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Originally released in 1990, Royal Trux's 'Twin Infinitives' is being re-issued in all its (yet to be translated) alien glory, by Fire Records. A dismantled overture that sprawls out over two records, an avant-garde masterpiece that was the spark for Drag City Records and generations of new sound seeking musicians. Hailed in the same immortal breath as Beefheart's 'Trout Mask Replica', the Velvets' at their frenzied peak and Ornette Coleman at his most avant-garde, the duo of Pussy Galore's Neil "Michael" Hagerty and Jennifer Herrema recorded 'Twin Infinitives' while imbibing all kinds of mind-altering substances to create an inadvertent blueprint for what the duo was building with moog's, guitars and melodicas to name a few ingredients. It is the legendary second album from the masters of the genre mashup - long before "genre mashups" even existed. Arguably, the term "mashup" was coined to describe what Trux, as they subconsciously scrolled through the radio stations of their lives. The album's chaotic sound and offbeat construction laid the foundations for a string of Royal Trux albums that spiralled between genres, tunings, and noise. Through the 90s they would re-invent the rock 'n' roll ethic, straddle alien surf music, re-align boogie rock, not to mention 80s hair metal, and confound critics by their wildly meandering and courageous rites of passage. Remastered as part of a career spanning catalogue deal with Fire Records. The infamous and influential duo of Jennifer Herrema and Neil Hagerty will be delving into the archive with a comprehensive reissue series, unearthing the vaults and revisiting what made them such a compelling benchmark for their contemporaries and imitators. Reawakening their prolific output within a new monochrome vinyl series covering 1988-1993, they begin with their seminal deconstructed rock masterpiece Twin Infinitives. "Sounding like a subway ride inside a television inside an earthquake inside the end of the world and a pounding death rhythm of apocalyptic now." Pitchfork Ltd Double Silver Vinyl, Monochrome edition artwork, DL card.

Split EP of psychedelic techno carefully selected from the archives of UK label Hollistic Recordings. Remastered and restored for the modern acid purveyor.

Features the epic 13 minute Elevate on the A side, produced by Iestyn Polson and Steve Dungey of Projective Vision and the chugging Levitate on the B side, produced by Iestyn Polson and Jason Meherin.

The title "Duality" resonated with me deeply as it reflects the inner conflict I often experience. There are moments when I feel fearless and self-assured, contrasted sharply by times when self-doubt creeps in and I question my worth. Sometimes, I cling tightly to my actions, determined to shape my destiny, while at other times, I surrender to the flow of life. I think we all fight these internal battles of duality every day, trying to determine which side we want to nurture, which parts we want to let go of and forgive, and which pieces come from our soul and which pieces were imposed on us. In my pursuit to bring this concept to life, I curated two distinct styles of music for each side of the album. Through the music, I aimed to evoke a sense of magic, for I think that at the core of our internal conflicts lies the enchanting paradox of being humans with boundless potential living, in a mortal world constrained by constructs like money, laws, and societal hierarchies. Over the past few years, I've embarked on a journey of self-discovery, delving into the magical facets of myself—my intuition, my capacity to love—and it was during this exploration that I crafted this album.

Tim Burton’s 2005 adaptation of Roald Dahl’s classic children’s book was conceived as long ago as 1991 and was in development for several years before Burton was involved in the production. He immediately brought regular collaborators Johnny Depp and Danny Elfman aboard.

Charlie and the Chocolate Factory represents the first time since The Nightmare Before Christmas that Elfman contributed to a film score using written songs and his vocals. The film was released to critical praise and was a box office success, grossing $475 million worldwide.
The wonderfully quirky melodic score and songs from one of Hollywood’s great composers harks back to Edward Scissorhands, Burtons’ and Elfman’s most personal work, and is a return to the composer’s “vintage” sound from the late 1980s and early 1990s.
First released on vinyl in 2015, this latest edition brings the popular soundtrack back to vinyl on Marshmallow Pink and Chocolate Brown Vinyl.

“It was more fun than I ever had working on a movie. It was so crazy and doing all the vocals was so much fun. I found myself falling into voices, singing vocal mannerisms. I was having such a gas.”
- Danny Elfman

Noelle & The Deserters bring South-Western honky tonk and songs of heartbreak from the high deserts of New Mexico to the golden hills of California. Fronted by singer-songwriter Noelle Fiore, their music draws inspiration from the likes of Emmylou Harris, Loretta Lynn, Marty Robbins, J.J Cale, Gene Clark, Townes Van Zandt, and the great outlaw country players. The Deserters include seasoned players Graham Norwood (Bryan Scary, Graham Norwood) on guitar, Alicia Vanden Heuvel (The Aislers Set) on bass, David Cuetter (Tarnation) on pedal steel, and Jerry Fiore (Sonic Love Affair)on drums, all based in the Bay Area and Sacramento. Fiore was raised in Taos, New Mexico. As a guitar player and vocalist, she was a founding member of Sweet Chariot, singing and playing guitar / banjo. Later, she and Tim Cohen (The Fresh & Onlys) founded the band Magic Trick, recording four full length albums for labels Hardly Art and Captured Tracks. Fiore is also a current member of the Shannon Shaw Band, on guitar and vocals. High Desert Daydream is Noelle & The Deserters debut album, out on Speakeasy Studios SF. The songs on the album, written by Fiore, touch on life in the west, growing up in Taos, living in California, songs of love, memory, marriage, work, good times, and bad times. Like all classic country music, the songs are infused with a sense of real-life struggles and living life in the everyday. Fiore’s incredible voice carries the album, and her songs are at once moving, powerful, tender, humorous, and intimately relatable. Produced by Noelle Fiore and Alicia Vanden Heuvel, High Desert Daydream feels country, yet of the west, of California and New Mexico, of experimental fronts in country music, and is truly a work of beauty.

