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Mint Condition would like to dedicate this release to the life of Nathan Coles, who sadly passed away on February 12th 2023. A true tech-house originator and underground party starter, his productions laid down a blueprint for the tech-house sound that has become a global phenomena today. A much lauded DJ & producer, he graced the decks of the best clubs globally. As well as his solo productions, Nathan had multiple collaborative projects, Housey Doingz, Mashupheadz, Two Right Wrongans, Get F@cked, to name but a few, that saw him tackle tech-house, deep house, breaks and electro with such skillful aplomb.

The now highly sought after original appeared on Wiggle in 2000, and for this release Nathan teams up with his longtime Wiggle partner, and legend of the scene, Terry Francis for 2 fierce tech-house jams under their 'Delinquents' alias. A-Side 'Disc' opens with heavy kicks and speaker rattling percussion.The hypnotic 303-line builds, layered synths add to the tension, then comes the drop where infectious chord stabs enter the fray. B-Side - 'Funktional' takes a more stripped back approach, the bass line and percussion delivers a groove capable of destroying any discerning dancefloor. Darker acid and synths riffs build around the melody to deliver a bass heavy roller of the highest order that sounds as fresh, exciting & relevant today as it did over 2 decades ago.

This slab of wax is an essential and key release in the evolution of the UK underground that we hope celebrates Nathan's dedication, musical vision and positive energy. His unique talent leaves behind a legacy that populates legendary labels such as Wiggle, Surreal, The End, Eukahouse, Swag, Eye 4 Sound, 10 Kilo and Plastic City. 'Discfunktional' has been legitimately re-released with the full involvement of Terry Francis and Nathan Coles, lovingly remastered by London's Curve Pusher from the original sources especially for Mint Condition. 100% legit, licensed and released. Dug, remastered, repackaged and brought to you by the caring folks at your favourite reissue label - Mint Condition!

Ebalunga!!! is thrilled to announce the first official reissue of the self-released, self-produced, and self-titled 1985 LP Scott Seskind. The album is a lo-fi singer-songwriter jewel. Don’t miss it.
“Authentic and personal, at times it reminds this writer of luminaries such as Jackson C. Frank, PF Sloan, Skip Spence, and Phil Orchs while never feeling derivative.

The songs are melodic and haunting, fueled by existential woes, political angst, and good ol’ fashioned love. Scott’s rich voice has an unpretentious gravitas, his simple-yet-effective guitar playing ranging from delicate fingerpicking to angry bashing.
Created at home on a Tascam 4-Track Portastudio, the recording features few frills and is all the better for it. Unlike most mid-80s records it sounds like it could have come from any time since the late ’60s onwards. As a testament to its greatness, and despite the late recording date, it even gets a nod on Patrick Lundborg’s “Acid Archives” compilation website, Lysergiawhere it’s described thus: “Late phase downer-loner folk and singer-songwriter trip, mostly acoustic, some tracks with a small band.” – Andrew Ure for Ugly
Things.Read a long story about the album in the upcoming Shindig! issue: Story about Scott Seskind in Shiding Mag.
The reissue is available on vinyl with a lyric insert.
Mastering (as always) by Jessica Thompson.

Feedbacks and reviews:
“Almost totally inheralded singer-songwriter Scott Seskind gets the reissue treatment, and I couldn’t be happier. About a year ago I pulled Seskind’s sole vinyl release out of the used bin of a Boulder record store, and with its almost Wallace Berman-esque cover art, could immediately suspect it was something special. The first listen didn’t dispel that notion one bit; here was an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that didn’t really snyc with its 1984 recording date. Definitely on the loner-ish end of the folk spectrum, with some aspects of the album harkening back to Skip Spence’s iconic Oar, while other moments revealed the urgency of the ’80s lo-fi revolution. But most importantly, the songs were just really, really great and managed to remain haunting long past their leaving.

