of mine it can scare me because I write things and then it’ll manifest in exact detail. The song is basically outlining how hard I’ve worked and how I need an amplifier to have my desires fulfilled. It's like a mantra and that’s why it's not so lyrical”.

‘Amplifier’ marks Delasi’s first release as a lead artist since his 2015 self-released project ‘#thoughtjourney’ which garnered support and praise from Rolling Stone, BBC6 Music, Worldwide FM, KCRW, Afropop Worldwide, Deutschlandfunk Kultur, NRK and legendary French DJ/Producer Laurent Garnier. Additionally parlaying into touring and festival gigs across Nairobi, Berlin, Morocco, Denmark and Sweden.

Delasi is an artist that has been quietly prolific for over a decade. Honing his musicianship exploring sonic possibilities with Ableton and Teenage Engineering. Eventually entrenching himself in the Ghanaian rap scene via collaborations with Hammer of The Last Two, Reggie Rockstone and Yaw P with whom he would release a joint project ‘Imperfections: The Break Up Vol 1’ in 2013.

He was musically raised on a diet heavily influenced by his father who exposed him to the sounds of Marvin Gaye, Bob Marley & The Wailers, Bobby McFerrin, Jim Reeves and Billy Ocean alongside the soundtracks for movies like Doctor Zhivago, The Sound of Music and La Bamba. Delasi’s own tastes would be heavily informed by linchpins of US Hip-Hop like Wu-Tang Clan, Nas, Onyx and M.O.P in addition to alternative R&B artists Frank Ocean and James Blake.

After many years of operating as a proudly independent and self-contained artist, Delasi has now partnered with Gilles Peterson’s Brownswood Recordings. One of the world’s leading indie labels, famed for their instrumental role in breaking the likes of KOKOROKO, Yussef Dayes, Swindle, Joe-Armon Jones, Shabaka And The Ancestors, Zara McFarlane and Ghostpoet.

With Delasi now being granted resources to give his music the grand and worthy footing, he is now on the cusp of the artistic breakthrough that was long out of reach. Speaking further on how the deal with Brownswood inspired the new single, Delasi said:

“The music I’ve created this go round is so strong that I can’t handle it all by myself. Though I had a lot of fun doing it all by myself with ‘#thoughtjourney’, this time around I needed it to be with a home who could properly amplify it.”

Das legendäre "99th Dream" Album von Swervedriver ist wieder auf Vinyl erhältlich! Ursprünglich 1998 veröffentlicht, löste sich die Band kurz darauf auf und diese LP Klassiker ging für immer verloren. Jetzt wird "99th Dream" als Doppel-LP wiederveröffentlicht, mit einer D-Side voll mit Remixen von Alan Moulder (My Bloody Valentine, Ride, Lush, etc.) und mit unglublichem Klang!!

"Keith Porteous, who was A&R at BMG brought me to a bar called The Absinthe to check out a new band he was working with. What was immediately interesting about them was that, while their tastes were root-ed in ‘70’s rock, they didn’t sound retro. They had created a classic rock sound for their generation. What was also great is that they were four distinct personalities-four characters, like the Beatles or the Monkees. But they all dressed in matching outfits and did coordinated rock moves on stage. Amazing. I went to Moncton, NB and met the guys at an old schoolhouse that they’d wrangled to do pre-pro-duction. We spent a week or so workshopping their super cool songs and hanging out at their favorite watering holes. They had sold me with their live show and part of the trick of producing them was to try to capture that. I knew we weren’t going to do a lot of overdubs or ornate production. That week was an absolute blast. The guys were so funny and so engaging, just dripping with personality, which I knew was going to serve them well in the music business. I remember going to a Chinese Buffet with them and their girlfriends and watched them eat half of the food in the restaurant. I think the bill came to less than $100 for the nine of us. I still love the record and I wish it had made them world famous rock superstars. Every song on it is so uniquely them, they had perfectly distilled their influences, both old and new, and I don’t think any other band could have made this record. " - Moe Berg

Flat Party’s debut self titled EP, available on black or limited edition cream vinyl. Featuring tracks written over the past few years, the five-track record acts as a perfect entry point to Flat Party’s unforgettable wonky indie without getting too abstract.

