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2023 Repress

Bump 'n Grind Wax strikes again in 2022! A close friend of the Bump 'n Grind camp, Jacques Renault brings disco flare and funky house to two infectious edits on this limited release 7". One to make the vinyl diggers salivate.

The Let's Play House records boss shows off his affection for the baby-powered dancefloor on the A-side, "That's What You Are". A progressive tune that eventually leaves the listener swinging from a disco ball suspended from lush clouds overhead. Playful cymbals and guitar stabs decorate the sing-a-long hook, reminding us: we are all diamond-drenched dancing fiends.

Jacque's B-side edit of "My Love is Guaranteed" is a funky chokehold of a groove. A driving bassline of love leaves no doubt. A song filled with golden horns and a glimmering sample becomes the perfect selection for a DJ playing at a massive festival... or a wedding. Versatility!

BLK ODYSSY seamless fuse Alternative soul with elements of 70s Rock & Roll into a new fresh sound. Front man, singer-songwriter & producer Sam Houston & Guitarist Alejandro Rios bring two opposite ends of the Music spectrum to one stage to deliver a sanctifying musical experience. Growing up in the urban city of Plainfield New Jersey, Sam was exposed to Neo-Soul, Funk as well as the Life lessons that brought this music about early on.

Red Vinyl

It has been exactly ten years since Finders Keepers first intrepidly entered Andrzej Korzyński’s cavernous musical vault, but it is only today that we are able to proudly announce the safe retrieval on what we consider the true heavy psych holy grail of the Polish composer’s mind-bending oeuvre. By cruel coincidence this welcome event has sadly come during the same year as the composer’s tragic passing. However, in true Korzyński style, alongside his previous Finders Keepers releases, the legacy he has left behind in this one final lost soundtrack project alone has come with musical riches beyond anyone’s wildest expectations.

The comprehensive elusive archive of the deeply psychedelic soundtrack to Andrzej Żuławski’s forbidden film Diabeł (The Devil) is perhaps the most detailed dossier one could wish to find – including audio sketches, rejected proposals and pre-butchered variations that play out like an intense and veritable creative conversation between the director and the maestro, both of whom are widely recognised as true mavericks of socialist-era Poland’s fertile artistic landscape. Never intended for anything as conventional as a straightforward movie tie-in promotional disc (state owned Eastern European record labels rarely did this), the music in this archive has required special forensic inspection. Let’s say the devil is in the detail. The 7” record you are now holding is more than just a companion piece, and it is far from a selection of the (non-existent) poppy title themes to promote a full feature-length album. This standalone release is wholly unique in its own right, giving Finders Keepers listeners a final access all areas snoop into the mind of one of the pillars of our alternative musical community.

As those familiar with Żuławski and Korzyński’s long-running relationship will understand (a methodology best exemplified in the schizoid soundtrack to the film Possession), their exchanges were deeply nuanced and often complicated, with lots of artistic “tennis” thrown into the mix. The key plot in this behind-the-scene fable is that after delivering his original off-kilter psychedelic score to the director, maestro Korzyński was asked to make the music “totally unique, like something from another planet”, to which Korzyński took his tapes, pulled down the vari-speed to a guttural grind and continued to recompose over the top using avant-garde electro-acoustic techniques while deploying psychedelic skills of guitarist Winicjusz Chróst. This limited record release proudly boasts Korzyński’s original uptempo awkward psychedelic pop music prior to the doom laden growls that make the official films soundtrack a true Goliath of Eastern European soundtrack composition. Which, when recontextualised, will stand as a veritable face-melter for stoner rock fans. As one of Finders Keepers deepest conquests, we are delighted to share The Devil Tapes… What is a grail without the wine.

“We Da People” follows Emanuel's recent EP “Funk La Soul” and will be released via London tastemaker label and analogue specialists Gearbox Records (Binker Golding, Roland Kirk, The Cookers, Abdullah Ibrahim). Alongside the announcement, Harrold has shared a new single titled “I Think”, which features two-time GRAMMY-winner, Gregory Porter. Having made a name for himself both live and record collaborating with the likes of Damon Albarn, Keyon Harrold, Hypnotic Brass Ensemble, De La Soul, and Gregory Porter, “We Da People” marks a new chapter in Harrold’s solo career. The LP is a positive combination of uplifting messages and improvisational sounds that transcend R&B, jazz, soul, gospel, and funk. The release also sees Harrold bring in a number of estimable guest musicians including Gregory Porter, Charles Ransom II & Crystal ‘Crissy’ Ransom, Jahmal Nichols, Carlos “Scooter” Brown, Tivon Pennicott, Joel Holmes, Brian Owens, and more. Featuring lead vocals from his long-time friend and collaborator Gregory Porter, the new single and album opener “I Think” perfectly encapsulates the sound of the album by combining gospel-tinged soul vocals, with jazz-funk inflected guitars, uplifting orchestral strings, groove heavy bass that is interweaved with Harrold’s precise, high energy drumming.

The British heavy metal band Fastway formed in 1982 by former Motörhead guitarist “Fast” Eddie Clarke. He recruited Humble Pie drummer Jerry Shirley and vocalist Dave King, who later founded Flogging Molly. Their debut album was originally released in 1983 and features the two singles “We Become One” and “Easy Livin’”. Despite not being released as an official single, the track “Say What You Will” became one of their biggest hits to date.

Fastway is available as a 40th anniversary edition of 1000 individually numbered copies on red coloured vinyl and includes an insert.

Red Vinyl

Adrian Borland and Graham Bailey might be better known as members of legendary post-punk group The Sound, but the two were childhood friends and had been playing together even earlier in The Outsiders, and continued their deep musical rapport as a duo, creating these intense and engaging songs as Second Layer at the same time as their higher profile band output.

Combining their early recordings, including the 1979 Flesh As Property EP and 1980 State Of Emergency EP, Courts Or Wars takes its title from the first song that served as the pair’s introduction to listeners. Right from the beginning you are enveloped in what The Quietus described as, “a monochrome worldview morbidly obsessed with the dehumanizing effect of war, nuclear weapon annihilation, and the fracturing and negation of the self within an increasingly distorted and technologically mediated society.” Where The Sound fit snugly next to Echo And The Bunnymen, Second Layer had far more in common with the pulsing menace of Suicide.

Borland’s familiar vocals and sense of melody hold a connection to his other songwriting, but within these songs he takes far more risks in his guitar work to suit the subject matter. What really drives everything is Bailey’s propulsive bedrock, formed by his homemade pre-drum machine rhythm generators, creating an innovative mechanical approach that somehow inserts a jittery neurotic touch that merges perfectly with his electronic layers driven by the wasp synth, various unique effects boxes or tape loops. Adding in Bailey’s own distinctive bass playing, the results feel personal and experimental, pointed and harsh, while also bracingly accessible and covered in dark manic energy.

Over forty years later, these recordings feel shockingly appropriate. In painting a bleak reality and frightening future, there is real desperate beauty here.

