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Avidya is back with a third EP to build on the head-turning success of the first two and it is another trip to the outer edges of the dancefloor. Odopt from Born Free and 777 Recordings kicks off with a snappy cut that is deceptively simple but devastatingly effective with its gurgling and acidic bass. Remotif is a fast-rising talent who impresses with the heavy techno sludge of 'HAJKSD15' and Full Circle aka Alexis Le Tan and Joakim link with Kris Baha to offer a remix that is all twitchy electrons, busted drum loops and fizzing pads before 53X's 'Simulaatio' is another brilliantly loose jumbled of wiry electronics, sci-fi effects and techno chug for a fantastic closing beatdown.

Final release from our Prozpektiva label for this year and we are pleased to introduce a new dynamic duo from Siegen, SameSame to the ranks. With only one full vinyl release to date to their name via TC80's Sequalog imprint, the guys serve up a bustling, breaky no nonsense powerjam 4-tracker for us here.

"This is the time that we, who have benefitted from the Last Poets shouldbe able to say, 'it's the Last Poets. It's them we should be honouring, because we did not honour them for so many years_"

KRS One wasn't just addressing the hip hop fraternity when he uttered
those words by way of introducing the video for Invocation - a poem
written thirty years ago, around the time of the Last Poets' last significant comeback. He was speaking to everyone who's been affected by the word, sound and power issuing from the most revolutionary poetry ever witnessed, and that the Last Poets had introduced to the world outside of Harlem at the dawn of the seventies.

In 2018 the two remaining Last Poets, Abiodun Oyewole and Umar Bin
Hassan, embarked on another memorable return with an album -
Understand What Black Is - that earned favourable comparison with theirseminal works of the past, whilst showcasing their undimmed passion andlyrical brilliance in an entirely new setting - that of reggae music. Trackslike Rain Of Terror ("America is a terrorist") and How Many Bullets demonstrated that they'd lost none of their fire or anger, and their essential raison d'etre remained the same.

"The Last Poets' mission was to pull the people out of the rubble o f their lives," wrote their biographer Kim Green. "They knew, deep down that poetry could save the people - that if black people could see and hear themselves and their struggles through the spoken word, they would be moved to change."

Several years later and the follow-up is now with us. The project started when Tony Allen, the Nigerian master drummer whose unique polyrhythms had driven much of Fela Kuti's best work, dropped by Prince Fatty's Brighton studio and laid down a selection of drum patterns to die for. That was back in 2019, but then the pandemic struck. Once it had passed, the label booked a studio in Brooklyn, where the two Poets voiced four tracks apiece and breathed fresh energy, fire and outrage into some of the most enduring landmarks of their career. Abiodun, who was one of the original Last Poets who'd gathered in East Harlem's Mount Morris Park to celebrate Malcolm X's birthday in May 1968, chose four poems that first appeared on the group's 1970 debut album, called simply The Last Poets. He'd written When The Revolution Comes aged twenty, whilst living in Jamaica, Queens. "We were getting ready for a revolution," he told Green. "There wasn't any question about whether there was going to be one or not. The truth was many of us still saw ourselves as "niggers" and slaves. This was a mindset that had to change if there was ever to be Black Power." He and writer Amiri Baraka were deep in conversation one day when Baraka became distracted by a pretty girl walking by. "You're a gash man," Abiodun told him. The poem inspired by that incident, Gash Man, is revisited on the new album, and exposes the heartless nature of sexual acts shorn of intimacy or affection. "Instead of the vagina being the entrance to heaven," he says, "it too often becomes a gash, an injury, a wound_" Two Little Boys meanwhile, was inspired after seeing two young boys aged around 11 or 12 "stuffing chicken and cornbread down their tasteless mouths, trying to revive shrinking lungs and a wasted mind." They'd walked into Sylvia's soul food restaurant in Harlem, ordered big meals, then bolted them down and run out the door. No one chased after them, knowing that they probably hadn't eaten in days. Fifty years later and children are still going hungry in major cities across America and elsewhere. Abiodun's poem hasn't lost any relevance at all, and neither has New York, New York, The Big Apple. "Although this was written in 1968, New York hasn't changed a bit," he admits, except "today, people just mistake her sickness for fashion." Umar is originally from Akron, Ohio, but had arrived in Harlem in early 1969 after seeing Abiodun and the other Last Poets at a Black Arts Festival in Cleveland. That's where he first witnessed what Amiri Baraka once called "the rhythmic animation of word, poem, image as word- music" - a creative force that redefined the concept of performance poetry and stripped it bare until it became a howl of rage, hurt and anger, saved from destruction by mockery and love for humanity. When Umar's father, who was a musician, was jailed for armed robbery he took to the streets from an early age where he shined shoes and raised whatever money he could to help feed his eight brothers and sisters. By the time he saw the Last Poets he'd joined the Black United Front and was ready to join the struggle. Once in Harlem, Abiodun asked him what he'd learnt in the few weeks since he'd got there. "Niggers are scared of revolution," Umar replied. "Write it down" urged Abiodun. That poem still gives off searing heat more than fifty years later. In Umar's own words, "it became a prayer, a call to arms, a spiritual pond to bathe and cleanse in because niggers are not just vile and disgusting and shiftless. Niggers are human beings lost in someone else's system of values and morals." And there you have it. It's not just race or religion that hold us back, but an economic system that keeps millions in poverty and living in fear - a system born from political choice and that's now become so entrenched, so bloated on its own success that it's put mankind in mortal danger. It was many black people's acceptance of the status quo that inspired Just Because, which like Niggers Are Scared Of Revolution, was included on that seminal first album. Along with their revolutionary rhetoric, it was the Last Poets' use of the "n word" that proved so shocking, but it would be wrong to suggest that they reclaimed it, since it never belonged to black people in the first place. There's never any hiding place when it comes to the Last Poets. They use words like weapons, and that force all who listen to decide who they are and where they stand. Umar's two remaining tracks find him revisiting poems first unleashed on the Poets' second album This Is Madness! Abiodun had left for North Carolina by then where he became more deeply enmeshed in revolutionary activities and spent almost four years in jail for armed robbery after attempting to seize funds related to the Klu Klux Klan. Meanwhile, the 21 year old Umar was squatting in Brooklyn and had developed close ties with the Dar-ul Islam Movement. A longing for purity and time-honoured spiritual values underpins Related to What, whilst This Is Madness is a call for freedom "by any means necessary," and that paints a feverish landscape peopled by prominent black leaders but that quickly descends into chaos. "All my dreams have been turned into psychedelic nightmares," he wails, over a groove now powered by Tony Allen's ferocious drumming. Those sessions lasted just two days, and we can only imagine the atmosphere in that room as the hip hop godfathers exchanged the conga drums of Harlem for the explosive sounds of authentic Afrobeat. Once they'd finished, the recordings and momentum returned to Prince Fatty's studio, since relocated from Brighton to SE London. This was stage three of the project, and who better to fill out the rhythm tracks than two key musicians from Seun Anikulapo Kuti's band Egypt 80? Enter guitarist Akinola Adio Oyebola and bassist Kunle Justice, who upon hearing Allen's trademark grooves exclaimed, "oh, the Father_ we are home!" Such joy and enthusiasm resulted in the perfect fusion of Nigerian Afrobeat and revolutionary poetry, but the vision for the album wasn't yet complete. He wanted to create a new kind of soundscape - one that reunited the Poets with the progressive jazz movement they'd once shared with musicians like Sun Ra and Pharoah Sanders. It was at that point they recruited exciting jazz talents based in the UK like Joe Armon Jones from Mercury Prize winners Ezra Collective, also widely acclaimed producer/remixer and keyboard player Kaidi Tatham, who's been likened to Herbie Hancock, and British jazz legend Courtney Pine, whose genius on the saxophone and influence on the UK's now vibrant jazz scene is beyond question. The instrumental tracks on Africanism are in many ways as revelatory and exciting as the Last Poets' own. It's important to remember that the kaleidoscope of styles and influences we're presented with here aren't the result of sampling but were played "live" by musicians responding to sounds made by other musicians. That's where the magic comes from, aided by Prince Fatty's peerless mixing which allows us to hear everything with such clarity. Music fans today have grown accustomed to listening to all kinds of different genres. Their tastes have never been so broad or all- encompassing, and so the music on this new Last Poets' album is as groundbreaking as their lyrics, and perfectly suited to the era that we're now living in. John Masouri