Here, I thought, is an album that needs to be heard by more people, NOW. I asked around amongst some record collecting friends and discovered it was pretty highly rated by a small circle of people in the know, and that it had even managed to garner a mention in the Acid Archives despite its late recording date, and most excitingly that there was talk that the digital reissue label Yoga had managed to track Seskind down and secure the rights to his LP. (…) So here we have it, the best songs from Seskind’s eponymous LP. (…) I really hope this release continues to garner the listeners that it deserves.” – Michael Klausman

“The one that struck us the most this year was the almost totally unheralded work of singer-songwriter Scott Seskind, who recorded an impressively captivating and moving collection of four-tracked bedroom folk of the highest order, with an out-of-time vibe that doesn’t really sync with its original 1984 release date. Definitely on the loner-ish end of the folk spectrum, with songs that are really, really great and which manage to remain haunting long past their leaving. Truly an album that deserves to be heard by more people immediately. ” – Other Music

Every Aspect of the Production Personally Supervised by Barbra Streisand
Mixed by Jochem van der Saag from the Original Analogue Session Tapes & Mastered in 24 bit/96 kHz by Paul Blakemore
Lacquer Pressing Master Created by Bernie Grundman
Pressed at RTI
Tip-On Gatefold Jacket
Deluxe 12-Page Booklet Featuring Barbra's Recollections, the Recording's History & Production, and Performance Photos

The Premiere New York City Nightclub Event of 1962! The Most Anticipated Live Album of 2022!


In the fall of 1960, New York City wasn't the same urban mecca it is today. Neither was eighteen-year old Barbra Streisand, who emerged on the Greenwich Village club scene at a small, cozy venue on West 8th Street called the Bon Soir, where she received rave reviews and wooed the crowd with her incredible performances. Within two years Streisand, whose magnificent interpretations of both standards and quirky, obscure cabaret tunes was a nationwide sensation, was knocking audiences dead with her nightly performance as Miss Marmelstein in David Merrick's I Can Get It For You Wholesale on Broadway.

Sixty years, multiple Grammy, Emmy, Oscar, Tony and Golden Globe awards and nearly two hundred million record sales later, Barbra has for the first time authorized the release of a major portion of her Bon Soir performances, as captured in 1962 by Columbia Records. IMPEX Records - in conjunction with Sony Music Entertainment - is proud to present the audiophile 180-gram vinyl LP and SACD editions of the most sought-after recordings in Barbra's legendary career: Live at the Bon Soir: Greenwich Village, NY - November 1962. This gorgeous album features twenty-four brilliant performances personally selected by Barbra Streisand from the original Bon Soir master tapes and expertly mixed and mastered by Paul Blakemore and Jochem van der Saag, under the supervision of producers Barbra Streisand, Martin Erlichman and Jay Landers.

IMPEX RECORDS has created two versions of this noteworthy release: a two-LP vinyl edition and a 24 bit / 96 kHz SACD. To achieve the best fidelity possible, engineer Paul Blakemore transferred the original three-track session tapes to high-resolution 96/24-bit digital files, which were then mixed by Jochem van der Saag. For mastering, Blakemore used an all-analog signal-processing chain in order to maintain the warmth of the original analogue recordings. To master the vinyl LP edition, IMPEX engaged Bernie Grundman, who has mastered many of Barbra's albums over the last sixty years, to create the lacquer pressing master.

Rich with the club's atmosphere, these historic, essential recordings present a warm, charming portrait of a truly important moment in New York City history and American pop culture. Several years removed from Manhattan's flourishing jazz nightclub scene, tiny clubs such as the Bon Soir began popping up, and served as both a forum and launching pad for some of the finest vocalists and musicians the east coast had to offer.

Because of Barbra's success there, Columbia Records A&R rep David Kapralik decided that the first album from his newly-signed artist would emanate from a setting in which she had become most comfortable: the small stage at the Bon Soir. Producer Mike Berniker and recording engineers Roy Halee and Adjutor "Pappy" Theroux set up the mics and recorders, and for three nights harnessed the electrifying show that Barbra had crafted.

"The recordings we did at the Bon Soir were so authentically 'Barbra.' I produced her first three albums at Columbia, and while they were wonderful accomplishments, I thought that what she did each night at the Bon Soir transcended anything we ever did in the studio." - Mike Berniker

Columbia ultimately decided to bring Barbra into the studio to record her first album, and except for the inclusion of several tracks on compilations through the years, the Bon Soir tapes laid dormant in the vault. Now, through this extraordinary release, everyone can at last enjoy the early sound and style of an icon in-the-making: the same brilliant artist whose performances at the Bon Soir were lauded by everyone from actress Helen Hayes to lyricists Alan and Marilyn Bergman. We invite you to join us for an evening at the fabled Bon Soir. Take a seat, order a drink and revel in the magic that is Barbra. You will not be disappointed!