Triple coloured vinyl version (Each disc is a different colour) of the double CD that came out on Cherry Red in 2021 Presented in Tri-fold gatefold sleeve with 16 page 12x12 colour booklet, poster & photograph.
ONLY 350 COPIES WORLDWIDE
Among the first crop of Creation Records bands in the mid-1980s, THE LOFT seemed the most likely to break through. Following the success of The Smiths, guitar-based independent pop was in vogue, Alan McGee’s Creation label was turning heads – its bands blending 60s psychedelia, the melodic end of punk and a new sound which would soon be immortalised on NME’s C86 cassette. And in this London quartet, Creation had their answer to bands like Television, The Only Ones or early Modern Lovers, offering taut, off-kilter songs with an irresistibly deadpan cool.
Sadly, after just two singles, 1984’s downbeat debut ‘Why Does The Rain’ and the punchier sequel, ‘Up The Hill And Down The Slope’ – an indie hit which the band performed live on TV show The Oxford Road Show, The Loft dissolved, with various members founding new bands The Weather Prophets, The Caretaker Race and The Wishing Stones. They left behind seven studio tracks, a BBC Radio 1 session for Janice Long and one track from a Creation LP documenting the scene’s roots in small club The Living Room.
However, The Loft’s legend endured, eventually prompting a reunion in the early 2000s with all four original members – singer/songwriter/guitarist Pete Astor, guitarist Andy Strickland, bassist Bill Prince and drummer Dave Morgan. Alongside various well-received live shows, that led to a new single, ‘Model Village’ (2006) and more recently a session for Gideon Coe on BBC 6 Music (2015). The Loft’s reputation as founding fathers of a new breed of mid-80s indie pop continues to grow to this day, with the band often cited as an influence.
Compiled and coordinated by the band, Ghost Trains & Country Lanes expands on previous retrospectives of The Loft, adding those reunion recordings (including three previously unissued tracks), the Gideon Coe session and several live recordings from that historic performance at The Living Room back in 1984. (including many exclusive songs which were never recorded in the studio).
With new sleeve-notes by Danny Kelly, this is the definite tribute to The Loft

Does Spring Hide Its Joy is an immersive piece by composer Kali Malone featuring Stephen O’Malley on electric guitar, Lucy Railton on cello, and Malone herself on tuned sine wave oscillators. The music is a study in harmonics and non-linear composition with a heightened focus on just intonation and beating interference patterns. Malone’s experience with pipe organ tuning, harmonic theory, and long durational composition provide prominent points of departure for this work. Her nuanced minimalism unfolds an astonishing depth of focus and opens up contemplative spaces in the listener’s attention. Does Spring Hide Its Joy follows Malone’s critically acclaimed records The Sacrificial Code Ideal Recordings, 2019 & Living Torch [Portraits GRM, 2022]. Her collaborative approach expands from her previous work to closely include the musicians Stephen O’Malley & Lucy Railton in the creation and development of the piece. While the music is distinctly Malone’s sonic palette, she composed specifically for the unique styles and techniques of O’Malley & Railton, presenting a framework for subjective interpretation and non-hierarchical movement throughout the music. Does Spring Hide Its Joy is a durational experience of variable length that follows slowly evolving harmony and timbre between cello, sine waves, and electric guitar. As a listener, the transition between these junctures can be difficult to pinpoint. There’s obscurity and unity in the instrumentation and identities of the players; the electric guitar’s saturation timbre blends with the cello’s rich periodicity, while shifting overtone feedback develops interference patterns against the precise sine waves. The gradual yet ever-occurring changes in harmony challenge the listener’s perception of stasis and movement. The moment you grasp the music, a slight shift in perspective guides your attention forward into a new and unfolding harmonic experience. Does Spring Hide Its Joy was created between March and May of 2020. During this unsettling period of the pandemic, Malone found herself in Berlin with a great deal of time and conceptual space to consider new compositional methods. With a few interns left on-site, Malone was invited to the Berlin Funkhaus & MONOM to develop and record new music within the empty concert halls. She took this opportunity to form a small ensemble with her close friends and collaborators Lucy Railton & Stephen O’Malley to explore these new structural ideas within those various acoustic spaces. Hence, the foundation was laid for Does Spring Hide Its Joy. In Kali’s own words: “Like most of the world, my perception of time went through a significant transformation during the pandemic confinements of spring 2020. Unmarked by the familiar milestones of life, the days and months dripped by, instinctively blending with no end in sight. Time stood still until subtle shifts in the environment suggested there had been a passing. Memories blurred non-sequentially, the fabric of reality deteriorated, unforeseen kinships formed and disappeared, and all the while, the seasons changed and moved on without the ones we lost. Playing this music for hours on end was a profound way to digest the countless life transitions and hold time together.” Ideologic Organ is pleased to present Kali Malone’s Does Spring Hide Its Joy as a triple LP set of around two-hours duration. Mastered by Stephen Mathieu and cut at Schnittstelle Mastering, the record is pressed in perfect sound quality by Optimal in Germany. The album is packaged in a heavyweight laminated jacket with full-color printed inner sleeves, and also available as a three-hour triple CD. Kali Malone’s album “The Sacrificial Code” (2019) has sold over 6000 copies in vinyl and CD format. Kali Malone’s album “Living Torch” (June 2022) has sold over 4000 copies in vinyl and CD format.

In recent years, there has been a resurgence of interest in the incomparable 90’s band known as Brainiac. This is in part due to a 2019 full feature documentary about the band (Transmissions After Zero) plus the reemergence of surviving band members to celebrate their music in the last several years. In addition, a substantial pair of archival releases (Attic Tapes 2xLP, From Dayton Ohio 2xLP) were unearthed for release on Record Store Day 2021 by Touch and Go Records. Now, in 2023, comes the latest missive of the archive, harkening back to the band’s latter era - and their most prolific and confident period. The Predator Nominate EP is a celebration of what was to come before the tragic exit of ringleader/singer Timmy Taylor. Listen to these realized demos and imagine what only could have been the confident seed of what the group might be capable of in this future century versus the last one. The world will never truly know. BIO: Brainiac began in 1992 as the basement experiments of Dayton, OH natives Tim Taylor (vocals, synth), and Juan Monasterio (bass), who first met playing cello in fifth grade. Upon completing the lineup with Michelle Bodine (guitar) and Tyler Trent (drums), they released two full-lengths and toured vigorously, establishing themselves as the latest peg in Ohio’s diverse musical timeline. In 1994, Michelle left the band and was replaced by John Schmersal. In 1996, the band made their full-length debut on Touch and Go Records with the album Hissing Prigs in Static Couture. On May 23, 1997, only weeks after the release of Electroshock for President EP and the band’s return from a European tour supporting Beck, Tim lost his life in a car accident.

FUSE launches its new ‘X Series’, a new instalment on the label centred around collaborations, with the first four-track offering courtesy of anonymous partnership eb_flow.

Continuing to evolve, adapt and blossom as an imprint leading the way across house, minimal and beyond, London favourites FUSE have undeniably levelled up once again as they approach a decade and a half in the game. Adding to their global events and long-standing sub-label INFUSE with sister imprint LOCUS, the brand has delivered quality productions across the electronic sphere from a mix of label regulars and emerging names, with founder Enzo Siragusa heading up and curating the subtle nuances and directions across their wide-reaching ventures. A new project for 2022, late August, welcomes the arrival of the label’s ‘X Series’ - a collaborative introduction which will see label favourites and special guests combine to unveil a string of unique releases in partnership with one another. The inaugural release sees anonymous pairing eb_flow join the label, delivering four cuts which have been essential records amongst the head honcho’s sets this year.

Opener ‘Transmission’ welcomes an otherworldly trip through hazy vocal murmurs and sweeping lead melodies as skippy percussion and rumbling sub-bass take hold before ‘Show Me’ delivers an impactful, bottom-heavy anthem fusing murky basslines beneath garage-tinged drums, funky grooves and dubby sonics.