Critically-acclaimed German pianist Pablo Held announces TRIO PLAYS STANDARDS, the seminal new trio album which captures Held and his comrades Robert Landfermann & Jonas Burgwinkel paying tribute to the rich legacy of Jazz.

Reflecting on the album’s theme, Held shares:
"On our previous 14 recordings, Robert, Jonas, and I have explored a wide range of musical realms: my original compositions, classical pieces, works by my father Peter Held, and occasional tunes by some of my favorite artists. Delving deeply into each of these musical environments has played a pivotal role in shaping the trio's sound over these years. Now, we've finally fulfilled a dream: recording an album of standards."

The album showcases Pablo Held’s unique arrangements of broadway classics as I’LL NEVER BE THE SAME, YOU WON’T FORGET ME and LAST NIGHT WHEN WE WERE YOUNG, reworkings of Charlie Parker’s BARBADOS and Bill Evans’ VERY EARLY, alongside Held’s own JUST IN CRAME - a contrafact on the old standard JUST IN TIME - each imbued with the trio's signature improvisational spirit and collective synergy.

Pablo Held, who’s not only known as a revered pianist and composer, but also a musical researcher, knows the value of deep study and cherishes its effect on his work: "The more I study this music, the more it propels me forward," says Held, echoing the sentiment of his personal hero Wayne Shorter about the past being “the flashlight that guides the way into the future”.

The trio recorded the album at Jazz Campus Basel’s pristine studio facilities on October 29th 2023 in front of a live audience of attentive students who witnessed the trio’s explorations first handedly in this intimate setting.

TRIO PLAYS STANDARDS was recorded and mixed by recording engineer Daniel Dettwiler and mastered by Christoph Stickel, who mastered the majority of Pablo Held’s expansive discography as a leader.
Legendary vocalist Norma Winstone penned the liner notes, and its timeless cover design is by Christian Schäfer, featuring captivating photos by Linghuan Zhang.

TRIO PLAYS STANDARDS marks the 6th release on Held’s own label HOPALIT RECORDS.
After the success of the previous trio album WHO WE ARE, Held favors a double-release method for his records going forwards: a 6 month pre-release period, where the album is exclusively available via Bandcamp and on live shows, leading into the official release in stores and streaming platforms.

As an additional incentive every (physical & digital) copy includes the bonus album TRIO PLAYS STANDARDS - LIVE, recorded during Held’s own curated festival STANDARDS WEEK at the LOFT Köln in 2022.

RSD 2024

First time ever release on vinyl format. 180 GRAM BLACK VINYL. After The Sabres of Paradise split in 1995 Andrew Weatherall underwent one of many reinventions. He began working with Keith Tenniswood as Two Lone Swordsmen which released several records on the Warp label, set up a new electronic imprint under the Rotters Golf Club banner and fully explored new DJ personas departing from his house-based sets into dub, electronica and rockabilly. Renowned for unconventional sets where he’d raise the roof dropping an unexpected but exactly right track into the mix, he’d push the audience to new heights by introducing them to music they’d never even thought of exploring. The experiments went down especially well in Japan where he’d tour playing solo sets as well as performing alongside pioneers like Underworld, Adrian Sherwood and The Orb. In 2003 his new label, Rotters Golf Club, was approached by the Italian fashion house Emigliano Zegna to create some music to help launch their first foray into Japan. Andrew always had a keen eye for quality and agreed to provide some music. At the time it wasn’t envisaged as an album. He’d just grabbed some tracks he and Keith had been working on, polished them up and swapped them for a small advance and a large raid on their Bond Street store. He then let them get on with the release and turned his attention to the next TLS album proper. This was Double Gone Chapel where rock and psychobilly were mixed in with electronica and controversially Andrew added his own vocals. The Zegna album ‘Still My World’ was sidelined by a live band and a whole new direction. Andrew’s untimely death refocused attention on his historical recordings and ‘Still My World’, previously only released on CD in Japan, now sees the light of day in the rest of the world.

Classic free jazz album reissued for the first time since the 70s. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

Noah Howard, an alto saxophonist and composer, was known for weaving intricate and innovative musical patterns, often likening his work to "sound paintings." His 1971 album Patterns, the first LP he self-produced on his Altsax label, stands as a testament to his experimental and spiritual approach to music. In interviews, Howard frequently used visual terms like "patterns" and "shapes" to describe his compositions, emphasizing the importance of melody and structure even in highly improvisational settings. For Howard, patterns and melodies were essential to guiding listeners through his explorations without alienating them, maintaining a balance between innovation and accessibility. Howard's quest for an original sound was deeply influenced by jazz greats like Charlie Parker, Ornette Coleman, and Jackie McLean. While he admired these legends, Howard avoided imitation, striving instead to develop his own distinct voice. His sound was unmistakably his own, and he felt a deep obligation to carry the jazz tradition forward through personal expression, not by mimicking others. His music was also rooted in spirituality, a legacy he traced to his upbringing in the Black Baptist Church. He believed jazz had always contained a spiritual essence, from Louis Armstrong to John Coltrane, and his work aimed to channel this cosmic, spiritual energy.