Tracks

Worst Case Scenario started out in 1994 with Justin Trosper and Brandt Sandeno from Unwound as another of the many bands they formed together. That summer was a little slow for Unwound’s hoped-for tour schedule so they decided to start another hardcore-influenced band while working day jobs. As they began practicing in the basement of the Olympia punk house “Lucky 7”, long time friend and roommate Chris Jordan jumped in as the vocalist. Sandeno soon recruited his college friend, Scott Larsen, that had recently moved from Minneapolis. They quickly wrote about an album’s worth of songs and recorded them with Tim Green at the Red House for a “demo tape” that Tobi Vail released on her tape label, Bumpidee. 1995 saw another Tim Green recording with 7-inch records on Lookout Records and Troubleman. This LP contains all of the forementioned material. In 1996 they recorded a full length record with “Seasick” Steve Wold in Olympia for Vermiform which resulted in the self-titled vinyl LP and The Complete Works of Worst Case Scenario CD collection a year later. WCS played a few random shows, mostly in Olympia, with friends’ touring bands from 1994-96 and set up a national tour for the summer of ’97. Shortly before the tour Jordan was injured in a random accident and then Larsen broke his wrist in a work accident, rendering the band unable to embark on the tour. To cap it off, the one sheet of paper that had all the venues’ contacts for the tour was destroyed in a laundry related incident and the band was unable to properly cancel the tour. Apropos to their name. They disbanded amicably later that year with members moving away from town and taking on more demanding tour and work schedules.

Is a (4 Track) offering from the (Trax) 'Golden Boy' Daniel Smith AKA (Late Nite 'DUB' addict). The self confessed 'House' Addict says he is privileged to release on the same label as some of his heroes in the house world such as (Mr Fingers) aka (Larry Heard) / Joey Beltram / Jesse Saunders / Chip-E / Phuture / Saytek & DJ Rush. He is a prolific producer that has released more than (x200) original tracks on (Trax Records) alone with
some remixes under his belt from (Screamin Rachael) / (Joe Smooth) / (Todd Terry) & (Armando). This Solid Underground House EP once again shows that this New Cat in the Chicago House Scene is still hitting with the Big Hitters and is a statement that his sound is here to stay.

One of the stand-out acts on Freshly Squeezed in 2023, ELLE & THE POCKET BELLES released increasingly acclaimed singles and videos across the year. Now their full 10 track album drops showcasing the diversity and strength of songwriting, musicianship and jazz-infused production. Now available on Clear Red 12" vinyl!

Not just a singles band, the album offers real jazz sophistication on songs like OLD FASHIONED and a moving theatrical flourish on DON'T YOU WORRY. But on songs like WHAT'S A GIRL TO DO... the group really show off the many years spent on London's vintage club scene refining their sound and style into the perfect distillation of a classic retro style in a thoroughly modern way.

Since release, the album has shared a combined 1 million streams across Spotify and YouTube, and several tracks have been featured on several editorial playlists on Spotify. SEE YOU LATER was played over 25k times across YouTube and Spotify in its first weekend, now reaching 700k streams. The album was also nominated record of the week by BBC Cornwall.

The group are reminiscent of a cross between classic 60s soul and 50s girl groups given a joyful and wry modern twist. ELLE & THE POCKET BELLES are gigging across the UK's summer festival circuit in support of their album.

In this collection of bass-led duets, Charlie Haden enlists Don Cherry (trumpet/flute), Archie Shepp (tenor), Hampton Hawes (piano) and a trumpet playing Ornette Coleman on the four tracks. Hawes’ playing on the Ornette-penned “Turnaround” is the clear straight-ahead highlight of this generally exploratory album. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

The late great Canadian pianist Glenn Gould made two significant and highly acclaimed recordings of Bach's Goldberg Variations, the first in 1955 when he was just twenty- two, presented here on 180g white vinyl, and the second a quarter of a century later in 1981 when he was nearing the end of his life.

Both recordings stand as benchmarks of the repertoire, offering fascinating insights into the music and Gould's approach to it. These recordings have never been out of print - a mark of their status and the respect they command in the canon of Bach recordings.

"Von wem ist der Scheiß nochmal?" Irgendwann hat irgendjemand in irgendeiner Kneipe "Akne Kid Joe" verstanden, da lief gerade die UKJ-Version von "Cats In The Cradle". Kurz gelacht, "geiler Bandname!", aber inzwischen halb so witzig. Weil AKJ sind seriös geworden, spielen Sus- & 7-Akkorde, isotonisches Weißbier steht auf dem Hospitality-Rider und so, das passt NULL! Punk war nur ne Phase, Mama wusste es. Akne Kid Joe (die Punk-Band mit dem geilen Bandnamen) klingen so wie die Pixies ganz früher mal. Das hat jedenfalls der Typ von Dog Eat Dog gesagt, und alle aus der Band dachten "cool", auch wenn die Hälfte nur "Where Is My Mind?" kannte, aber "Fight Club" geiler Film! (Und "Doolittle" Riesen-Album, Anm. d. Pixies-Hälfte). Am 07.06.2024 erscheint nun das vierte AKJ-Album mit dem Titel "4 von 5". Vielleicht das vorletzte? Your head will collapse, and there's nothing in it and you'll ask yourself_

Cream White Vinyl, bedruckte Innenhüllen, Downloadcode. + gesticktem, exklusivem Patch Limitiert auf 500 Exemplare.

Das aufschlussreiche vierte Album von Swim Deep zeigt klar, dass das Indie-Pop-Trio aus Birmingham nicht mehr dieselbe Band ist, die wir kannten. Voller Akustikgitarren und blumiger Noten (dank eines Mellotron-Keyboards) klingt "There's A Big Star Outside" üppig und weiterentwickelt wie ein goldener Moment für die sympathischen Briten. Es nimmt die jugendliche Träumerei ihres Debüts und den aufregenden Experimentalismus seiner Nachfolger auf und führt sie in eine sicherere Welt, massgeblich unterstützt durch den Input des Produzenten Bill Ryder-Jones (The Coral), der während der gesamten Reise zum Mentor wurde.

EELS veröffentlichen ihr 15. Studioalbum mit dem Titel 'EELS TIME!', das über E-Works/Play It Again Sam erscheint!