The vinyl package comes loaded with two further cuts in the form of ‘Elevate’ and ‘Space’, with the former delivering a dreamy, mind-altering trip guided by bright stabs and loose, free-flowing drum shuffles, while the latter serves up a late-night skittering ride through resonant electronics, elongated pads and rubbery bass.

One of These Nights occupies an important, unique place in the Eagles' discography given it represents the final album the group made before releasing the bajillion-selling Their Greatest Hits (1971-1975) compilation. The timing is telling. A coming-out party for Glenn Frey and Don Henley's songwriting skills, the studio record – the band's fourth, and its first to hit #1 on the charts – signifies the group's ascent to superstar status. Home to three massive singles (the title track, "Lyin' Eyes," and "Take It to the Limit") and nominated for four Grammy Awards, the quadruple-platinum 1975 effort solidified the Eagles' Southern California-reared sound and made the band a household name.

Mastered from the original analog tapes, pressed on MoFi SuperVinyl, and limited to 10,000 copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP vinyl box set takes One of These Nights to the limit. And then some. Playing with reference sonics and a practically indiscernible noise floor thanks to MoFi SuperVinyl's special formula, it provides a rich, dynamic, transparent, and three-dimensional view into a release that moved country-rock ahead by leaps and bounds – and paved the way for the Eagles' ascendancy to global superstardom. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and presentation of the UD1S One of These Nights pressing befit its esteemed status. Housed in a deluxe box, it features beautiful foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendour of the recording. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the renowned cover art to the meticulous finishes. As much as any Eagles LP, the connection between the imagery and the music and the band on One of These Nights runs deep. No wonder it led to a Grammy Nomination for Best Album Package.

Devised by West Texas artist Boyd Elder, the striking skull-and-feathers themed piece gracing the front of One of These Nights represents where the Eagles have been and where they were headed. Album art director Gary Burden explained: "The cow skull is pure cowboy, folk, the decorations are American Indian-inspired, and the future is represented by the more polished reflective glass beaded surfaces covering the skull." Moreover, Elder had met the group years earlier when Henley and company performed at one of his gallery openings in California. MoFi's UD1S box set allows Elder's vision (and Burden's debossed treatment of the image) to pop and appear as if it was a stand-alone object.

Of course, what's inside the sleeves, and in the grooves, proves equally compelling. Though One of These Nights marks the final appearance of band co-founder Bernie Leadon on an Eagles LP and contains three of his tunes, the record's tremendous success owes to Frey and Henley's timeless contributions. Taking the next step in their maturation and evolution, the pair crafted several songs while living together as roommates in a rented house in which they converted a music room into a recording studio.

The duo's bond and chemistry pulse throughout the record – particularly in the tight arrangements, tasteful instrumental flourishes, and seamless blending of the folk, country, and rock elements. The musical combinations and partnership not only produced the Eagles' first million-selling single (the slow-dancing "Take It to the Limit," co-written with bassist-vocalist Randy Meisner) and the Frey-led cheating classic "Lyin' Eyes," but the famed title track, which nods to the era's nascent disco scene as well as Kenneth Gamble and Leon Huff's Philly soul platters.

Frey named "One of These Nights" as his favorite Eagles composition of all-time; Meisner's high harmonies alone send the track into a galaxy of its own. Speaking of the latter, Leadon's instrumental "Journey of the Sorcerer" ventures into another universe and was soon used by Douglas Adams as the theme to his "The Hitch-hiker's Guide to the Galaxy" radio series. Inspiration and creative experimentation also dragged the Eagles into the blues. Another Frey-Henley gem, the self-probing "After the Thrill Is Gone" serves as a response song to B.B. King's signature track and more evidence the band was turning the lens inward for lyrical narratives. Like everything on One of These Nights, the song confirms the Eagles were breathing rare musical air.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Baroness will release their eagerly-awaited new album ‘Gold & Grey’ on June 14th via Abraxan Hymns.



“Our goal is, was, and will always be to write increasingly superior, more honest and compelling songs, and to develop a more unique and challenging sound,” offers Baroness founder, guitar player and vocalist John Baizley. “I’m sure we have just finished our best, most adventurous album to date. We dug incredibly deep, challenged ourselves and recorded a record I’m positive we could never again replicate.



I consider myself incredibly fortunate to know Sebastian, Nick and Gina as both my bandmates and my friends. They have pushed me to become a better songwriter, musician and vocalist. We’re all extremely excited for this release, which includes quite a few ‘firsts’ for the band, and we’re thrilled to be back on tour to play these psychotic songs for our fans. Expect some surprises.”



While ‘Gold & Grey’ found the band once again working with Purple producer Dave Fridmann (The Flaming Lips, Mogwai), sequestering themselves at Fridmann’s remote upstate New York Tarbox Road Studio. The 17-track album ushered in two significant changes: a decidedly different recording process and guitar player Gina Gleason’s debut on a Baroness recording.



The band, who tracked portions of the vocals, guitars and overdubs in Baizley’s home-basement studio, another first for them, eschewed their normal routine of entering the studio with meticulously detailed plans and instead opted for a looser, more improvisational approach that resulted in their most collaborative and emotionally evocative release to date.



Featuring John Baizley (vocals/guitar), Gina Gleason (guitar), Nick Jost (bass) and Sebastian Thomson (drums), Baroness received a GRAMMY Award nomination for Best Metal Performance for ‘Shock Me’ from the 2015 album ‘Purple’.

Before Mahjun (of which Souffle Continu reissued, in 2016, the two albums released on Saravah), there was... Maajun. Five musicians (Jean-Pierre Arnoux, Cyril and Jean-Louis Lefebvre, Alain Roux and Roger Scaglia) and three times as many instruments at the service of an electric-poetic guerrilla group moulded from folk and blues. The group’s unique album, “Vivre la Mort du Vieux Monde” evokes an (imaginary) association of Frank Zappa and Jacques Higelin, of Sonny Sharrock and the Art Ensemble Of Chicago. Under these conditions, Long Live Death!

“The most French of all the French groups, determined to take Maurice Chevalier’s place in American hearts.” This was how Rock&Folk presented Mahjun in 1977. So be it. But when “Vivre la Mort du Vieux Monde”, was issued, it was 1971, and the name, though the same group, was still spelled Maajun. So, let’s look back at the story.

At the end of the sixties, five blues fans decided to form a French group ready to break down the barriers: Jean-Pierre Arnoux (drums, vibraphone, saxophone), Cyril Lefebvre (guitar, organ), Jean-Louis Lefebvre (bass, violin, guitar, vocals), Alain Roux (saxophone, flute, harmonica, vocals) and Roger Scaglia (guitar, vocals). This was Maajun, and Vivre la mort du vieux monde would be their only album, but which would (nevertheless) be followed by those of Mahjun created later by Lefebvre (Jean-Louis) and Arnoux.

Recorded for the Vogue label, “Vivre la Mort du Vieux Monde” would disturb a number of people. This is mostly due to the lyrics, many of which were written by Gérald Escot-Bocanegra, who, while summoning the spirit of Lautréamont and Rimbaud, turned the Maajun musicians on to rock and free jazz. Add a bit of politics into the mix, and the release of the album was delayed for several months. But then, wasn’t it worth waiting for?

Because “Vivre la Mort du Vieux Monde”, a real concept-album, is an important and iconoclastic statement made directly in the face of (francophone) dreamers of all countries. Over heavy guitar riffs, psychedelic interludes or fantasy-fuelled digressions, Maajun built mazes on the advice of alchemists known only to themselves before heading off on a long march on the “cracking walls”. It was an ambitious project, but Maajun could handle it, going so far as to proclaim: “Tomorrow will be a huge party!” But as we can see “tomorrow”, is now!