Patterns was recorded in the Netherlands during Howard's second stint in Europe, where he found a more open, less racially charged environment compared to the U.S. For the album, Howard collaborated with Dutch musicians such as Misha Mengelberg (piano), Han Bennink (drums), and Earl Freeman (bass). Despite the challenges faced by guitarist Jaap Schoonhoven, who felt out of place in the session, the album came together as a powerful mix of blues, jazz, and classical elements.

The music on Patterns is a high-energy fusion of American free jazz and Dutch improvisation. Howard's saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The album’s dynamic interplay, particularly between Mengelberg’s dissonant piano clusters and Bennink’s thunderous drumming, creates a vivid "sound painting" full of contrasting forms and colors. Patterns remains one of Howard’s most unique and celebrated recordings, showcasing his visionary approach to jazz.

Joe Henry’s 13th studio album “Invisible Hour”, recorded over four days in July 2013 at Henry's personal studio in California, tells a captivating story about resilience and the redemptive power of love.This record features several of his closest musical companions, including The Milk Carton Kids as well as Lisa Hannigan, who co-wrote the title track along with Henry and best-selling novelist Colum McCann. Now available on 180g black double vinyl for the first time, the 2024 reissue includes three special bonus tracks: Two alternate demo versions of “Slide” and “The Glorious Dead”, originally released on Henry’s 2017 record “Thrum”, as well as the previously unheard demo “News From The Great Wide World”.

Global icon ROSÉ has announced her first studio album rosie - arriving December 6th via Atlantic Records. The 12-track collection marks ROSÉ’s most personal and candid release to date, with her co-writing and co-producing the project in its entirety.

As a member of BLACKPINK, one of the best-selling girl groups of all time, ROSÉ has shattered records, performed on the most heralded stages, and amassed millions of fans around the world. On her own, the Korean-New Zealand superstar’s 2021 single “On The Ground” debuted at #1 on the Billboard Global 200 chart and became the highest-charting song by a solo K-pop female on the Billboard Hot 100. Simultaneously, ROSÉ has been an unstoppable force in fashion as global ambassador for renowned brands including Saint Laurent, Tiffany & Co, Rimowa and Puma. Her influence in music, fashion and philanthropy has led to her having over 79M followers on Instagram as she is a testament to the growth of Korean influence in music and fashion on a global scale.

Recorded quickly between John Cale producing Patti Smith's Horses and his going out on an Italian tour, Helen of Troy became Cale's third and final studio album for Island Records - This re-issue faithfully replicates the original 1975 Island Records UK release and is pressed onto high quality 180g vinyl. Helen Of Troy is a raw, fascinating listen. The title track with its horns and spoken word is one of Cale's best: after the sweet bubblegum of "China Sea", the album gets increasingly stripped down the acoustic guitar and piano of "Cable Hogue" and the punkish cover of The Modern Lovers' "Pablo Picasso" have long been favourites on the album. "Leaving It All Up To You" in which Cale becomes increasingly disturbed garnered controversy at the time and was actually removed from later pressings of the album because of its references to the Manson murders. Cale never lost his ability to shock. Taking its title from the opening line of Johnny Cash's "I Walk The Line", "I Keep A Close Watch", a track Cale would record again several years later, with its Robert Kirby-arranged strings and horns, is the closest Cale has veered toward a power ballad. It is a work of great beauty among all the jagged edges of Helen Of Troy.

Trapped Animal records is proud to announce the release of Despite Yourself Deluxe from 90’s legends Headswim, which has never been available on vinyl before.

For the first time, Headswim’s iconic second album is available on double gatefold vinyl, featuring 7 bonus tracks, including an unreleased version of their hit 'Tourniquet'! Lovingly released on double vinyl in a gatefold sleeve, this deluxe re-issue features seven bonus tracks including previously un-released tracks, including a previously unheard version of their biggest hit, Tourniquet featuring a string orchestra recorded at Abbey Road Studios!

The bonus material was collated by scouring through Sony's DAT tape archives, in this process the band and label found some wonderful lost recordings. The record will be available on either limited edition blue or back 180 gram vinyl. Despite Yourself, featuring the singles "Tourniquet" and "Better Made”, was Headswim’s sophomore album and documents the development of the band maturing as songwriters. “We were aiming for longevity and believed we had written a collection of songs honestly expressing who we were, where we’d been and where we wanted to go. The album was a declaration of intent, an expression of our lived experience, a light in the dark.” Originally released on 2nd September 1997 Despite Yourself reached 24 in the UK charts and would see the band tour the USA and Europe, make “several TV appearances (including Top of The Pops), film a couple of glossy music videos and get some mainstream media attention. We’d been given a chance and we’d grasped it with both hands.

Hitting Number 1 in 19 countries on release, Hackney Diamonds marked the return of The Rolling Stones as their first original studio album since 2005’s A Bigger Bang.

The album includes the GRAMMY nominated lead single Angry alongside Sweet Sounds of Heaven featuring vocals from Lady Gaga and keys & piano from Stevie Wonder.

Late drummer Charlie Watts features on two tracks, ‘Mess It Up’ and ‘Live By The Sword’ alongside Bill Wyman. The album also includes collaborations with Paul McCartney & Elton John.

This special limited edition 1 year anniversary 2LP version of Hackney Diamonds includes Live at Racket NYC featuring the 7 tracks the band performed at the intimate launch event in New York on 19th October 2023 with debut live performances of Angry, Bite My Head Off, Whole Wide World and Sweet Sounds of Heaven with Lady Gaga. The 24 page booklet includes photos from the performance by Kevin Mazur.

Expanding beyond the Folk and Pop stylings of his fi rst album, Waits" second studio release The Heart of Saturday Night established his reputation as a versatile and distinctly American songwriter. It"s bluesy jazz arrangements featured bass, drums, sax and Waits on piano. The title track, a melancholy ode to Saturday night rituals, and the tenderly romantic hymn-like "San Diego Serenade" are enduring classics covered by an array of artists from Diana Krall and Nancy Griffi th to folk hero Eric Anderson. The album also features "Diamonds On My Windshield", the fi rst of what would become a signature for Waits", the spoken word-poetry song. Waits" delivers these lyrics as pure beat jazz in the stylings of Kerouac, Langston Hughes and Bob Kaufman.