Die Albumankündigung folgt auf ein arbeitsreiches Jahr 2023 für EELS, die endlich ihre lang erwartete 'Lockdown Hurricane'-Tour durch Europa und Nordamerika antraten, und der Veröffentlichung ihres zweiten Compilation-Albums 'EELS So Good: Essential EELS Vol.2' mitsamt eines brandneuen Weihnachtssong 'Christmas, Why You Gotta Do Me Like This', mit der sie ihre drei Jahrzehnte währende Bandgeschichte feiern.

'EELS TIME!' wurde in Los Feliz/Kalifornien und Dublin aufgenommen und enthält zwölf brandneue Tracks und einige von E's introspektivsten und persönlichsten Stücken der letzten Jahre sowie Kollaborationen mit dem amerikanischen Musiker und Schauspieler Tyson Ritter, Frontsänger der Rockband The All-American Rejects.

Das sich ständig verändernde Projekt um Sänger/Songwriters E (Mark Oliver Everett) hat seit seinem Debüt 'Beautiful Freak' aus dem Jahr 1996 insgesamt 14 Studioalben veröffentlicht. Im Jahr 2008 veröffentlichte E sein hochgelobtes Buch 'Things the Grandchildren Should Know' und spielte die Hauptrolle in dem preisgekrönten Dokumentarfilm 'Parallel Worlds, Parallel Lives', der sich mit seinem Vater, dem Quantenphysiker Hugh Everett III beschäftigte.

- Col. LP: (Translucent Neon Pink Vinyl, Gatefold Sleeve, Printed Inner Sleeve)

Multitudes" ist das Debütalbum der Singer/Songwriterin Alisa Amador aus Cambridge, MA. Die Songs von "Multitudes" sind eine Synthese aus den
vielen Stilen, die Alisa unersättlich aufgesogen hat: Rock, Jazz, Funk und alternativer Folk, alles verpackt in den Geist der lateinamerikanischen Musik,
mit der sie aufgewachsen ist. Alisa hat live bereits für Künstler wie Hozier, Lake Street Dive, Madison Cunningham, Watchhouse, Hiss Golden
Messenger und viele andere eröffnet.
Das Album ist ein kühnes, fesselndes Selbstporträt, das nicht nur zeigt, wie weit Amador gekommen ist, sondern auch ihre Herkunft feiert (ihre
Wurzeln liegen in Puerto Rico, New Mexico, Argentinien und New England). Die Sammlung, die mühelos zwischen Spanisch und Englisch wechselt und
auf der auch Gaby Moreno, Madison Cunningham und Quinn Christopherson zu hören sind, ist ein wunderschönes Album - die Art und Weise, wie
Amadors kristalline Stimme die üppigen Synthesizer, verträumten Gitarren und filmischen Streicherarrangements des Albums durchbricht, ist
schlichtweg bezaubernd - aber mehr noch, es ist ein intensives Werk, eine tiefgründige, aufschlussreiche Meditation über Triumph und Verlust, Ende
und Anfang, Identität und Zugehörigkeit.

Jetzt auch als Neuauflage in Ltd. Edition Rotem Vinyl erhältlich!

"Songs are like tattoos" - die berühmte erste Zeile von Joni Mitchells "Blue" - ist ein Gefühl, das für die kanadische Rockerin Lee Aaron schon immer eine große Rolle gespielt hat.
Im Laufe ihrer 18 Alben umfassenden Karriere hat Aaron Musik geschrieben, aufgenommen und produziert, die mit Gold und Mehrfach-Platin ausgezeichnet wurde. Sie gilt als eine der besten Rocksängerinnen Kanadas und hat auch Ausflüge in den Jazz, Blues und sogar in die Oper unternommen. Dafür erhielt sie zahlreiche Preise und Auszeichnungen und wurde 2023 in Kanadas Walk of Fame aufgenommen.

"Das Einzige, was ich noch nie gemacht habe, war ein komplettes Cover-Album", sagt Aaron. "Es schien mir ein wirklich cooles und superlustiges Projekt zu sein, das ich zu diesem Zeitpunkt in Angriff nehmen wollte..."

"Tattoo Me" ist eine klangliche Zeitkapsel, die die Jahrzehnte überbrückt. Einmal mehr zementiert Aaron ihren Status als Rock'n'Roll-Chamäleon, indem sie Altes mit Neuem verbindet und damit nicht nur beweist, dass die transzendente Kraft der Musik niemals aufhört, sondern dass auch sie selbst nicht bereit ist, dies in absehbarer Zeit zu tun.

Keith Hudson was a one-of-a-kind musical innovator with an impeccable track record from the start: his first studio recording involved former Skatalites, and his earliest releases provided solid-gold hits for Ken Boothe (“Old Fashioned Way”, 1967), John Holt, Delroy Wilson, U-Roy and the others.

With Pick A Dub Hudson produced one of the best dub albums ever, and with The Black Breast Has Produced Her Best, Flesh Of My Skin, Blood Of My Blood he released the first concept album in reggae history, bringing his all-around talents to full fruition as early as 1974. Thematically dedicated entirely to Black history, the latter of these two albums is a masterpiece that captivates with an atmosphere that is as dark as it is deeply spiritual, charged by Hudson's eccentric vocals. Like Lloyd Bullwackie Barnes, his splitting from tradition was dynamic and all his own.

As his career moved on, Hudson found himself working outside of Jamaica, more frequently in London and New York studios and for transatlantic audiences, his dark experimentalism becoming increasingly better suited to the LP than the cardinal 7” reggae format.

Playing It Cool & Playing It Right was released in 1981 on the Joint International label, in NYC, with Lloyd Bullwackie Barnes as the executive producer. The Love Joys and Wayne Jarrett, stalwarts of Barnes' record label, Wackies, would also inimitably feature Hudson at the microphone. Like Bullwackie, Hudson was a devotee of Coxsone Dodd’s Studio One and Playing It Cool & Playing It Right follows Dodd’s then strategy of overdubbing his signature rhythms. The Studio One sides were aimed at the dancefloor and Hudson’s reworkings of tracks like “Melody Maker” are more psychological. Here, deep Barrett Brothers rhythms are made deeper with reverb, filters and distortion; everything pitched down and overlaid with new recordings of guitar, percussion, keyboard, and voice, often heavily treated.