In 1974, a brash young designer called Augustus Kerry Taylor had an idea. He'd gather together the hottest musicians in Ghana and record an album of the heaviest and funkiest sounds coming out of America. And this time, he wouldn't just design the cover, like he'd done with Fela Kuti, he'd even release it on his new label, Emporium, as well. Local Accra legends Joe Wellington, Jagger Botchway, Leslie Addy, Officer Toro, Oko Ringo, Soldier and Steve answered the call. They were christened the Kelenkye Band and gelled immediately. Moving World, is a funky, disparate album that exudes a rare warmth, enthusiasm and togetherness. 'Moving World' and 'Brotherhood of Man' are hard, grinding funk. 'Jungle Music' has a more soulful groove. There's also a bit of reggae, 'Dracula Dance', and old-skool highlife, 'Wale Tobite'. Accra's leading DJ, Charlie Sam, declared his mind 'well and truly boggled.' The Kelenkye Band never recorded another album. Augustus Kerry Taylor shut down Emporium and went back to designing album covers. But in Moving World they delivered a perfect moment of funk alchemy that has rightly become the Holy Grail of 70's Ghanian groove. - Peter Moore / Licensed by the bandleaders and songwriters of the album, Joe Wellington and Jagger Botchway.

Tidal Waves Music proudly presents the re-issue for Nina Simone's 'A Very Rare Evening'. Originally released on PM records in 1979, featuring Weldon Irvine on organ, Don Allias on drums and Jazz legend Gene Perla on bass. Included on these European sessions from 1969 you'll find Nina classics & rare versions of recordings written by Aretha Franklin, Barry Gibb, Randy Newman & Pete Seeger.

One of the most sought after Nina Simone albums is now back available as a deluxe limited vinyl edition for the first time since 1979. Produced by Gene Perla, officially licensed from PM Records & featuring the original artwork created by A.M. Schnider.

"It's her first LP in years, but was taped back in 1969 in Europe with a confident, impressive organ and rhythm section backup band. Simone is an acquired taste. But, for those who appreciate her singing, these eight tracks will prove welcome." - BILLBOARD

Anything by this lady of song is welcome, especially when she's in front of an adoring audience, as she is in these decade-old, never-released sides. Simone covers all bases from Barry Gibb's "In The Morning," to Pete Seeger's adaptation from the Book of Ecclesiastes, "Turn! Turn! Turn!" She gives special meaning to such tunes as the poignant "The Other Woman," the gospel inflected "Save Me," and "I Think It's Going To Rain Today." But the highlight is her own tune, composed with keyboardist Weldon Irvine, Revolution."- CASH BOX MAGAZINE

Though the Simone catalog overflows with live recordings, this 1969 German concert outranks all others. Focusing almost exclusively on then-contemporary material--the Gibb brothers' "In the Morning" and "To Love Somebody," Randy Newman's "I Think It's Going to Rain Today," Aretha Franklin's "Save Me," the Byrds' "Turn! Turn! Turn!"--Simone is at her most assuredly earthy and intrepidly regal.' - THE JAZZ TIMES

Wenn es um geradlinigen, knochenbrechenden Death Metal geht, liefern DEFILED aus Tokio! "The Highest Level" bleibt der traditionellen Death Metal-Formel treu, während das düstere Songwriting der Band zu ihrer Authentizität beiträgt. DEFILED versuchen, mit diesem neuen Album ohne Schnickschnack auszukommen, und sprechen stattdessen direkt die Sensibilität von Death Metal-Fanatikern der alten Schule an, die einfach nur auf der Suche nach gesichtsschmelzender Gewalt sind!

FFO: Autopsy, Pyrexia, Pungent Stench, Macabre, Cadaver

Wenn es um geradlinigen, knochenbrechenden Death Metal geht, liefern DEFILED aus Tokio! "The Highest Level" bleibt der traditionellen Death Metal-Formel treu, während das düstere Songwriting der Band zu ihrer Authentizität beiträgt. DEFILED versuchen, mit diesem neuen Album ohne Schnickschnack auszukommen, und sprechen stattdessen direkt die Sensibilität von Death Metal-Fanatikern der alten Schule an, die einfach nur auf der Suche nach gesichtsschmelzender Gewalt sind!