Over 20 years into their career, Toxic Positivity is everything fans have come to know and love from The Used – straightforward, in-your-face, destructive, and vulnerable all at once.

Established in 2000, The Used was brought to life and have since released a collection of albums that pioneered the scene of emo rock. High-energy live shows, gut-wrenching relatable lyrics, and melodies that blended pop sensibility and hard rock was the perfect combination to make an everlasting impression on fans globally.

Overview:
Nuggets vol. 2 as originally thought of by Lenny Kaye and released to celebrate the 50 years of the legendary compilation.

The heavyweight trio of Keiji Haino, Jim O’Rourke and Oren Ambarchi return with their 12th and most epic release to date, the triple LP With pats on the head, just one too few is evil one too many is good that's all it is. Documenting the entirety of their final performance at the dearly departed Roppongi home of Tokyo underground institution SuperDeluxe in November 2018, the music spread across these six sides splits the difference between the guitar-bass-drums power trio moves and experiments with novel instrumentation that have defined the trio’s decade of working together. Containing some of the most delicate music the three have committed to wax since the gorgeous 12-string acoustic guitar and dulcimer tones of Only wanting to melt beautifully away is it a lack of contentment that stirs affection for those things said to be as of yet unseen (BT011), this wide-ranging release also offers up some of their most blistering free rock performances yet.

The side-long opening piece finds Haino on a single snare drum in duet with O’Rourke on unamplified electric guitar, playing in the lovely post-Bailey vein heard on his classic 90s recordings with Henry Kaiser and Mats Gustafsson. Spiky dissonance and ringing harmonics interweave with flowing melodic fragments as Haino single-mindedly explores the resonance of the snare like an untutored Han Bennink. On ‘Right brain, left brain; right, left; right wing, left wing. Just how many combinations can be made from these?’, O’Rourke moves to synth and electronics, joined by Ambarchi on drums, who at first focuses on sizzle cymbals before hypnotic cycles of gentle tom rhythms combine with electronic burbles and flutters to suggest a dream collaboration between Masahiko Togashi and Jean Schwarz. Ambarchi’s percussion is then joined by Haino on wandering, overblown flute, before the man in black switches back to the snare for a bizarre, stuttering drum duet.

For the first trio performance, Haino makes another new addition to his seemingly infinite catalogue of instruments, this time a homemade contraption he refers to as ‘Strings of Dubious Reputation’. Joined by O’Rourke on increasingly spaced-out electric guitar and Ambarchi on skittering percussion, Haino’s wonky, slack strings adds a definite ‘musique brut’ edge to this side-long performance, certainly one of the most enchantingly odd in the trio’s discography. When the group reconvene for the second set, spread out across the final three sides, they seem ready to breathe fire from the first instant. O’Rourke slashes distorted chords on the six-string bass, Ambarchi breaks into his signature irregular caveman thump, and Haino squeals and squawks on heavily delayed oboe before unleashing an overpowering electrical storm when he first picks up the guitar. For over half an hour, the trio pound out one of their most relentless performances, a constantly rearranging kaleidoscope of tortured fuzz guitar, insanely busy bass riffing and propulsive, tumbling drums. A hushed atmosphere initially reigns on the final long piece, given the mournful title ‘There are always things I wish to say but I can only convey them in this language August 6 August 9’. Haino’s clean guitar strumming calls up the shimmering tones of his PSF classic Affection, gradually building to a surging wall of sound, bass and drums lumbering through a roar of jet-engine guitar. Arriving in a deluxe trifold package with photos by Lasse Marhaug alongside inner sleeves with extensive live images, this epic release is perhaps the most remarkable document yet of this unique trio’s stamina and continuing inventiveness.