Playing It Cool & Playing It Right continues Hudson’s psycho-acoustic journey into the abysses of existence, and overwhelms with the beauty of artistic self-empowerment. "Too much formula," sings Hudson, whose voice is occasionally reminiscent of Sly Stone or even Tom Waits. "Darkest night," answers an echoing background choir elsewhere. Even more fascinating is Hudson's production, which reflects Black history in even the smallest sound detail, the flashing whip of the slave driver still echoes in the sound of the snare drum. Rarely has a roots sound been made so electrifying, so expansive in all directions, so crystal clear, so bass-warm and echophonic as on these 30 minutes of music.

Playing It Cool & Playing It Right is legendary, strange, utterly compelling music that has possibly never been more topical than it is today.

"Ich bin neu in der Hamburger Schule" haben Tocotronic 1995 gesungen. "Die Lehrer sind alle ganz nett hier und die meisten meiner Mitschüler auch." Doch wer sind die "Lehrer" dieser 1993 gegründeten Band, die erst spät zu der unter dem Namen "Hamburger Schule" bekannten Szene gestoßen ist? Und wie blicken die "Mitschüler" heute auf die Musikszene, die sich ab Mitte der Achtziger an den Tresen, in den Übungsräumen und Konzertsälen der Hansestadt entwickelte? Zu einer Zeit als Deutschpunk stumpfer und die Neue Deutsche Welle schlagerhafter wurde, entstand irgendwo dazwischen etwas Neues, Eigenes. Noch ohne Trainingsjacken, Seitenscheitel und deutschsprachige Texte herrschte zunächst eine musikalisch wilde Mischung vor - Alternative neben Northern Soul, Punk neben Noise, Pop neben Instrumentalmusik. Erst nach und nach schälte sich der deutschsprachige, intellektuelle Diskurspop heraus, der zum Markenzeichen - und Klischee - der Hamburger Schule wurde und Bands wie Blumfeld, Die Sterne oder Tocotronic zu überregionaler Bekanntheit führte. "Der Text ist meine Party" begleitet zahlreiche Akteur:innen auf ihrem Weg aus der Provinz nach Hamburg. Viele der Musiker:innen hatten in der Punkszene die Selbstermächtigung, den Do-it-yourself-Ethos erlernt und gründeten Bands und Tonstudios, Labels und Konzertorte. "Der Text ist meine Party - Die Hamburger Schule 1989-2000" ist das musikalische Pendant zum gleichnamigen Buch von Jonas Engelmann (Ventil Verlag). Auf der Compilation finden sich viele Musiker:innen, die auch im Buch zu Wort kommen und einige mehr.

A home, a house, has countless frequencies. Each room, each corner feels different. Swings differently. And as you grow older, you realize which corner is yours. But yeah, it takes time…

It certainly marks the end of an era when the house one called home as a kid no longer exists. This home, it was the starting point of so many journeys. Of one big, ongoing journey. And so it feels good, soothing, reassuring to at least return to a spot nearby – to that (proverbial) hill from where you can see it. Feel the vibe that made you.

Andi Haberl’s debut solo album as Sun is sort of dedicated to that house. It’s a journey leading to that hill overlooking everything that made him. It’s not about nostalgia, not about actually returning to a specific place. Instead, it’s about finding a personal frequency, an overlapping of sounds and samples, an open space that mirrors and extends whatever frequencies felt right at different points in time.

“To me, the results feel like Gold Panda/Four Tet meets Steve Reich meets Krautrock meets film scores. I just really wanted to create moods that touch me – and ideally others, too.”

Talking about his first solo album, Haberl recalls many stages: early compositions that ended up on Alien Ensemble’s albums, early DIY/home studio/multi-instrumentalist inspirations (Le Millipede), new technologies that came and went, even a set of wildly convincing arrangements (done with Cico Beck’s crucial input) that ultimately became stepping stones for yet another round of DIY takes. “It was a long, recurring process, and the songs went through so many different versions,” he says, talking about phases of growth (“I added more and more equipment over time”) and pruning, “cleaning up my music a bit.” Tending towards instruments that open up space, and slowly falling in love with sampling, he certainly didn’t rush things once it was time for interior design decisions ;)

“During this whole process I got to learn so much about my own taste, how I prefer to listen to the pieces, which musical elements really matter to me… and what my own voice is. For example, that acoustic elements are most important to me: the banjo, piano, drums, my voice, glockenspiel, trumpet, melodica. Anything that opens up some space.”

Every journey begins with a search: “Missing” with its plucked chords opens like a sunrise over pastoral plains, gently leading the way towards the intricate, playful explosion that occurs once a certain amount of energy (“Sun”) hits dirt and other surfaces: things grow, clot and curdle into new shapes, like new buds; layers of sound move forward, drenched in Spring’s new light. Relying on samples to ask for precipitation (“Rain On Me”), robotic “Low” goes from barren to bass-heavy after its midway shift in pace, full of loops plucked from the shade.

Towards the album’s midpoint, things are suddenly reversed: “Cluster” has that backwards pull, you can’t tell what’s what, yet everything is perfectly locked in, as the pace increases once again. And before the title song shimmers with densified cheering (to eventually stand tall like early Lymbyc Systym), “Beside Me” swipes you off your feet with its booming bass drum. The beat returns once again (“Daydream”), full of searching voices underneath, and at “Dawnday,” we can finally catch a melancholy view of the house. Voices hum. It’s the score moment of the album. Everything makes sense now. A happy end of sorts?

“I want to take people on a journey. A personal journey, too, because when my parents split up and sold the house I grew up in, I felt a bit like the ground had fallen out from under my feet. But I have dedicated the album title and the accompanying piece to this house… so I can keep it in good memory.”