Habibi Funk is excited to announce the release of Samh Almea'ad, a new 7" record by Libyan artist Cheb Bakr, hitting the shelves on December 6, 2024. Recorded in the early 2000s, Bakr’s music fuses the pulse of Libyan pop with R&B and hip-hop influences, bringing the energy of Benghazi to the dance floors of New York in the early 2000s. Cheb Bakr’s sound is a unique blend of styles that captures the essence of two worlds and includes production and vocals by Ahmed Ben Ali.

Our journey with Cheb Bakr’s music began when Yousef Alhoush, whose father Najib Alhoush led The Free Music from Libya, generously lent us boxes of cassettes to digitize. With the help of a journalist traveling from Tripoli to Cairo, we brought the tapes and a high-quality deck to Egypt. For three days in a hotel room on Zamalek island in Cairo, we sifted through nearly 100 tapes, finally landing on several from Cheb Bakr that dated back to the late 1990s and early 2000s. His albums stood out for their fresh, genre-defying sound—Bakr’s vocals flowed effortlessly over R&B and hip-hop beats with touches of jungle and drum and bass percussion, creating a fusion that crossed cultural and musical boundaries.

Returning to Berlin, we took a deeper dive into the digitized tapes, identifying bands, singers, and producers that excited us. In the process, we noticed familiar rap verses on a few of Bakr’s tracks—verses by none other than Ahmed Ben Ali, who was about to release an album with Habibi Funk. When we asked Ahmed about his connection with Bakr, he explained that they’d collaborated closely at Jamaica Studios in Benghazi, with Ahmed even producing some of Bakr’s songs.

Despite having lost touch for years, Ahmed helped us reconnect with Cheb Bakr through mutual friends. Their reunion took place in Bakr’s living room, where we joined them on a video call to discuss Bakr’s career and his influences. He explained how he sought to reinterpret eastern Libyan folk sounds for a new generation, blending them with contemporary genres.

This 45 marks the beginning of our work with Cheb Bakr, offering a glimpse into his unique musical style, with a full album to follow at a later date. The release includes two standout tracks that showcase Bakr’s dynamic range. Side A features “Samh Almea'ad,” a reinterpretation of a 2003 New York classic with Bakr’s signature spin. Since our first listen in that Cairo hotel room, it’s been played at every Habibi Funk set without exception. Side B, produced by Ahmed Ben Ali, features “Rjana Lamta,” a track that hints at American influences alongside a nod to Ahmed’s “Dameek Majeb.” Bakr’s artistry ties these contrasting elements into an original, dancefloor-ready track that remains as captivating today as it was two decades ago. As always, this 7" release comes with a booklet detailing some of the Cheb Bakr story. Samh Almea'ad will be out on vinyl December 6th.

Licensing info: These songs were licensed from Cheb Bakr. We pay the licensing partner 50% of the profits of this release. Only project related costs are deductible from the gross income, research and travel costs come out of our own share. Publishing was not included in our agreement (We feel it’s important to be transparent about these deals, therefore we will include these infos in all future releases).

Obscure & outstanding free jazz album reissued for the first time since it’s original release in 1969. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

In the late 1960s, young jazz musician Bobby Naughton, a keyboardist and vibraphonist, faced significant challenges as he sought to record his first album. With major record labels and jazz clubs catering only to big names, Naughton and other creative musicians of his generation found themselves sidelined by the mainstream music industry. They turned to self-reliance and self-production, becoming part of a movement of independent musicians. Naughton’s debut album, Nature’s Consort, was a DIY effort in every sense—recorded on home equipment and featuring a hand-printed woodblock cover. The album was distributed independently at concerts and by mail, receiving little attention initially, but over the years it gained a reputation as a rare, sought-after artifact of the period.

Though recorded during an outdoor concert in Connecticut, Nature's Consort reflected the "loft jazz" scene in New York City. This avant-garde jazz movement centered around musicians who lived and played in loft spaces in lower Manhattan. Naughton commuted from his home in Southbury, Connecticut, to play with his bandmates Mark Whitecage, Mario Pavone, and Laurence Cook in New York's lofts. These musicians regularly performed at venues like Studio We, a key gathering spot for free-form jazz, where musicians could experiment and develop their sound, often with no audience present.

Naughton’s journey into jazz was a winding one. Originally from Boston, he played rockabilly and blues-rock before transitioning into free jazz. Inspired by avant-garde artists like Carla Bley and Paul Bley, Naughton sought to explore new forms of music that went beyond traditional jazz structures. His bandmates, Mark Whitecage and Mario Pavone, were both deeply affected by the death of John Coltrane in 1967, which prompted them to quit their day jobs, attend Coltrane’s funeral, and move to New York to pursue jazz full-time.

Nature’s Consort was a collective project, with band members sharing equally in any profits. However, Naughton was the driving force behind the group’s creative direction. He composed much of the original material and selected pieces by Ornette Coleman and Carla Bley for the band’s repertoire. Jazz critic Nat Hentoff praised the album for its “high-risk improvisation” and the musicians' ability to anticipate each other’s moves. Though Nature’s Consort received little press at the time, it has since been recognized as a significant early document of the loft jazz era, representing Naughton’s disciplined, improvisational approach to music.

Breve is the new album by Stefan Paul Goetsch aka Hainbach.

"After a ceaseless amount of work and family struggles, 2023 had left me empty and tired. Instead of the many hats I usually wear, I shifted my focus exclusively on my music. For two weeks every day I sat down behind a few modular synths, a toy piano and an Ondioline, recording tape after tape. I did not lock myself in though - my kids were playing around me, commenting, touching knobs, adding oscillations. What in „deadline times“ can be disrupting, became restorative. I was with my family, just drifting on waveforms. I hope some of that atmosphere shines through, and the album can help you to find peace as it did for me.

Thanks to Forgotten Futures for the loan of the Ondioline and technician Daniel Kitzig for the beautiful restoration work." - Hainbach

Based out of Berlin, Germany, electronic music composer and performer Hainbach creates shifting audio landscapes THE WIRE called "One hell of a trip". His music has been released on Opal Tapes, Seil Records, Spring Break Tapes, Limited Interest and Marionette. He has been fascinated with sine tones, noise and FM since he discovered the dial on the radio. Never losing his childhood wonder, he still searches for the sounds in between on modular synths and other devices.