Swedish alternative rock group Omni of Halos enters the stage with their
self-titled debut album Omni of Halos, a guitar-driven explosion of noisy
pop music, contains the four tracks from the 2022 EP Care Free
(previously only released digitally) from plus six new, until now
unreleased songs
This collection of skewed, bittersweet, and beautiful tracks was recorded and
produced by Per Steberg (Division of Laura Lee, Pablo Matisse, etc) in Welfare
Studios. Offering a unique mixture of distinct vocals, vibrant rhythms, and rich
pedal steel guitar melodies, Omni of Halos stands out from its kind while still
communicating a sound firmly rooted in the expressive soundscapes of the
alternative '80s and '90s.The album was mixed by John Agnello, known for his
work with Dinosaur JR, Sonic Youth, and Kurt Vile, to name a few. The band
comments: We just wanted to play massive indie rock with no limitations or
influences says singer, guitarist and songwriter Henrik Hjelt Rostberg. "We aim to
be a hard- working band, stay on the road and accomplish memorable live
performances where our music is at its best."
The artwork for the album was illustrated by Sebastian Murphy (Viagra Boys) -
Recorded and produced by Per Stalberg (Division of Laura Lee, Pablo Matisse),
and mixed by John Agnello (Dinosaur JR, Sonic Youth, Kurt Vile, Mark Lanegan,
Nada Surf, Violent Femmes, Chavez). - Band members have previously been seen
in bands as: Division of Laura Lee, Bombus, Sparks of Seven, De Lyckliga
Kompisarna, Speed of Sound Enterprise, Firebreather, - Colorful, noisy music
derived from skewed, guitar-driven melodies, bringing the Alternative Rock of the
90's back to life.
Omni of Halos contains the four tracks from the band's 2022 EP Care Free plus
six new, until now unreleased songs. - The vinyl is pressed on two coloured
editions (each limited to 500 copies). One edition on Yellow/ Red Splatter vinyl
and one edition on Transparent Green vinyl. - The album is released through
Lovely Records (Sweet Teeth, Rotten Mind, The Dahmers, True Moon, among
others)

Swedish alternative rock group Omni of Halos enters the stage with their
self-titled debut album Omni of Halos, a guitar-driven explosion of noisy
pop music, contains the four tracks from the 2022 EP Care Free
(previously only released digitally) from plus six new, until now
unreleased songs
This collection of skewed, bittersweet, and beautiful tracks was recorded and
produced by Per Steberg (Division of Laura Lee, Pablo Matisse, etc) in Welfare
Studios. Offering a unique mixture of distinct vocals, vibrant rhythms, and rich
pedal steel guitar melodies, Omni of Halos stands out from its kind while still
communicating a sound firmly rooted in the expressive soundscapes of the
alternative '80s and '90s.The album was mixed by John Agnello, known for his
work with Dinosaur JR, Sonic Youth, and Kurt Vile, to name a few. The band
comments: We just wanted to play massive indie rock with no limitations or
influences says singer, guitarist and songwriter Henrik Hjelt Rostberg. "We aim to
be a hard- working band, stay on the road and accomplish memorable live
performances where our music is at its best."
The artwork for the album was illustrated by Sebastian Murphy (Viagra Boys) -
Recorded and produced by Per Stalberg (Division of Laura Lee, Pablo Matisse),
and mixed by John Agnello (Dinosaur JR, Sonic Youth, Kurt Vile, Mark Lanegan,
Nada Surf, Violent Femmes, Chavez). - Band members have previously been seen
in bands as: Division of Laura Lee, Bombus, Sparks of Seven, De Lyckliga
Kompisarna, Speed of Sound Enterprise, Firebreather, - Colorful, noisy music
derived from skewed, guitar-driven melodies, bringing the Alternative Rock of the
90's back to life.
Omni of Halos contains the four tracks from the band's 2022 EP Care Free plus
six new, until now unreleased songs. - The vinyl is pressed on two coloured
editions (each limited to 500 copies). One edition on Yellow/ Red Splatter vinyl
and one edition on Transparent Green vinyl. - The album is released through
Lovely Records (Sweet Teeth, Rotten Mind, The Dahmers, True Moon, among
others)

PETE MOLINARI is a country blues singer, songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.

THIS IS THE FIRST PHYSICAL RELEASE OF ALBUM ONLY RELEASED DIGITALLY IN 2020 DURING THE PANDEMIC…AVAILABLE ON BLACK VINYL AND INDIES-ONLY PALE BLUE VINYL (NON-RETURNABLE) WITH NEW ARTWORK.

Just Like Achilles is the distillation of everything Pete has learned since those years on the road as a travelling troubadour, playing tiny theatres and coffee houses everywhere from London, to New York, Paris to Nashville and around the world, eventually taking him to the most celebrated venues such as The Royal Albert Hall, The Royal Festival Hall, Carnegie Hall and Radio City Music Hall.

Just Like Achilles brims with big songs and huge choruses. After a first listen, it’s like you’ve known and loved this record forever. Although surprising for some who think he is the lone songwriter with his guitar, Pete is a big fan of Pop. Yes, somewhat of a dirty word today, but it is that timeless and well-crafted pop that created so many hit songs in the past that we still adore today.

Pete’s songs always cut straight to the heart of the matter. No fat, no artifice, no histrionics. The sound is real. Live. Real people playing real instruments. Front and center are Pete’s own majestic guitar chops and unique, soulful voice. Even on Achilles’ sadder songs, there’s a buoyancy and potency to them, an infectious effervescence that imbues life is for living, and it is that loving of life that we find celebrated in every song, arrangement and composition.

To coincide with Just Like Achilles highly anticipated release, Linda Perry organized an extraordinary event. She booked out the legendary Capitol Records’ Studio A and hit her contacts list to pull together a supergroup to join Pete in performing his new songs live in the studio. It included legends Ronnie Spector and Don Was, plus Mike Garson and Gail Ann Dorsey from the David Bowie band. Evan Rachel Wood also came along to sing on a couple of songs, while Jakob Dylan duetted with Pete on a very special version of “Waiting For A Train”.

So, everything was ready to go, ready for release. This was the beginning of 2020. And then .... well, as we all know, everything stopped. Now, two more years on, this is Take Two: Just Like Achilles is finally set to receive the release it always deserved.

Blue Vinyl

PETE MOLINARI is a country blues singer, songwriter from the Medway Delta. He was born into a large Maltese/ Italian/ Egyptian family in Chatham, Kent, where he was discovered by Billy Childish.
He’s got five critically-acclaimed albums’ worth of timeless folk, blues, rock and alt- country songs to his credit, plus a bunch more EPs.

THIS IS THE FIRST PHYSICAL RELEASE OF ALBUM ONLY RELEASED DIGITALLY IN 2020 DURING THE PANDEMIC…AVAILABLE ON BLACK VINYL AND INDIES-ONLY PALE BLUE VINYL (NON-RETURNABLE) WITH NEW ARTWORK.

Just Like Achilles is the distillation of everything Pete has learned since those years on the road as a travelling troubadour, playing tiny theatres and coffee houses everywhere from London, to New York, Paris to Nashville and around the world, eventually taking him to the most celebrated venues such as The Royal Albert Hall, The Royal Festival Hall, Carnegie Hall and Radio City Music Hall.