“I Can See Our House From Here” has been a long time coming. It’s been a long journey. Homeward-bound. Leading to a place that’s really Haberl’s – his sound. His frequencies.

Known as a long-time member of The Notwist and various other bands/projects (Alien Ensemble, AMEO, jersey, Ditty etc.), Berlin-based drummer/composer Andi Haberl has also worked with My Brightest Diamond, Till Brönner, Owen Pallet, and Kurt Rosenwinkel, to name a few. “I Can See Our House From Here” is his first solo offering.

L.D. 50 is the debut studio album by Mudvayne, the American heavy metal band that is known for their sonic experimentation and horror-styled appearances. The album was co-produced by none other than Garth Richardson and Shawn ""Clown"" Crahan of Slipnot. For the album, they experimented with a ragged, dissonant sound; a sound collage prepared specially for the album that was used as a series of interludes. It spawned three singles, ""Death Blooms"", ""Nothing To Gein"", and one of their biggest hits to date: ""Dig"". In the year of its release, the album peaked at #1 on the Billboard Top Heatseekers chart and #85 on the Billboard 200. It gained more critical praise over time and was named one of the twenty best metal albums of 2000 by Metal Hammer magazine. L.D. 50 is available as a limited edition of 3000 individually numbered copies on yellow and black marbled vinyl. This 2LP is housed in a gatefold sleeve and includes a 4-page booklet.

After the successes of both L.D. 50 and The End Of All Things To Come, Mudvayne released their third studio album Lost & Found in 2005. It booked major success in the U.S., debuting at #2 on the Billboard 200. So far, the album has sold over a million copies worldwide and is their most successful album to date. It was produced by Dave Fortman, who has done production work for bands such as Godsmack, Eyehategod and Slipknot. Together with Fortman, they brought back the raw sound from their debut album L.D. 50.. Lost & Found features four singles: the Grammy Award-nominated “Determined”, “Fall Into Sleep”, “Forget To Remember”, and Mudvayne’s signature and most successful song chart-wise “Happy?”. The 2LP Lost & Found is available as a limited edition of 1500 individually numbered copies on gold & black marbled vinyl, housed in a gatefold sleeve and includes a 4-page booklet.

Cher and Christina Aguilera, together? On the same soundtrack? Who cares that the Burlesque film garnered mixed reviews at best (though a lot of folks now regard the 2010 feature as a camp classic)? The soundtrack had no such difficulties; the album release went Top 20 on the charts, won a Grammy nomination, and Cher’s performance of “You Haven’t Seen the Last of Me” won a Golden Globe Award for Best Original Song. Aguilera’s star turn was something of a coming-out party, too; not only did she enjoy critical acclaim for her first leading role in a film, but her musical contributions—featuring a couple of Etta James songs and a cover of Marlene Dietrich’s “A Guy What Takes His Time’’—were sassy, jazzy, and brassy, not unlike her work on her #1 album from 2006, Back to Basics. In short, this one’s a must for fans of either artist, and for this pressing, we at Real Gone Music have created a bling-y metallic gold vinyl edition housed inside a gatefold cover boasting some sensational production stills!

For singer/songwriter Jesse Daniel, country music is nothing short of a life force. Hailing from a rural mountain town on California’s Central Coast, the Austin-based artist first explored his innate passion for music by playing drums in punk bands, then drifted down a troubled path that included years of battling addiction and spending time in and out of jail and rehab. As he took his first steps toward getting clean, Daniel immersed himself in the pure joy of writing country songs, fully embracing the unbridled vitality of California country and bringing a lived-in honesty to his lyrical storytelling. Since releasing his 2018 self-titled debut on his own record label, he’s earned great esteem as a country traditionalist and built a wildly devoted international following—thanks in no small part to his freewheeling live show and tendency to tour nearly 200 days a year. Recently signed to Lightning Rod Records, Daniel now offers up his fourth studio album Countin’ The Miles: a high-powered body of work born from his ardent belief in preserving country’s legacy.

The Madlib Invazion Music Library Series Entry #12: DJ Muggs takes the Soul Assassins approach to source music - deep, dark, dank.

The Madlib Invazion Music Library Series was created by Madlib and Egon to give their creative friends a chance to stretch out and indulge in whatever type of music they wanted. This music was created for easy, one-stop clearance in film and television synchronization usage and for sampling. You can also enjoy these albums in the way that many do with the best of the best vintage library catalogs – listen, ponder, repeat.

Experience the sonic journey that is The Black Dog's latest album, "Other, Like Me," as they delve into the intricacies of the artist's psyche, questioning the very essence of individuality and creative worth. The album invites listeners to confront darker thoughts about self-identity, imposter syndrome, and the relentless pursuit of creative value, all while celebrating the joy found in the act of artistic creation. In this introspective exploration, The Black Dog challenge both themselves and their audience, creating a musical experience that is profoundly personal and open to interpretation. The themes woven throughout the album are a poignant counterpoint between the shadows of self-doubt and the exuberance of creative expression. It's an inward exploration, offering a place of solace for listeners to find comfort amid the chaos of external influences. The album's title, "Other, Like Me", draws inspiration from an interview with Cosey Fanni Tutti in 1999, resonating deeply with The Black Dog's outsider perspective. The phrase encapsulates the essence of the album, reflecting the band's unique identity and shared experiences, while respecting each member's individual passions and interests. Navigating the waters of cognitive dissonance, The Black Dog bring an authenticity to their music that mirrors the internal and external conflicts of the contemporary music scene. With a commitment to stripping back layers and allowing the heart of each song to shine through, "Other, Like Me" offers a raw and unfiltered musical experience that speaks directly to the soul. It's an invitation to introspection, a celebration of independence, and a testament to the power of authentic artistic expression.

"Pretenders ‘Learning To Crawl’ is to be reissued on standard black vinyl and clear vinyl for RSD Stores & HMV on 7th June 2024. Celebrating the album's 40th anniversary, this reissue is true to the original 1984 release with the artwork and tracklisting remaining the same. This pressing of ‘Learning To Crawl’ features 2018 remastered audio by the album’s original producer, Chris Thomas, on vinyl for the first time.