2024 Re-Edition

Strangelove's personal Inventory of NZ 1980's odd pop; 'Kiwi Animals' recasts the local charts in a parallel universe of misfit melodics, gonzo-tronics & strange waves. Channelling South Pacific voodoo and edge of world melancholia, the album highlights electronic tangents from iconic NZ groups Blam Blam Blam & Headless Chickens. It dredges the cassette revelations of art avante-gardists' Drone & Kim Blackburn, alongside bittersweet moments from Rupert & Norma O'Malley. There's the infectious minimal wave of Ballare and a reprised electro-boogie dance suite (?!) from Tom Ludvigson & Graeme Gash. The furthest depths of Flying Nun's catalog are also plundered- a brilliant earworm from Stiff Herbert and a mysterious "Roger" Knox birthday promo. Mining disparate seams of a local indie label awakening, the various tangents of 'Kiwi Animals' congeal with a future/primitive sensibility and an underlying Antipodean mischievousness…

When Sonny Rollins arrived to Los Angeles in early 1957, he discovered that Ray Brown was also in town with Oscar Peterson's trio and that Shelly Manne was on hand leading a band of his own. The result was a March 7, 1957 recording session, Way Out West, which marked Rollins' very first date in a trio setting and his first recording without the accompaniment of a piano or guitar. The saxophonist was at the height of his career during this period and in 1957 he was named the "New Star" tenor saxophonist in the Down Beat critics' poll. THE COMPLETE ALBUM + 1 BONUS TRACK - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE.

Coyote release the second instalment of their continuing journey into all things Dub. 2 heavyweight tracks with their own unique expression of Dubness. Always ever-present in Coyote productions in some form or another here its front and centre.For big speakers and squidgy black.'Light like a feather-heavy as lead'

Swirl People revisit their roots with a nostalgic four track EP from their early days as Fortune Cookie. This collection - which is their third release on L.I.T.S. - features carefully selected tracks from their original 1996 releases on Marguerite, a small label run by a friend. Nearly three decades later, these still much sought-after tracks are finally being reissued. The EP opens with 'Glitter Girls,' which is characterised by a catchy bassline, followed by the deep groove of 'Um Bongo.' On the B-side, 'Galactic Snackbar' offers a retro-futuristic feel, while 'Frisko Heaven' wraps up the EP with classic disco-filtered house energy. Timeless tackle, for sure.

Die Songs auf der EP erscheinen in der Reihenfolge, in der sie geschrieben wurden. Sie wurden in dem kleinen Gästezimmer seiner Wohnung in West Philadelphia direkt auf vier Spuren aufgenommen. Es ist ein Bogen von vier Liedern, ein gespenstischer Durchgang, ein kurzes und fließendes Werk, das von der schwermütigen Eröffnung von „Mountain Dew Hell“ bis zu den hochgepitchten Vocals von „Pain Meds“, einem winzigen Lied, das in der Unermesslichkeit der Trauer schwankt, zusammenhängt. Die Erfahrung des Durchhörens ist wie das Aufwachen aus einem halb erinnerten Traum, ein Schatten in der Zimmerecke, eine seltsame Einsamkeit, ein zeitlicher New Yorker Herbst mit grauem Himmel und nackten Bäumen. Aber während die Veröffentlichung spärlich und spontan ist, ist sie taktil und verzehrend, ein Einblick in die schönen, einsamen Welten, die im Kern eines Greg Mendez Songs leben.



Jeder Aspekt von Mendez' Welt trägt etwas Handgemachtes in sich. Das Cover von „First Time / Alone“ ist eine Sammlung von Sternen aus dem Skizzenbuch eines Freundes, die Mendez mit Ölpastellkreiden ausgemalt hat - jeder Strich fühlt sich schwer an, drückt sich von der Seite ab und lebt von einer menschlichen Note. Das Gleiche könnte man über das Cover des selbstbetitelten Albums sagen, eine Farbstift-Illustration einer verzweifelten Mutter Maria, gezeichnet von Mendez und seiner Frau und Bandkollegin Veronica; in dem Porträt sind ihre massiven Augen nach oben gerichtet, die Hand ausgestreckt, Gnade entweder angeboten oder weggenommen.



Mendez ist ein intuitiver Songwriter, dessen Melodien durch den Äther gejagt werden, ein Geschichtenerzähler, der in seinem Katalog von Gewalt und Instabilität berichtet, aber auch von Liebesliedern, von Oden an die Freundschaft, an wahre Hingabe, an die Dinge, die einen durch das Schlimmste hindurch tragen können. Mendez hat die Angewohnheit, diese Dinge zu bemerken, das Licht zu finden und selbst aus den düstersten, beschissensten Situationen Poesie zu machen. In seinen Liedern gibt es eine angeborene Fähigkeit, Härte mit Sanftheit auszubalancieren, Grausamkeiten durch übernatürliche Süße umzuschreiben, ein Herz, das unaufhörlich, zuversichtlich, durch die Dunkelheit pocht.

Excited to present Australian dub label ‘Cry No More’s first vinyl album release, ‘Innerversions Volume 1’. This is a Limited-Edition vinyl comp reimagining classic songs through a reggae and dubwise filter. They've included fresh takes on timeless hits like ‘Heard It Through The Grapevine’, ‘Sweet Dreams’, ‘Teardrops’, ‘As Long As You Love Me’, ‘Walking On The Moon’, and the genre bending ‘Bass Is The Place’. Each is transformed and given the spaced out treatment by some of the best Australian dubwise producers.

'Lucinda Williams Sings The Beatles From Abbey Road' features 12 Beatles songs that include classic hits such as “Can’t Buy Me Love”, “With A Little Help From My Friends” and “Something”. Williams and her band also take on beloved deeper tracks such as “I’m So Tired”, “I’ve Got A Feeling," and “Yer Blues”. Being raised on the blues in the South, the latter is a song Williams was clearly meant to sing. Recorded at The Beatles' legendary studio in London, the new collection serves as Vol. 7 of her celebrated 'Lu’s Jukebox' series and is the first new volume in almost four years. While many great artists have recorded in the hallowed Abbey Road Studios, as it turns out, Williams is the first major artist to actually record Beatles’ songs there aside from the Fab Four themselves. As an acclaimed, award-winning singer/songwriter for more than four decades, Williams’ music has been highly influential and covered by a multitude of artists. Williams is also an extraordinary interpreter who, like all great interpreters, has the ability to inhabit a song and make it her own. She does just that throughout this selection of Beatles tracks, as she has done on each 'Lu’s Jukebox' volume.