Just Like Achilles brims with big songs and huge choruses. After a first listen, it’s like you’ve known and loved this record forever. Although surprising for some who think he is the lone songwriter with his guitar, Pete is a big fan of Pop. Yes, somewhat of a dirty word today, but it is that timeless and well-crafted pop that created so many hit songs in the past that we still adore today.

Pete’s songs always cut straight to the heart of the matter. No fat, no artifice, no histrionics. The sound is real. Live. Real people playing real instruments. Front and center are Pete’s own majestic guitar chops and unique, soulful voice. Even on Achilles’ sadder songs, there’s a buoyancy and potency to them, an infectious effervescence that imbues life is for living, and it is that loving of life that we find celebrated in every song, arrangement and composition.

To coincide with Just Like Achilles highly anticipated release, Linda Perry organized an extraordinary event. She booked out the legendary Capitol Records’ Studio A and hit her contacts list to pull together a supergroup to join Pete in performing his new songs live in the studio. It included legends Ronnie Spector and Don Was, plus Mike Garson and Gail Ann Dorsey from the David Bowie band. Evan Rachel Wood also came along to sing on a couple of songs, while Jakob Dylan duetted with Pete on a very special version of “Waiting For A Train”.

So, everything was ready to go, ready for release. This was the beginning of 2020. And then .... well, as we all know, everything stopped. Now, two more years on, this is Take Two: Just Like Achilles is finally set to receive the release it always deserved.

Bear McCreary, known for his incomparable world-building and use of innovative musical approaches in the worlds of television, film, and video games, will guide audiences through the major events of the Second Age of Middle-earth, as seen in the series. Working out of the iconic Abbey Road Studios as well as AIR Studios and Synchron Stage in Vienna, he has recorded and composed hours of music for the score, weaving together his original themes into a sonic tapestry for a full symphonic orchestra, alongside vibrant folk instruments and choral singers.

“J.R.R.Tolkien’s stunning novels and their film adaptations have had a profound impact on my imagination for nearly my entire life,” McCreary said. “I am honored to compose the music that will help guide audiences through the major events of the Second Age of Middle-earth."

Legendary composer Howard Shore has composed scores for some of the most memorable and world-renowned film and television series. Globally respected for his passion for J.R.R. Tolkien’s work, he is perhaps best known for his work on The Lord of the Rings and The Hobbit film trilogies.

The Season One: Amazon Original Series Soundtrack also includes two performances by The Lord of the Rings: The Rings of Power actors—Sophia Nomvete (Princess Disa) on the track “A Plea to the Rocks” and “This Wandering Day,” sung by Megan Richards (Poppy Proudfellow).

Available on 2 x 140 Gram Black Vinyl

In summer 1958, João Gilberto -an unknown 28 year-old Brazilian guitarist and singer from Bahia- made his recording debut as a singer with two songs "Chega de Saudade" and "Bim Bom." With a new rhythmic feeling, batida, and rich harmonies he laid the basis of the modern Brazilian samba, now known as Bossa Nova. Underpinned by his insouciantly swinging guitar, Joãos seductive, vibratoless vocals caressed both ear and soul in a mesmerizing, highly addictive combination, refreshing and modern. Chega de Saudade was a hit, launching Gilbertos career and the bossa nova craze. Soon, singers and guitarists were trying to imitate him and composers were all on a Desafinado (the second Gilbertos hit) and Chega de Saudade kick. The longawaited renewal of the Brazilian samba was now a fact. Antonio Carlos Jobim said: Gilberto appeared as a light, as a big star in the firmament, in the heavens. He became a focus, because he was pulling the guitar in one way and singing the other way, which created a third thing that was profound. Yes, the guy who brought the Bossa Nova beat to the world was João Gilberto.

Some cities just know how to produce bands by the bucketload. Take Detroit, for instance: we don’t need to rattle through a full list or anything, but safe to say that if your town has given the world the likes of Motown, Derrick May and J Dilla - before we even start to think about The Stooges et al - then you could be forgiven for thinking there must be something in the water round those parts. So whaddya say? Should we get to know two more fine exponents of melodic wonder from the Motor City? Only seems fair. This split LP between citymates The Stools and Toeheads certainly isn’t a letdown as far as the illustrious company of their forebears goes. In fact, it’s a fast-paced thrill ride that oscillates between hip-shaking rock’n’roll swing and bone-shaking hardcore energy. You might already be familiar with The Stools thanks to their ludicrously addictive Feelin’ Fine 7”, which dropped via Drunken Sailor (hey, those guys sound familiar…) early in 2021. If you though that short EP was a good time, wait ‘til you see what they’ve got in store here: right out of the gate, opener Dead Man’s Ford smashes the devil-toed boogie of the MC5 at their slinkiest into the teeth-clenched intensity of Negative Approach (and that’s a pretty decent John Brannon-style roar they deliver too). They maintain this quality and velocity across their side, which is brilliant. There’s no let-up from Toeheads either - their side of this split sounds like someone revved up The Gun Club and aimed fireworks inside their exhaust. This is the sound you always knew you were working towards when you got into this rock’n’roll business; guitars blazing, lungs bursting, a wall of sound collapsing while we all dance in the debris. Does it sound like anything new? Fuck no, but that’s not the point. Much like The Stools, there’s nothing you can say about Toeheads that can’t be summarised with the phrase ‘total exhilaration’. So there you have it. Another compelling case for Detroit as home to the finest sounds around, put forth by two young bands who make playing loud, fast and dumb sound easy. Call it conviction, call it chutzpah… hell, call it talent if you want, I ain’t gonna stop you. But chiefly, call it a fucking good time and put the damn record on. This slays. Will Fitzpatrick.

‘Fuxsake, what a great ride this album is... …Somewhere John Lee Hooker is smiling and stampin' his foot to 'Runnin' Till I'm Done'! Love the 12 string riffing so much - You just don't hear that enough these days - Brings to mind Stevie Ray on killing it on acoustic. Ledfoot on the Goodfoot got some serious mojo'. - Winter Lazerus, mastering master This record was recorded and mixed in two days - live - straight to tape… no edits, no punching in…just me… honest for better or worse – honesty - What a precious thing ‘ - Ledfoot - In short: 10 tracks recorded analogue live to tape during two magic days at Studio Studio Nyhagen. No bullshit, just a unique artist spitting out his soul in the most naked and real setting possible. Gothic blues! Still, the sound, the lyrics and the performance are very much a product of today. Ledfoot aka Tim Scott McConnell is a 12-string guitarist who plays with fitted heavy strings,
a brass slide, steel fingerpicks and a stompbox. He has been touring and releasing music since the late 1970’s and written for artists as varied as Highasakite and TnT to Sheena Easton. In 2014, Bruce Springsteen recorded ‘High Hopes’ as the title track of his album, written by Tim Scott McConnell for the Havalinas debut album in 1990. It debuted as #1 in over 10 countries including the U.S. and the U.K.

Repress in soon. Recorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn's debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo's sound - a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath's voice. Before all of the international touring and festival headlining and critical acclaim, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn's writing since then: "a collection of vivid addictions concerning suffering and love, darkness and deliverance" arriving as "a necessary pop balm, an album stuffed with songs that don't suffer the longstanding complications of that term." And so, even as the band continues to evolve and becomes amorphous, there's still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape

LP 180G HEAVY BLACK VINYL, INCL. 12 TRACK MP3 ALBUM

For the better part of two decades, the acclaimed band Calexico has crossed musical barriers, embracing a multitude of styles, variety in instrumentation, and well-cultivated signature sounds. With their forthcoming record Edge of the Sun, out April 13th via City Slang, they take inspiration from a trip to a place surprisingly unexplored by the band before in Mexico City, and with the benefit of many friends and comrades to help guide the way.