‘Learning To Crawl’ is Pretenders’ third album, released after a band hiatus which saw in this time the sad passing of guitarist James Honeyman-Scott and bassist Pete Farndon before recording started. It sees an assortment of guitar and bass players on the record before Robbie McIntosh and Malcolm Foster joined Chrissie Hynde and Martin Chambers making the band a four piece.

The 1984 album is certified Gold and Platinum in the UK and US respectively and reached #11 on the UK albums chart and #5 in Billboard 200, featuring some of their most loved songs including ‘2000 Miles’, 'Back on the Chain Gang' both singles securing spots in the UK top 20 singles chart."

The classic 1981 collaboration returns expanded! • LP features two previously unissued tracks, CD/Digital adds four more Packaging features photos and new liner notes from John DeAngelis “I’m more proud of this album than anything I’ve done since I got my first gold record, toured with Elvis Presley, and joined the Grand Ole Opry.” —Skeeter Davis “This album was recorded with love all over the tapes. For us, it was the best.” —Terry Adams (NRBQ) After working with her sisters in The Davis Singers, Skeeter Davis embarked on a storied solo career. With nearly 40 charting singles between 1957–1974, her recording of “The End Of The World” (Produced by Chet Atkins) hit #2 on both the Pop and Country charts, #1 Adult Contemporary, and #4 R&B in 1962. Think about that! Since Skeeter had already crossed perceived genres, the thought of the collaboration with music’s Pandora’s Box known as NRBQ shouldn’t seem difficult to grasp. Terry Adams’ discovery of David Sisters 78 RPMs saw tracks added to early NRBQ set lists. The pairing was meant to be. She Sings, They Play was a natural coupling, and was issued to critical acclaim in 1985. “We had more fun making this record. What other group would think to do ‘Someday My Prince Will Come’ in 4/4 time?,” asked Skeeter Davis. She Sings, They Play returns nearly four decades after its original release, remastered and including six previously unissued bonus tracks – two studio outtakes appear on the LP while those and four more live tacks are now available on the CD/Digital version. The packaging contains updated artwork, photos from the sessions, and insightful liner notes from John DeAngelis. It’s a fresh look at an incredible union of two groundbreaking artists. She Sings, They Play. You enjoy!

Since 2014 the music of Killers Walk Among Us has slowly spread worldwide and has grown a cult following among indie music aficionados celebrating the grandiose post rock crescendos mixed with Stefan Holmbergs heartbreakingly emotional lyrics and vocals. The album was praised upon its release by critics and fans alike, and since then the vinyl release has been a well sought out gem among record collectors. Now, in 2024, the surviving members of Killers Walk Among Us have regrouped for the 10 year anniversary of their self-titled album, recording the previously unreleased track When the Caged Bird Sings to be include on the re-mastered version of their seminal debut. The music shall prevail.

The Talented Italian Producer, Known for His Enigmatic Project Hill and Recognized for His Previous Ep Collaboration With the Detroit Legend Javonntte on Skylax Records, Is Making a Much-Anticipated Return Under His Real Name, Alessio Collina. an Ardent Aficionado of Authentic House Music, Collina, Hailing From Italy, Gifts Us a Remarkable Lesson in His Latest Offering, the "Pieces of Life Ep." Collina's Dedication to the Origins of House Music Is Evident Throughout This Ep, and It's a Refreshing Reminder of the Genre's Timeless Roots. Italy, a Country With a Deep Appreciation for House Music, Once Again Serves as the Source of Inspiration for This Artist. the "Pieces of Life Ep" Pays a Heartfelt Tribute to the High-Energy and Groove-Laden House Tunes of the 90s, Echoing the Sounds of Iconic Figures Like Dj Duke, Marshall Jefferson, and Labels Like Strictly Rhythm. With Each Track, Collina Effortlessly Transports Us Back to That Golden Era, Capturing the Very Essence and Spirit of That Unforgettable Time. the Ep Kicks Off With the Electrifying "All of That," an Absolute Masterstroke That Sets the Tone for What Follows. Its Pulsating Beats and Infectious Melodies Are Reminiscent of the Fervent Dance Floors of Yesteryears, Evoking a Sense of Nostalgia While Remaining Incredibly Fresh and Contemporary. the Ep's Three Other Titles, "Humble Groove," "Lost World," and "Mid Season," Continue to Captivate and Immerse Listeners in Collina's World of Evocative, Groove-Filled House Music. Each Track Showcases His Meticulous Attention to Detail and His Ability to Create an Authentic Atmosphere That's True to the Genre's Roots. Collina's "Pieces of Life Ep" Is More Than Just a Musical Collection; It's a Genuine Homage to the Spirited House Music of the 90s. His Dedication to Preserving the Essence of the Genre While Infusing It With His Unique Creativity Shines Through in Every Beat and melody.

This Ep Not Only Reinforces Italy's Profound Connection to the House Music Legacy but Also Solidifies Alessio Collina's Place Among Contemporary Artists Who Honor the Past While Paving the Way for the Future. as Skylax Records Prepares to Release This Exceptional 12-Inch, It's Clear That "Pieces of Life" Is a Treasure Trove for Any House Music Enthusiast, Inviting Them to Rediscover the Magic of the 90s With a Fresh Perspective....

Despite initial obstacles, Loverboy established themselves as one of the most successful Canadian rock bands of all time. "Working For The Weekend" is not only their mega-hit from the 80s, but has been Loverboy's motto for over 40 years. Their 1982 performance appears for the first time in fully restored & remixed sound. "Live In '82" not only captures the band's joy of playing and energy, but also reflects the golden era of the 80s: colorful clothes, fancy hairstyles (and headbands), great movies and great music. As a limited CD+Blu-ray edition & limited 180g Black LP edition with bonus DVD and including their mega hits "Working For The Weekend", "Turn Me Loose", "The Kid Is Hot Tonight" & more.