"You're traveling through another dimension - a dimension not only of sight and sound but of mind. A journey into a wondrous land whose boundaries are that of imagination". This iconic introduction is from Rod Serling's timeless and influential television program, The Twilight Zone. Perhaps he would also apply this description to Can Con, the debut album by The Psych Fi's. The group is an offshoot of Canadian singer-songwriter Jerry Leger's rock 'n' roll side project, The Del Fi's. Just as The Psych Fi's describe themselves as "spontaneous psychedelic rock", The Del Fi's recorded two albums characterized by spontaneity, spirit, and trust. This time Leger brings his songs to a revolving door of musicians and singers (18 members, including Jerry, in the case of Can Con). Most of the performers have not heard these compositions before recording them. They have no chance to second-guess; they must be fearless and jump in with both feet and perform live in studio. Leger acts as a sort of loose conductor, allowing certain soloists to emerge from the musical collage. The group takes you on a hypnotic journey from the epic opening medley "Alone in a Room of Mirrors / James Cagney" to the groove of "You Know that I Love You, I Do" and the openness of "Song for Vultures". You'll get lost in "Summer's Right Around the Corner", which also features Don Stevenson (founding member of the legendary 60s psychedelic rock band Moby Grape) on backing vocals, alongside Kate Boothman (Katie Cruel) and Angie Hilts. This sound has evolved out of Del Fi performances, specifically when musicians Nichol Robertson, Jason Kenemy, Dave Clark (The Rheostatics, Woodshed Orchestra), and Michael Eckert were involved. Leger and these "Fi's" eagerly ventured down less-traveled roads to destinations unknown. Other Psych Fi's include Ken Yoshioka, Matthew Cooke, Les Armstrong, Chris Bennett, Shawn Clarke, Katie Methot, and members of "Jerry Leger & The Situation" (Dan Mock, Kyle Sullivan, Alan Zemaitis). Leger tells us at the beginning of the record, "I'm excited to live again", and by the end of Can Con, he's singing in his dreams and ours. This album will continue to grow, live, breathe, and expand as we share in each other's minds. It's a happening, and it's happening - you can hear it throughout the grooves. Here is your mantra: "I AM A PSYCH FI". File under: Psychrock, Crazy Horse, Electric Dylan.

Dieses Album erzählt eine fesselnde Geschichte über Widerstandsfähigkeit und die erlösende Kraft der Liebe. Als SingerSongwriter, Gitarrist und Produzent hat Henry im Laufe der Jahre zahlreiche erfolgreiche Alben veröffentlicht, die sich durch eine reichhaltige Verschmelzung von Folk-, Jazz- und Blues-Einflüssen auszeichnen. Auf Invisible Hour sind einige seiner engsten musikalischen Weƽefährten zu hören, darunter The Milk Carton Kids
sowie Lisa Hannigan. Nun erstmals auf 180g-Doppelvinyl erhältlich, inklusive zweier alternativer Demoversionen von "Slide" und "The Glorious Dead", die ursprünglich auf Henrys 2017er Album Thrum veröffentlicht wurden, sowie das bisher unveröffentlichte Demo "News From The Great Wide World".

Few bands capture the past as elegantly as The Sheepdogs. Since forming in 2004, the band from Saskatoon, Canada have fused rock’n’roll, roots and blues with a passion and delight that emanates from their songs – all tied up with harmonies that evoke Crosby, Stills, Nash & Young and other ghosts of Laurel Canyon.

Few bands capture the past as elegantly as The Sheepdogs. Since forming in 2004, the band from Saskatoon, Canada have fused rock’n’roll, roots and blues with a passion and delight that emanates from their songs – all tied up with harmonies that evoke Crosby, Stills, Nash & Young and other ghosts of Laurel Canyon.

Universal Music hat in den Archiven einen wundervollen Schatz wiederentdeckt und wiederveröffentlicht
„Rare Diamonds“, das erste offzielle Best Of-Werk von DORO & WARLOCK, welches ursprünglich im
März 1991 beim berühmt-berüchtigten Vertigo-Label erschien.
Der Re-Release erscheint – in streng limitierter Auflage - erstmalig als Picture-Vinyl. Die kraftvollen,
wunderschönen Titel bilden die ersten acht Jahre der großartigen Karriere von DORO Pesch ab.
14 Songs für die Ewigkeit, inklusive der Mega-Kracher „All We Are“, „Für Immer“ und „True As Steel“ –
bis heute Fixsterne einer jeden DORO-Setliste. DORO kommentiert: „Auch auf der kommenden WinterTour durch Deutschland werden wir jede Menge Songs von der ‚Rare Diamonds‘ im Programm haben!“
Und weil DORO auch auf der Bühne schon immer eine Wucht war, glänzt „Rare Diamonds“ zudem mit
raren Live-Aufnahmen aus New York von Hits wie „East Meets West“ und „Rare Diamond“.
Auch „Unholy Love“ darf auf diesem Meisterwerk nicht fehlen – einer der Top-Songs aus DOROs Soloalbum
von 1990. Produziert von keinem Geringeren als KISS-Bassist und Doro-Idol Gene Simmons.
DORO hat in ihrer 40-jährigen Karriere über 3500 Konzerte in über 60 Ländern absolviert. Sie verkaufte
bis heute über 12 Mio. Tonträger und konnte für ihre Alben legendäre Musiker-Kollegen wie Gene Simmons (KISS), Lemmy Kilmister (Motörhead), Russ Ballard, Slash (Guns N‘ Roses), Pete Steele (Type O
Negative) und unlängst Rob Halford (Judas Priest) gewinnen.

Repertoire presents the Thieves EP, marking Modal’s debut vinyl release on the label. This four-track collection features collaborations with Jaise—celebrated for his work with Metalheadz—and Double O of Rupture LDN, bringing together a range of styles that showcase Modal’s artistry.

Opening with the title track, "Thieves" sets a dark, intense tone with a pounding beat that utilises the classic Tighten Up break to great effect. Double O’s remix of "Thieves" brings a heavy amen jungle twist. "Expressions," a collaboration with Jaise, is a halftime, percussive roller driven by huge mid-range bass growls, creating a rich, atmospheric soundscape. "Heads or Tails" brings a more emotive sound, influenced by classic Blue Note styles and blended with a modern, reflective edge.

A Very Laufey Holiday: The Winter Wonderland Edition: GRAMMY-winning Icelandic-Chinese artist, composer, producer and multi-instrumentalist Laufey brings her annual holiday series, A Very Laufey Holiday, to vinyl for the first time. The Winter Wonderland edition features a red 7 inch disc with the holiday classic on side A and "Christmas Dreaming" on Side B.

A Very Laufey Holiday: The Christmas Waltz Edition: GRAMMY-winning Icelandic-Chinese artist, composer, producer and multi-instrumentalist Laufey brings her annual holiday series, A Very Laufey Holiday, to vinyl for the first time. The Christmas Waltz Edition features a green 7 inch disc with a cover of the Christmas classic on side A and dodie collaboration "Love to Keep Me Warm" on side B.