Encouraged by the experience, the guest list grew to include Ben Bridwell (Band of Horses), Nick Urata (Devotchka), Carla Morrison, Gaby Moreno, Amparo Sanchez, multi-instrumentalists from the Greek band Takim, and Neko Case. Burns' brother John Burns lent a hand to some lyrics and songwriting, and the band's keyboardist, Sergio Mendoza, stepped up to co-write and arrange certain songs, ultimately co-producing the album along with Burns, John Convertino, and longtime associate Craig Schumacher.

Limited Edition 180g blue coloured vinyl pressing of this 1959 Chess
album, which collects 1951-1954 sessions by the great John Lee Hooker,
who influenced bands such as The Rolling Stones during the sixties'
rhythm and blues boom
Important titles here are the ominous 'Leave My Wife Alone,' the stark 'Sugar
Mama', 'Ramblin' by Myself'', 'Louise', and 'High Priced Woman', the latter two
featuring Eddie Kirkland on second guitar. 'House of the Blues' has the distinction
of having made it into the UK album chart at No.34 in 1967.

Hidden Beyond Time is the debut album by Finnish Heavy Metal group
Green King, a 34-minute long experience that showcases the dynamic
nature of this four piece
Inspired by the many subgenres of heavy music, Hidden Beyond Time moves
from hard hitting cuts fueled by chugging, galloping riffs that brings to mind the
great metal era of the 70/80s and relentless, Stoner Metal infused adrenaline
shots to more mellow, experimental tracks featuring folk inspired melodies. SALE
SPOTS - Debut album from this great Finnish rock band. - Green King Feature
members from other bands of the new generation of Finland, such as Rokets and
Velvet - Stoner influenced Heavy Metal with a touch of Nordic Darkness. - They
have made their mark on Finnish metal underground by playing fierce live shows
filled with musical mojo and speedy guitar solos. - Two vinyl colours (Transparent
Violet and Green) available, both in limited editions of 500 copies each. - For fans
of Stoner Rock/Metal, modern Doom Metal, and all things heavy.

Hidden Beyond Time is the debut album by Finnish Heavy Metal group
Green King, a 34-minute long experience that showcases the dynamic
nature of this four piece
Inspired by the many subgenres of heavy music, Hidden Beyond Time moves
from hard hitting cuts fueled by chugging, galloping riffs that brings to mind the
great metal era of the 70/80s and relentless, Stoner Metal infused adrenaline
shots to more mellow, experimental tracks featuring folk inspired melodies. SALE
SPOTS - Debut album from this great Finnish rock band. - Green King Feature
members from other bands of the new generation of Finland, such as Rokets and
Velvet - Stoner influenced Heavy Metal with a touch of Nordic Darkness. - They
have made their mark on Finnish metal underground by playing fierce live shows
filled with musical mojo and speedy guitar solos. - Two vinyl colours (Transparent
Violet and Green) available, both in limited editions of 500 copies each. - For fans
of Stoner Rock/Metal, modern Doom Metal, and all things heavy.

- 180 GRAM AUDIOPHILE VINYL
- RANKED FIRST IN ALL-TIME TOP TEN LIST OF SHRED ALBUMS BY GUITAR WORLD MAGAZINE
- LIMITED EDITION OF 1.000 NUMBERED COPIES ON GOLD VINYL

Rising Force is the first studio album by guitarist Yngwie Malmsteen, released on 5 March 1984 through Polydor Records. The album reached No. 14 on the Swedish albums chart, No.
60 on the US Billboard 200, and received a nomination for Best Rock Instrumental Performance at the 1986 Grammy Awards. It is regarded as a seminal release in the shred and neoclassical metal genres.

Steve Huey at AllMusic gave Rising Force four stars out of five, calling it 'a revelation upon its release' and 'The true inauguration of the age of the guitar shredder'. He praised Malmsteen's technique and 'blinding virtuosity', as well as highlighting 'his obsessions with Bach, Beethoven, and Paganini'.
In a 2009 article by Guitar World magazine, Rising Force was ranked first in the all-time top ten list of shred albums. The staff wrote: 'Yngwie J. Malmsteen was, is, and always will be the greatest shredder of all time. Hell, he invented the genre with his debut.'

Black Star' and Far Beyond the Sun' have endured as two of Malmsteen's most popular songs, as well as being staples of his live setlist. In a 2008 Guitar World interview, Malmsteen said of the two songs: 'I'll probably play Far Beyond the Sun' and Black Star' until the day I die.'

-4 Songs from Upcoming Albums. -Pressed at 45 RPM for High Fidelity. -Strictly limited to 150 copies. Top 4 features four songs from four forthcoming LP's on the Cold Busted label. To start the series off we have beats from label favorites Sim Nagai, Mister T., and Emapea plus two artists who were recently signed to the label: Goodge and MichRyc. Sim's latest album, Equator Hotline, features exotica-fueled beatscapes and transportive vibes. The equator itself is breached on "Deep in the Rainforest" as busy percussion playfully accompanies the downtempo drum beat. Goodge's jazz-funk dreamscape is sonically interpreted through the grooves in tracks like "Heart of the City" from the forthcoming album Echoes of Yesteryear. Here, cool electric piano keys, a snazzy saxophone, and scratchy guitar are buoyed by an uptempo drum track that transmits a cool inner city feel. MichRyc's friend Emapea helps out with "Monkeys in the Jungle," from Under the Surface, a deep instrumental hip hop cut that almost sounds influenced by Saharan guitar bands like Mdou Moctar. Mister T. returns to Cold Busted with Synchronized Roots, another fantastic album encompassing the many styles of the prolific producer. "Looking Above" continues on a dubby tip, delivering a more heady and smoked-out feel. Each record is limited and pressed at 45 RPM with two tracks on each side for maximum fidelity.

Mallorcan mastermind Joan Bibiloni gets two key works from his esteemed catalogue officially licensed via Gouranga Music and edited by the remix maestro Ray Mang.