Repress! Soul, funk and rock recorded by US Army Servicemen during the height of the Vietnam War and released as a recruitment tool by the US Army as a recruitment tool. United States Army soldiers made the music contained on this album during the politically turbulent early 70s, towards the end of the Vietnam War. East of Underground was comprised of soldiers stationed in bases across Western Germany. While little is known about the band, the players, and the milieu they came from - other than what can be pieced together from a handful of photos and documents found in a box in the New York Public Library, and the vague recollections of some of those involved – we at Now-Again Records have worked diligently with the United States Army and researchers the country over to present this important document – and some damn good soul and funk music.

American Punk-Rock group The Toros formed in 1976 in Chula Vista, California. The band was originally formed with Javier Escovedo (vocals/guitar), Robert Lopez (guitar), Héctor Penalosa (bass) and Baba Chenelle (drums). Often referred to as "the Mexican Ramones," they were just one of many contributors to the city of Los Angeles' Punk explosion in the late '70s, although they never received the acclaim like their contemporaries Black Flag, Circle Jerks or Germs and Wipers. They have more followers and fans outside of the United States, especially Australia, Europe and Spain in particular. The label "the Mexican Ramones" did not take into account their other revealing influences: pre-Punk and Garage-Rock bands. The Zeros make it evident on this album, releasing covers of New York Dolls among others. But the originals, for example "They Say (That Everything's Alright)" and "Handgrenade Heart", also exploit the spirit of loud, strident rock. There are also slow and melodic, sloppy and dirty Pop songs to satisfy all tastes. The quartet broke up in 1981, reformed sporadically for live shows, and recorded the 1999 album "Right Now!". An excellent album. Ideal to have a good time and enjoy good Rock. Also, for those who don't know The Zeros, an excellent introductory album, so you can then review their catalogue. Versions of songs by The Zeros were released by the Los Angeles bands Wednesday Week ("They Say That Everything's Alright"), The Muffs ("Beat Your Heart Out"), the Basques La Secta ("Wild Weekend"), the Australians Hoodoo Gurus or the Swedes The Nomads ("Wimp").

MONO’s beloved debut album finally available again on vinyl, note the new price. Remastered for vinyl by Bob Weston at Chicago Mastering Service. Features all-new cover art // One of the most distinctive bands of the 21st century.” – Pitchfork // “Essential, really” – Exclaim! // “MONO have now well and truly sealed their place in the pantheon of rock history.” – Rock Sound // Under The Pipal Tree is the debut album by now-legendary Japanese experimental rock band, MONO. Released in 2001 on avant-garde icon John Zorn's Tzadik label, Under The Pipal Tree showcased a young Japanese quartet whose wide range of influences - most notably Sonic Youth, Mogwai, The Velvet Underground, and Neil Young's Crazy Horse - were on ferocious and ambitious display. Though MONO would eventually become known for their expert marriage of metal and classical genres, Under The Pipal Tree highlights the band's psychedelic roots. Long stretches of hypnotic, melodic washes give way to scorching guitar freakouts that evaporate into haunting silence. It's remarkable not just for its earnest exploration, but for its startling execution. Fifteen years and eight albums later, Under The Pipal Tree stands as one of the great debut albums by a seminal underground band. Finally released on vinyl for the first time ever, Under The Pipal Tree has been remastered for vinyl by longt ime friend and tour mate, Bob Weston at Chicago Mastering Service. The double album is packaged in all new artwork, and is pressed onto audiophile-quality 100% virgin vinyl. This stunning album has never looked, sounded, or felt better

Gary Martin is well known for his unique productions and his label Teknotika is surely a classic coming out of the famous motor city. This special 10" holds two sought after tracks that were found on a lost DAT tape by Yossi Amoyal and Gary Martin himself. On the A side we have a long time secret weapon, it's a hypnotic groove that was heard on many classic sets, Zip and Ben Klock to name a few. An extremely insane, hard to find Gigi Galaxy track that was changing hands for silly prices is on the B side, for those who know... massive release!