A Very Laufey Holiday: The Winter Wonderland Edition: GRAMMY-winning Icelandic-Chinese artist, composer, producer and multi-instrumentalist Laufey brings her annual holiday series, A Very Laufey Holiday, to vinyl for the first time. The Winter Wonderland edition features a red 7 inch disc with the holiday classic on side A and "Christmas Dreaming" on Side B.

A Very Laufey Holiday: The Christmas Waltz Edition: GRAMMY-winning Icelandic-Chinese artist, composer, producer and multi-instrumentalist Laufey brings her annual holiday series, A Very Laufey Holiday, to vinyl for the first time. The Christmas Waltz Edition features a green 7 inch disc with a cover of the Christmas classic on side A and dodie collaboration "Love to Keep Me Warm" on side B.

"Forever Spoken" is a powerful exploration of humanity's quest to leave a lasting legacy. This album delves into the trials, adversities, and struggles that shape our journey and challenge our ability to fulfill our destiny. Musically, it ventures into the realms of southern metal and sludge, featuring intricate riffs and heavy metal double bass rhythms that elevate its intensity and complexity. The album was recorded with the esteemed Phillip Cope (Kylesa, Baroness, Black Tusk), who returns to mix the record after his successful previous collaboration with us. To complement the depth of the music and lyrics, we enlisted the legendary Dan Seagrave (Morbid Angel, Gorguts, Suffocation) for the cover art. His iconic style perfectly captures the complexity and essence of "Forever Spoken," making this collaboration a significant milestone for us.

Yellow vinyl, limited to 400 copies. "Forever Spoken" is a powerful exploration of humanity's quest to leave a lasting legacy. This album delves into the trials, adversities, and struggles that shape our journey and challenge our ability to fulfill our destiny. Musically, it ventures into the realms of southern metal and sludge, featuring intricate riffs and heavy metal double bass rhythms that elevate its intensity and complexity. The album was recorded with the esteemed Phillip Cope (Kylesa, Baroness, Black Tusk), who returns to mix the record after his successful previous collaboration with us. To complement the depth of the music and lyrics, we enlisted the legendary Dan Seagrave (Morbid Angel, Gorguts, Suffocation) for the cover art. His iconic style perfectly captures the complexity and essence of "Forever Spoken," making this collaboration a significant milestone for us.

Esko is more than a producer, he is also a versatile writer and artist. Add to that the fact that he is the label owner of Van Klasse and it is clear that Esko has secured a prominent place in the Dutch Urban scene with these successes.

This artist had #1 hits with, among others, 'Ride Or Die' with Josylvio and 'Huts' with The Blockparty, Mouad Locos, JoeyAK, Young Ellens & Chivv. The single 'Hey Girl' together with Josylvio and Hansie conquered Spotify, the counter now stands at more than 48 million streams. His album 'Beats By Esko' took first place in the Dutch Album Top 100, in honor of this release Esko made history with his 'Beats By Esko' 101Barz Mega Session. After a tough period, Esko was ready to go into the studio and make new music purely based on feeling. The result of these sessions is his album 'FENIKS' and this title hits the nail on the head. According to Greek mythology, a phoenix represents rebirth and Esko now also feels reborn. His new music is more mature, more serious and has a message. This can be heard in the singles 'Jongen Van Bodem', 'Breng Mij Terug' and 'Platzak', which were released this year, with more than 9 million streams, which offer an insight into the past period.

By releasing open and honest music, Esko hopes to encourage listeners who are currently experiencing the same thing. This vinyl of the album 'FENIKS' features collaborations with Josylvio, Jonna Fraser, KA, Fresku and Glennis Grace, among others.

Esko is more than a producer, he is also a versatile writer and artist. Add to that the fact that he is the label owner of Van Klasse and it is clear that Esko has secured a prominent place in the Dutch Urban scene with these successes.

This artist had #1 hits with, among others, 'Ride Or Die' with Josylvio and 'Huts' with The Blockparty, Mouad Locos, JoeyAK, Young Ellens & Chivv. The single 'Hey Girl' together with Josylvio and Hansie conquered Spotify, the counter now stands at more than 48 million streams. His album 'Beats By Esko' took first place in the Dutch Album Top 100, in honor of this release Esko made history with his 'Beats By Esko' 101Barz Mega Session. After a tough period, Esko was ready to go into the studio and make new music purely based on feeling. The result of these sessions is his album 'FENIKS' and this title hits the nail on the head. According to Greek mythology, a phoenix represents rebirth and Esko now also feels reborn. His new music is more mature, more serious and has a message. This can be heard in the singles 'Jongen Van Bodem', 'Breng Mij Terug' and 'Platzak', which were released this year, with more than 9 million streams, which offer an insight into the past period.

By releasing open and honest music, Esko hopes to encourage listeners who are currently experiencing the same thing. This vinyl of the album 'FENIKS' features collaborations with Josylvio, Jonna Fraser, KA, Fresku and Glennis Grace, among others.

Limited Edition Pressing of 200 Copies on Neon Yellow Vinyl. 2022's "Land of Kali" album was the first under the Essential Logic moniker for over 40 years and was released alongside a career-spanning boxset "Logically Yours".

Now Essential Logic head honcho and former X-Ray Spex member Lora Logic has compiled an eclectic and ambitious remixed version of "Land of Kali" entitled "Rekalibrated" featuring reinterpretations from noted artists across a multitude of genres and styles including Grammy award winners, living legends and UK Singles Chart toppers. Lora's work with Essential Logic and X-Ray Spex while Punk in DNA and spirit has always pushed at boundaries. Rule-breaking from the start by bringing the sax into Punk while the jerky, irresistible post-Punk Funk of Essential Logic's "Beat Rhythm News" and Lora's solo album "Pedigree Charm" sit comfortably alongside more contemporary records with one ear on the cerebral and the other on the dancefloor. "Rekalibrated" highlights the many strands that intertwine to make Essential Logic and how they may be unfurled. The lead single will be "Alien Boys" remixed by Dave Audé. Dave is a Grammy Award winning remixer and producer, famed for having more number ones than any other producer on the Billboard Dance Club Songs chart. He is responsible for a staggering 132 No.1 remixes on this chart and has worked with artists as varied as U2, Beyonce, Yoko Ono, Faith No More and Madonna among many others. He won his Grammy for his remix of "Uptown Funk" by Mark Ronson and Bruno Mars. Youth, legendary bassist of Killing Joke and producer of The Verve, Pink Floyd and The Orb lends his vastly experienced ears to "Mother Earth" while there are further interpretations from Rave-pop legend Adamski, Scottish Kandy-poppers bis and New Order/Duran Duran collaborators Daybreakers who put their own stamp on the Poly Styrene-penned "Prayer For Peace". Lora has recently been in the spotlight thanks to the recent re-release of X-Ray Spex's lost second album "Conscious Consumer" which features her trademark saxophone lines alongside typically acerbic lyricism from the dear departed Poly Styrene.