On the A side the boogie brilliance of the aptly named ‘The Boogie’, extended and echoed in all the right places to form a true dancefloor winner. On the flip, Mang turns this classic Balearic Bibiloni gem ‘Val, I Vuw Ya’ that has an acoustic guitar and chromonica spinning around each other from the three and a half minute original into a hypnotic six minute wonder.
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We have a very limited amount of these available now for stores. 4LP boxset - white vinyl - edition of 300 - includes: The Dream Derealised LP, Lightnesses I & II LPs, Near Future Residence LP. It’s nearing a decade since William Doyle released his Mercury Music Prize nominated debut album, Total Strife Forever, as East India Youth in 2014. A year later, he had toured the world and was releasing his second album, Culture of Volume, but it would be another four years before Doyle returned with his third full album, and the first official release under his own name. The dizzyingly ambitious Your Wilderness Revisited arrived in 2019 and was followed last year by the artpop masterpiece, Great Spans of Muddy Time. In the years between leaving the old project behind and re-emerging under his own name, Doyle self-released a string of ambient-leaning albums, The Dream Derealised, Lightnesses Vol I & II and Near Future Residence, which are now to receive a first vinyl pressing via Tough Love as both a highly limited four LP box set, titled ‘Slowly Arranged: 2016-19’, and as separate albums. The Dream Derealised is a collection of nine abstract, lo-fi pieces that were recorded during the summer of 2016, when focusing on creating them helped guide Doyle through a “difficult period of anxiety, panic and a regular dissociative feeling called derealisation.” At the time, doing something creative in a quick and immediate fashion felt vital to Doyle, carrying him to a new place: “I’m releasing them now as a cathartic measure, and as a message for others who may be going through difficult times themselves. What I told myself at the time, what I can tell you now: You are not in danger. You are not going insane. You are not alone.” Lightnesses Vol. I & II sees Doyle create what we might understand as true ambient music – that is, music intended for the background that wasn’t composed as such, but allowed to blossom out of the setting of some rules and parameters, played by sounds he created and then resampled. The deceptively simple, droning pieces are unlike anything Doyle has made before or since. “During their creation I’d often take photographs of the light coming in through the windows of the two houses I lived in during their creation. I’d post these on social media and they became quite popular parts of my output. This music was intended to accompany those visuals. The first volume’s photo is a double exposure of the sun shining in on my notebook and my hand, whereas the photo for the second volume was taken in Joshua Tree Park, California as I saw our tail lights illuminate one of the trees.” Near Future Residence is music for an imagined place based on real ideas; the soundtrack for an ecologically sustainable housing development somewhere in a not-too-distant future Britain. The eleven instrumental pieces here come from a place of optimism, imagining a future that is based on cooperation, community and ecological urbanism. It's music intended to sit in this imagined environment rather than impose upon it, similar in principle to the function of Kankyō Ongaku (Japanese environmental music). The ideas contained on Near Future Residence laid the groundwork for - and can be seen as a companion piece to - the album Your Wilderness Revisited, released to critical acclaim in 2019. Doyle explains how the pieces “were composed in entirely generative ways using samples of instruments, synthesisers and field recordings I've collected and developed throughout 2018. In generative composition, rules are set and parameters are chosen and then put into motion, the results constantly changing and surprising.”

Check point Catherine

“In the afternoon we performed in a rather austere theatre in East Berlin. Then I remember we crossed Checkpoint Charlie that evening to play in a club in West Berlin. The atmosphere was completely different. I felt as though we were living in a black and white spy movie.” Nicolas Fiszman recalls that chaotic day of 13 June 1982. Two outstanding guitarists, Philip Catherine and Nicolas Fiszman, who at the time was only seventeen years old, were taken from one side of Berlin to the other in pouring rain to perform to unlikely audiences. At both concerts, they played the same programme of seven pieces written by Philip, with the exception of “Crystal Bells”, composed by Charlie Mariano. The pair were not master and student. Rather, Philip remembers Nicolas like a young brother he might have taken to the beach. After the 1960s, Philip became a major figure on the jazz scene, working with the greatest: Charles Mingus, Chet Baker, Stéphane Grapelli, Dexter Gordon, to name only a few. Nicolas has played with Charles Aznavour, Vanessa Paradis, Francis Cabrel and Eric Serra, and travels the world with Sting.

On that gloomy afternoon, the two guitarists, alone on stage, decided to brighten up the morosity that reigned. The pieces they played bore titles such as “Janet”, “Babel” and “Petit Nicolas”. It is hard to believe that this varied, well-constructed, polyphonic music was not entirely written down on paper. Philip says, “Nothing is written from beginning to end. I compose the themes and some harmonic bridges. Then we have a chord chart … and that’s it.” The foundations are written; inspiration, taste, fantasy and friendship do the rest. We feel as though we are taking a nonchalant walk through Rio or Miami. The concert is punctuated by thunderous applause.

For these brief minutes in that year 1982, the East Berliners were able to fly over their tightly closed borders.

We are privileged to have unearthed this unique concert where two outstanding artists bring together two cultures to create an intense blaze of happiness.

Philip Catherine, Guitar
Nicolas Fiszman, Guitar & Bass
With the kind authorization of the Artists

VINYL COLOUR IS SNOW WHITE! As a founding member of Bauhaus, David J helped spearhead the post-punk scene of the early ‘80’s with a string of innovative work, including Bauhaus’ defining moment, a bona fide classic and feasibly the pinnacle of the entire goth scene: the nine minute plus epic slab of industrial dub “Bela Lugosi’s Dead,” featuring David’s lyrics and bass guitar work. Bauhaus propelled to the upper echelons of the UK charts before reaching their zenith in the summer of ’83 and imploding – shattering into fragments of individual talent. This implosion gave rise to David's wide-ranging solo career. The first of Bauhaus’ members to actively release music outside of the band, David went on to put out solo work and collaborations with various authors, poets and infamous indies such as 4AD. In 1985, David regrouped with two former Bauhaus members to form the hugely successful Love and Rockets. Since then, David has continued to produce his trademark brand of deeply heartfelt and darkly sophisticated music. Highlights of What The Patrons Heard include a timely rendition of Neil Young’s “Vampire Blues” delivered with penetrating intensity; “Gimme Some Truth,” which brings new urgency and potency to the John Lennon classic; and “Lay Over And Lay,” which delivers folk-punk that only musicians from the British Isles can get right.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

The old adage about Elvis Presley is that his soundtrack work never held a candle next to his studio albums. Though true for a majority of his film-related outings, the traditional notion is forever disproved by his Blue Hawaii set. Originally released in 1961 in support of the film in which he starred, the triple-platinum LP spent nearly five months at the top of the Billboard album charts; outsold his two prior studio efforts; and ultimately, remains the second-best-selling soundtrack of the musical-dominant 1960s. And now, it has received sonic treatment befitting rock royalty.

Recorded before the King started to burn out on soundtracks and go into a creative tailspin, Blue Hawaii presents him in tremendous voice. The newly uncovered layers of detail, body, emotionalism, and tonality on this SACD bring that treasured element – as well as the brilliance of the arrangements and accompaniment – to light like never before. Presley's warm crooning alone warrants unmitigated attention. It's not for nothing that this record – replete with panache, whimsy, romance, and seriousness – forever altered the course of his career.

Much like the film itself, the music on Blue Hawaii subscribes to a feel-good aesthetic. Presley plunges into a stylistic deep end with equal parts fearlessness and fun. He delves into early rock ‘n' roll ("Rock-A-Hula Baby"); touching balladry ("Hawaiian Wedding Song"); playful rumba ("Beach Boy Blues"); relaxing luaus ("Hawaiian Sunset"); and naturally, island-inspired fare ("Ku-U-I-Po"). It becomes immediately evident that the King is enjoying himself and committed to the mission. Is Blue Hawaii all serious art? No, but it was never intended to be. Rather, it serves as a showcase of Presley's outgoing personality and chameleon-like ability – like that of Frank Sinatra – to inhabit different roles and entertain.

Of course, Blue Hawaii remains timeless for another reason: The inclusion of the timeless, gorgeous, and still-untouchable staple "Can't Help Falling in Love." Penned by Hugo Peretti, Luigi Creatore, and George David Weiss, the love song quickly transformed into an international standard – with Presley's definitive version hitting No. 2 on the charts and ultimately becoming the closing song to his concerts. Ranked among the 500 Greatest Songs of All Time by Rolling Stone, its conviction, sentiment, and depth testify on behalf of why Presley still reigns as the King.