Repress!

Radio Slave drops ‘Strobe Queen’ this June, complete with Eric Kupper and Kirk Degiorgio Remixes

Following a string of massive singles over the course of 2022 and 2023, in tandem with the continued success of his acclaimed Rekids and RSPX imprints, Radio Slave prepares his latest single ‘Strobe Queen’, a 12-minute, slow-burning house epic landing this March.

Eric Kupper and Kirk Degiorgio remix Radio Slave’s ‘Strobe Queen’ this June.
Heard in clubs courtesy of Honey Dijon, Laurent Garnier, and Sean Johnston, amongst others, and on the airwaves via the likes of BBC Radio 1, Radio Slave now recruits two legendary remixers for thw remixes of ‘Strobe Queen’. Requiring little introduction, Eric Kupper and Kirk Degiorgio both turn in
exceptional versions of the original, while Radio Slave contributes a stunning reprise of his own, continuing to explore his love of slower tempos and long arrangements of golden era NYC, as seen in subsequent singles ‘Wild Life’ and ‘Wake Up’.

Radio Slave aka Matt Edwards is one of dance music’s undisputed heavyweights. Having made his name as a DJ in the 90s, he went on to become the king of edits, twisting pop, R&B and indie cuts into essential versions that consistently set clubs alight. Since the mid-2000s, Edwards’ originals have helped define modern dance music, tackling techno, house, breakbeat, minimal and disco whilst exploring dub, balearic sounds and ambient across the myriad of other aliases and projects.

Der Guardian of HipHop, der König der Mongos, der Freak, das Ex-Deichkind, das Reimemonster, der Punk-Rock-Rapper und Schauspieler .. Sascha Reimann aka Ferris MC lässt sein Alter Ego wieder auferstehen und löst endlich sein Versprechen ein, das er der Generation gab, die er als Künstler wie kein anderer Rapper geprägt und versaut hat. Ferris MC hat seine bösen Dämonen besiegt, ist nun von allen bösen Geistern verlassen und nimmt seine Fans mit dem neuen Album „Mortal Comeback“ mit auf eine Zeitreise – positiv, überraschend und mit ein bisschen Nostalgie wird das „Früher-Gefühl“ ins Hier und Jetzt katapultiert. Er macht Musik wie und weil er es will, nicht weil er muss. Für Ferris MC ist es wichtiger wahrhaftig zu sein, als einem längst überholten Image treu zu bleiben. Die Texte schreibt sein Leben und so nimmt er seine Hörer:innen mit in seine Welt – so, wie er es schon vor 30 Jahren getan hat. Als Ausnahmekünstler ist und bleibt er auch mit „Mortal Comeback“ zeitlos. Zwar kommt er aus der alten Schule, schafft aber den Spagat in die Moderne, ohne irgendwelchen Trends hinterher zu jagen. Er hat keine Angst davor, sich weiterzuentwickeln und bleibt dabei authentisch – seine Authentizität ist sein USP, sein Entertainment-Faktor. Für Ferris MC gibt es keine Szene, der er angehört, er ist seine eigene Szene. Schließt euch dieser Szene an und heißt den Asi mit Niveau, der seine Schwächen in Stärken verwandelt hat, herzlich willkommen zurück! Ferris MC ist und bleibt ein Unikat, die Hoffnung der Hoffnungslosen mit der Stimme aus Eisen und voller Emotionen. Er ist zurück um zu teilen und wenn ihr es wollt, wird er auch bleiben.

Dance music traditionalist Tom Carruthers joins Craigie Knowes. Tom’s commitment to the ruff n’ ready sound of dance music’s formative years is unshaken on the De-Facto EP, bundled with the same synths, drum machines, samplers and FX used in the by-gone golden era of the UK acid, breaks and hardcore scenes. Soul is found in disorder, not in a world that places false hope in perfectionism.

If you can judge an artist's quality by the company they keep, then FaltyDL is up there with the best of them. The label history of the producer known to his friends as Drew Lustman reads like a "who's who" of 21st century electronic music imprints - Ninja Tune, Unknown to the Unknown, Planet Mu, Studio Barnhus, the list goes on.

WithIn the Wake of Wolves, we can now add Central Processing Unit to this illustrious roster. The Sheffield label joins the party at a notable juncture - while FaltyDL has kept up an impressive clip of releases throughout his career,In the Wake of Wolvesis both the NYC-based producer's first LP for two years and his first full-length release away from his own Blueberry Records for almost a decade.

In the Wake of Wolvesproves to be both a great match for CPU and also further evidence of the label's burgeoning sonic palette. While CPU has built its reputation on top quality electro joints, recent releases have delivered adventurous electronica experiments (Proswell'sPeople Are Giving And Receiving Thanks At Incredible Speeds), hard-wired breakbeat techno (Baby T'sI Against I) and golden-age synth explorations (twenty-fifth anniversary reissues of Bochum Welt'sDesktop RoboticsandFeelings on a Screen, both of which first emerged via the legendary Rephlex Records).In the Wake of Wolvestakes things further still - this is a brilliantly genre-voracious record, one which marries the rhythmic cut-and-thrust that we have long known FaltyDL for with all manner of adventurous stylistic choices.

Those familiar with the FaltyDL experience will recognise the trademark blend of synthetic grit and harmonious softness in album opener 'I Need You'. This could pass for Four Tet or even Hannah Diamond at points, the steady build of pulsing synths and looped vocals recalling a more mysterious version of the PC Music sound. 'I Need You' stands shoulder-to-shoulder with any of FaltyDL's other great atmospheric album openers - no small feat given the competition. 'Further', the following number, is yin to 'I Need You's yang. This is a pulsating track which gleefully skitters between machine-funk, tubing darkside bass and breakcore-adjacent drum programming, all of which is peppered with some genuinely beautiful work in the higher synths.