The first pressing reaches the Official Record Store Chart No.1 position over Christmas 2023 and quickly sold out. Favourable reviews in Uncut, Mojo and Record Collector alongside a Vive le Rock cover feature helped raise public awareness as well as radio features on Woman's Hour and Craig Charles' 6 Music show. Fans who missed out on the first pressing patiently wait the arrival of a repress.

The Norwegian indie-pop super-group with members from Making Marks, The Little Hands of Asphalt, Mildfire, Flight Mode and Elva return with a third album of original Christmas songs.

Get into that alternative, Nordic Christmas spirit! Christmas III at its heart is an alt-Christmas album: the songs are firmly rooted in December’s festivities, albeit not usually relying on the season’s traditional reference points. The songs hone in on the more ambivalent sides of Christmas - family, customs and the passing of time - with a keen eye towards the holidays’ most obvious function in countries close to the Artic circle: getting through the cold and dark times to celebrate the winter solstice and the turning of the sun. Drawing from Sufjan Stevens’ epic indie Christmas compendium and Phil Spector’s wall of sound classic A Christmas Gift From You, Christmas III is built on shimmering guitars, snow filled piano lines, gentle strings, springy vocals and dynamic drums - all steadily conducted by Sunturns’ own Sjur Lyseid (Flight Mode, The Little Hands of Asphalt) in the producer’s seat at his Globus studio in Oslo. With 3 songwriters (Ola Innset, Einar Stray & Sjur Lyseid) contributing to Christmas III, there’s an ever shifting sense of reflections. Parenthood and the struggles of the dark Norwegian winter is behind Ola’s track First Winter. “Sometimes I feel bad about bringing children into such a difficult world. Not so much with respect to daylight and the seasons, they’re just going to have to learn how to live with it, but with many other things – like war, poverty, climate change and even just death.” Back In Town might have been inspired by a discussion over whether Thin Lizzy’s “The Boys Are Back In Town” is a Christmas song or not, but it’s written about his youngest daughter Klara, to his elder daughter, about taking holidays with your family in a town you once lived. Einar pulls in Phoenix and Mew by the way of Jesus and Mary Chain on Crash Course Christmas, resulting in a seasick wave of a pop tune. “It’s a song about the guilt of not prioritizing your relationships. It’s been year of rainchecks and Christmas finally gives you some time to reflect. You’ve experienced so much and changed so much as a person that you almost forget your origins. Coming home for Christmas can then be a ritual of finding your way back to what you left behind." Drawing on the knitwear from the film Love, Actually, Turtle Neck, taps into the Backstreet Boys by way of Mac Demarco, with a sneaky reference to the legendary Norwegian Christmas hit En Stjerne Skinner I Natt. Album closer This Christmas / Next Christmas leans in on the hook for the Norwegian Christmas TV show Jul i Blåfjell, a multi-generational seasonal staple (essentially a daily children’s advent calendar kids show). “The song is about your parents ageing and needing your help – possibly really far away - while at the same time having your own children to take care of”. The cover artwork is a homage to Christmas dress codes for Norwegian men. Suits and shirts are a rarity in day to day life, but there are a handful of occasions that require some form of formal attempt at a suit: New Year’s Eve, National Day, weddings & funerals, and Christmas Eve: resulting in various degrees of sartorial elegance on the day (and on this instance, a hot summer’s day stifling the Christmas vibes, with ambiguous apparel instructions ahead of the photoshoot!).

Merry Christmas! Sunturns are Ola Innset – vocals, guitars, banjo. Sjur Lyseid – vocals, guitars. Einar Stray – vocals, keyboards, guitars. Eivind Almhjell – guitars, bass. Simen Herning – guitar. Jørgen Nordby – drums.

Kumio Kurachi is a Japanese singer-songwriter who has been active since the 1980's.

This is his 11th solo album and only the second to be released outside of Japan following ‘Sound of Turning Earth’ (2018) on bison. Though his songs are written and performed primarily on guitar, “Open Today” is a return to Kurachi’s full, multi-instrumental recording style - featuring drums, bass, strings, keys and Kurachi’s rich, distinctive vocals in multiple voicings. Incredibly, all instrumental performances and arrangements were performed and recorded by Kurachi himself - marking a brilliant return to the fully fleshed out visionary world we fell in love with on Supermarket Chitose (Enban, 2006). The super fine detail and dense landscapes of ‘Open Today’ should come as no surprise really - Kurachi is an illustrator by trade and it bleeds right through to his music. Even to the non-native speaker Kurachi’s vocals hold centre stage - at times enormous and thundering over urgent guitar and toms, then switching to softly spoken words amongst keys. Frequently Kurachi multiplies, whether multitracking himself or summoning voices for the characters he writes from sightings on train platforms or supermarkets. His lyrics - translated to English for both formats - are more like poetry, and though written about the mundane they quickly become surreal, bringing the quality of dreams into the everyday. The hours spent on buses, trains or walking home towards a cheap flat - familiar to us all - are catalysts for microcosms of detail.

Again, we shouldn’t be surprised - Kurachi is well known in Japan for winning the national championship of NHK's "Poetry Boxing" in 2002, which also might explain his amazing Discogs photo. Poet, illustrator, multi-instrumentalist - Kurachi is thought of by many as a genius. He’s worked with Jim O’Rourke, Tori Kudo, Eiko Ishibashi and Taku Unami (who did the mastering on this LP). There are lines to be drawn between Kurachi and Kazuki Tomokawa or Kan Mikami, but also Francis Plagne and Fairport Convention.

Ultimately though there is nothing else like it - it’s a brand of strange songcraft that’s totally captivating.

The second of four 12" vinyls will be released on December 6th, anticipating the release of the new Death SS concept album: "The Entity
produced by Steve Sylvester with the magic touch of Tom Dalgety, a Grammy-winning english producer, already at work with Rammstein,
Ghost , Cult and others.

The second single “Out To Get Me” is a dark and orchestral ballad that underlines the moment of the concept of the work in which the main
character Jekyll becomes aware of the evil that his alter-ego has caused. After that he feel the reaction of people surronding him. Tormented
by doubts and remorse, his mental health degenerates and he become to feel himself persecuted by infernal creatures, that are actually the real
monsters of his conscience coming to life.

“Limited Deluxe” edition on transparent blue vinyl with a special shaped cover. The product contains the second part of the booklet with the
entire story behind the concept album together with two other songs taken from the album: “TWO SOULS and HELL IS REVEALED”,
available only in physical format.