However subtly, the staple also underscores another reason Blue Hawaii should never be overlooked in Presley's canon: the ace musicians involved in its creation. Guitarists Scotty Moore and Hank Garland; drummer D.J. Fontana; percussionist Hal Blaine; pianist Floyd Cramer; bassist Bob Moore; and iconic gospel backing vocalists the Jordanaires all contribute masterful performances. Hearing them with such expressiveness, openness, and realism on this 2LP 45RPM & SACD should forever alter how Presley's 1961 soundtrack – the finest of his career – is viewed. As he sings in the title track, dreams come true, indeed.

Glasgow's First Lady of Jazz Carol Kidd, whose string of successful Linn recordings in the 1980's have made her a staple of international audiophile artists, returns with an all-new collection of delectable jazz and pop standards delivered in her inimitably smooth and heartfelt style.

Kidd has always been an artist celebrated for her cool, controlled phrasing and easy-going balladry, and her lovely new recording, BOTH SIDES NOW, is replete with her trademark inflection and warmth spread over classic songs by everyone from Rodgers & Hammerstein, Billy Joel, Joni Mitchell, and Richard Thompson. A songwriter of note, Kidd herself contributes two new tracks co-authored with Chris Anthony.

Impex's exclusive 180-gram 33 rpm LP, mastered by the superlative Kevin Gray at Cohearent Audio, features brilliantly detailed mid-tones, effortlessly stable bottom end, and crisp overtones. RTI's peerless pressing brings it all together for your listening pleasure.

Carol Kidd is an international award winning singer. She has been named 'Best Vocalist' at the British Jazz Awards on four occasions and was appointed MBE for Services to Jazz. In 2006, Carol was a winner of the prestigious Nordoff-Robbins Tartan Clef Music Award and in 2017 she received a Lifetime Achievement Award at the Scottish Jazz Awards. Renowned for her impeccable phrasing and delivery along with an unforgettable ability to breathe fresh life into any jazz standard, Carol has cut a distinctive path through the Great American Songbook throughout her career with orchestral and trio backing, as well as performing as a unique and intimate duo with guitarist Nigel Clark.

A long line of admirers has included Tony Bennett, Vic Damone and Frank Sinatra, who invited her to open for him at a stadium concert where he remarked that, "Carol Kidd is the best kept secret of British jazz." After a sensational performance at the Tribute to Johnny Mercer show at the Royal Concert Hall in Glasgow, Sir Michael Parkinson observed from the stage that "If there is a better jazz singer out there I have yet to hear them!" Luminaries who have performed alongside Carol as her guests include George Shearing, Georgie Fame, Annie Ross, Benny Carter, Joe Temperley, Bobby Watson and Martin Taylor.

Following a battle with cancer, Carol returned to the stage triumphant in the summer of 2013 to give a powerful, emotional performance at the Glasgow Jazz Festival. In the wake of this homecoming, it is impossible to deny that Kidd is one of the most remarkable artists and performers of our time.

With its name indicative of the music's boundary-testing diversity and Southwestern inspiration, On the Border finds the Eagles leaving everything on the table and embracing a harder edge that takes the band out of more relaxed territory and establishes it as a group that knows how – and wants – to rock. Glenn Frey, Don Henley, new member Don Felder, and company immediately announce their intent on the defiant album-opening hit "Already Gone" and never look back, crafting a gem of a record that from start to finish is arguably their most consistent and balanced effort.

Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's significance and enhances the experience for generations to come. Playing with reference sonics that elevate an effort revered by audiophiles, it provides a lively, dynamic, transparent, and intimate view of a release whose contemporary importance continues to grow. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and gorgeous presentation of the UD1S On the Border pressing befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic Navajo cover painting to the meticulous finishes.

And with On the Border, there's plenty to take in and soak up. Declared by famed critic Robert Christgau as "the Eagles' best album," the 1974 set claims a rich backstory. Initially recorded amid tumultuous sessions with producer Glyn Johns in London shortly after the release of the group's sophomore Desperado set, On the Border took a new turn after the band elected to scrap most of the prior work, return to its native California, and team with producer Bill Szymczyk to give the material less of a smooth, polished sheen and more toughness. Szymczyk also afforded the Eagles more input and freedom in the arrangements, and suggested adding another guitarist to play on "Good Day in Hell." Felder got the call, and so won over the Eagles with his skills, he quickly became the fifth member of the band.

While the late-arriving Felder only plays on one other album cut, "Already Gone," his mates more than prove their muster on the remainder of a double-platinum affair that established the Eagles as a force whose range transcended the calmer country-leaning style it perfected on their first two LPs. Primarily written by Jackson Browne and shelved during the Desperado sessions due to its higher-energy nature, the throttle-twisting "James Dean" ricochets with barbed riffs and rebellious swagger. Listen without limits to how Szymczyk's raw production stamps the song with a leather-and-jeans cool befitting its protagonist. Similarly rugged, the slide-guitar-fueled "Good Day in Hell" boasts its own mean streak. And the funk-laced, boot-stomping title track cautions "don't you tell me 'bout your law and order." Throughout On the Border, the Eagles are in no mood to mess around.

Not that the band skirts sentimental territory. On one of the era's finest covers, the Eagles nail the bittersweet feelings and bring high-definition detail to the vivid scenery of Tom Waits' "Ol' '55," a song the group makes its own. The rustic ballad "My Man" serves as a tribute to the recently deceased Gram Parsons, with singer-guitarist Bernie Leadon taking the lead on the microphone as he pours his heart out to his former Flying Burrito Brothers mate. And when it comes to romance, is it possible to top "Best of My Love"? Graced with Henley's honey-dipped vocals, refined wordless group harmonies, brushed drums, and the gentle strum of acoustic guitars, the Johns-produced cut soared to Number One and set the stage for what would soon be the Eagles' reality: global dominance.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master recording. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

Mozes And The Firstborn liefern waghalsigen Garagen Pop, catchy Surfmomente, kratzige Gitarrenriffs, Ahh's und Ohh's gewürzt mit reichlich Selbstironie. Im Frühling als Support von Two Gallants, The Growlers und FIDLAR auf Vorstellungsrunde, erscheint am 20. September das Debüt Album in Deutschland, Österreich und Schweiz bei Siluh Records. Im Herbst 2013 folgen Auftritte u.a. beim Reeperbahn Festival, dem Waves Vienna und der Berlin Independent Night. Das verschmitzte Grinsen haben die vier Jungs nicht umsonst aufgesetzt. Nach unzähligen Shows auf House Partys, in Coffee Shops und Spelunken haben sich Mozes And The Firstborn auf die großen Bühnen der Niederlande gespielt und rumpeln bisweilen selbst in nachmittäglichen TV-Formaten. Auf Europas wichtigstem Newcomer Festival Eurosonic gewannen sie schließlich auch die Schweißporen der internationalen Gäste für sich. Launig, waghalsig und mit viel Übermut präsentieren sich die vom Garagen-Punk-Rock der 70ies infizierten Jungspunde vor Publikum. Nun erscheint ihr selbstbetiteltes Debütalbum in Deutschland, Österreich und der Schweiz auf dem Wiener Label Siluh Records, das zuletzt mit Releases von Sex Jams und Mile Me Deaf ein Händchen für rotzige Gitarrenmusik bewiesen hat. Mit lausbübischem Humor, dem Draufgängertum der jungen Rolling Stones, der verpeilten Lockerheit der Black Lips sowie dem erstklassigen Songwriting von Indie-Heroen wie Guided By Voices überzeugten sie auch das kalifornische Label Burger Records, das bereits zum internationalen Sprungbrett für Szenegrößen wie Ty Seagull, Black Lips oder King Tuff wurde.