'Further' sets the scene for several of the more club-facing cuts here. 'Minds Protection' similarly features all manner of strange percussive sounds to surprise the ear, and it also boasts a thrilling mid-section in which the bottom falls out the track to incorporate a short snippet of blown-out junglism. With its tunnelling low-end and clattering drums, 'Full Spectrum' kicks off a delightful run of grime-influenced joints which take cues from Mr. Mitch, Logos and many of those other producers who took the Eski sound to exciting new places in the 2010s. 'Forget Me Not', the album's longest track which is placed three spots from the end, feels like the record's climactic point - a pitter-patter post-house joint that has a hint of Caribou in its DNA, it'll take the clubs by storm.

But as much as FaltyDL may consistently bring the heat in terms of the beat programming, the thing which has long marked Lustman out as a special talent is the musicality of his compositions. No matter how much drums clatter or bass bangs, FaltyDL always hooks the ear back in with a sonorous synth or pleasing nugget of melody. Nowhere is this more apparent than onIn the Wake of Wolves' more weightless numbers, each startling in their prettiness. 'Half Spectrum' is a new-era beat track packed full of ear candy; the keening keys of 'GasGas' are potent with feeling; and on the album's closer, the evocatively-titled 'Mila Stans In A Meadow For The First Time Eating Strawberries', we get a gorgeous synth vignette that joins the dots between the modern mastery of Yung Sherman and the most emotionally affecting moments of Aphex's Twin's catalogue.

At once wistful and hopeful, archival and futuristic, FaltyDL's brilliantly unpredictableIn the Wake of Wolvesis a feather in the cap for both this seasoned producer and the Central Processing Unit label.

RIYL: AFX, Bochum Welt, Mark Fell, Mrs Jynx, Boards of Canada

Favorite Recordings proudly presents this new official single reissue of “Feel So Good Inside”, by Lamar Thomas. A killer deep-disco and very rare collectable single, fully coordinated for reissue by French respected DJ and Tropical rare-groove specialist, Waxist Selecta.

Lamar Thomas is an American singer, composer and producer who made a short solo career in the 70s, and then formed the duo Thomas & Taylor. He has also penned few songs for Johnny Bristol, Garland Green, Nancy Wilson, Maynard Ferguson, or Johnnie Taylor among others.

In 1980, he recorded this 2 tracks single for MCA Records, who released it on a 7inch left almost unnoticed at that time. 30 years later, this brilliant disco production has become a classic rare-groove title for a few DJs and diggers, with among them, French collector and DJ, Waxist Selecta (aKa Julien Minarro).

Schooled about this rarity by DJ Klas (aKa Josh Goldman), he then made it a real favorite in his various DJ sets. Curious to learn more about this forgotten piece, he also liaised with Lamar through the web, and discovered that all the masters had burned in a California fire at Universal.

As Julien already worked on an upcoming reissue project with Pascal Rioux and Favorite Recordings (more details in 2015), he offered him and Lamar to arrange a proper official reissue and produce a new master from his own vinyl copy. Coming out in a 12inch version built for dancefloors, the package also includes a great extended mix by Waxist.

'Altered Carbon' is an American dystopian sci-fi
cyberpunk TV series created by Laeta Kalogridis
and based on the 2002 novel of the same name by
English author Richard K Morgan. The first season,
10 episodes, premiered on Netflix in February
2018. It has since been renewed for a second
season.

Composed by Emmy Award-winning composer Jeff
Russo, who heads the 2018 Billboard / Tunefind
Top 10 Composers of 2018 list at No. 1.
Includes cover songs by White Zombie - More
Human Than Human', RL Burnside - 'Let My Baby
Ride' and Johnny Cash - 'Ain't No Grave'.
Pressed on translucent pink vinyl.
Collector's edition LP featuring the Hello Unicorn
artwork created with the show's producers.

‘Assassin’s Creed Valhalla’ takes place toward the
end of the Ninth Century, a time when Norse tribes
were leaving their homes in Scandinavia and
sailing to the collection of fractured kingdoms
known as Anglo-Saxon England. It’s here, during
this age of transition, that you’ll take on the role of
Eivor and lead your people to a new land in the
search for a new home. As you embark on
Valhalla’s epic Viking journey you’ll lead deadly
raiding parties, fight in massive battles and build
up a prosperous settlement, all within the historical
backdrop of Ninth Century England.
‘Assassin’s Creed Valhalla’ went Gold weeks
before the launch.
Songs by Norwegian black metal drummer Einar
Selvik (Vikings, Gorgoroth, Wardruna), also known
by his stage name Kvitrafn (white raven).
Lyrics are sung in Old Norse and they mainly
consist of excerpts and edited Old Norse Skaldic
and Eddic poetry, except for the song ‘When Horns
Resound’, which was written by Einar.
Pressed on opaque white vinyl with printed inner
sleeve.

2024 Reissue

‘Assassin’s Creed Valhalla’ takes place toward the
end of the Ninth Century, a time when Norse tribes
were leaving their homes in Scandinavia and
sailing to the collection of fractured kingdoms
known as Anglo-Saxon England. It’s here, during
this age of transition, that you’ll take on the role of
Eivor and lead your people to a new land in the
search for a new home. As you embark on
Valhalla’s epic Viking journey you’ll lead deadly
raiding parties, fight in massive battles and build
up a prosperous settlement, all within the historical
backdrop of Ninth Century England.
‘Assassin’s Creed Valhalla’ went Gold weeks
before the launch.
Score by Danish composer Jesper Kid (‘Assassin’s
Creed 2’, ‘Borderlands 3’, ‘State of Decay 2’,
‘Warhammer: Vermintide 2’) and American
composer Sarah Schachner (‘Assassin’s Creed:
Origins’, ‘Call of Duty: Modern Warfare’, ‘Anthem’).
“‘Valhalla’ marks the first time the two of them
Sarah & Jesper have worked together, and the
sheer size and scale of the Viking-themed
soundtrack is all the better for it.” - spin
Double LP with Red with Yellow Splatter (LP1) and
Teal with Black Smoke (LP2) coloured vinyl in a
gatefold sleeve with printed inners.