FFO: Autopsy, Pyrexia, Pungent Stench, Macabre, Cadaver

From small beginnings in 1974 as a local cinema and university event, Film Fest Gent has grown yearly in stature and is now recognised as one of the major destinations for the film industry. A vital component is the celebration of film music in the shape of the World Soundtrack Awards which honours the very best composers at work in the world of cinema. In 2016 the award went to one of the most brilliant composers of his generation, Ryuichi Sakamoto. This is the first overview of his remarkable catalogue of film scores, fully approved by the composer and performed by the masterful Brussels Philharmonic under the baton of Dirk Brossé. Sakamoto was already a celebrated pioneer in electronic music and composer/pianist/singer in Japan when director Nagisa Oshima asked him to write the score for Merry Christmas Mr. Lawrence in 1983 and also to star alongside David Bowie. In a 30 year plus career since then he has worked with the cream of film directors including Bernardo Bertolucci (The Last Emperor), Brian De Palma (Snake Eyes), Pedro Almodovar (High Heels) and most recently Alejandro Gonzalez Inarritu (The Revenant). This compilation is a fitting tribute to his status as one of the greatest living musicians and film composers.

Swedish Doom/Death Metal from the Champions League of that genre!
Runemagick mines the darkest seams of crushing Death/Doom Metal for unremitting headbanging groove. Runemagick are among the most
underrated bands in the history of Metal. Their relative obscurity is hard to pin down. Musically, in terms of songcraft, atmosphere, and immersion into the unearthly realms of the occult, they are basically without peers. Yet despite a prolific thirty-year existence, their reputation exists on the fringes: highly regarded by some but not highly enough considering the overall quality of their output.

From start to finish Runemagick plays well done ancient Death/Doom metal, very slow and heavy, but the balance between Death and Doom Metal is very well chosen! This will relive the glory days of the good old 90’s stuff from the United Kingdom! Deep and intense grunts, the freezing thick guitars and the intense bass lines really spread a gloomy frightening atmosphere. Runemagick have written an album against all kinds of trends hailing a style which.

Gear up, get down & flip shit! IT’S PARTY TIME!!! San Diego, California’s Peak Geeks brings it in the form of real-deal west coast BREAKS, like actual f’n BREAKS!!! - for all the ladies, homies & heads far & wide, from street 2 shore!

VINYL ONLY !! NO REPRESSES!! Snooze = lose & cry the blues. Get the goods at One Eye Witness.. NOW!!!

“On new album, Brixton’s dub/jazz/Afrobeat stalwarts Soothsayers offer 11 emotive instrumentals, their sonic textures afforded greater depth through the input of some of São Paulo’s finest musicians, including Criolo’s drummer, Bruno Buarque, and renowned guitarist/soundtrack composer Joao Erbetta of production team Capitão Monga. Led by the distinctive melodies of saxophonist Idris Rahman and trumpeter Robin Hopcraft, and supported by various colleagues in the UK and Brazil, the instrumentally-charged music is balm for the soul in these challenging times and the absence of vocal distractions allow the listener to fully absorb the group’s superb musicianship; there are 11 hefty companion dubs too, expertly crafted by the renowned producer and dub remixer, Victor Rice, resulting in what is easily the unit’s most instrumentally compelling release to date. ........David Katz”

Tresor Records is fortunate enough to be sitting on a catalogue of past releases that no other label in electronic music would turn down. Three of the finest in this collection were contributed by Surgeon; 'Basictonalvocabulary', 'Balance' and 'Force + Form' all originally came out on the Berlin institution between 1997 and 1999.

Surgeon's inimitable combination of Detroit techno and post-industrial sounds emanating from his Britishhomeland found its fullest expression in these masterful trio of releases on Tresor.

Tresor Records have decided that its high time to give these seminal albums another airing, and will present each in a staggered series of 2LP represses throughout the year.
'Force + Form' is the last chapter of this re-issue series, centered around Surgeon and represents a turn- ing point both in the artist's career as well as for the history of techno music.

Tresor.117 was remastered in 2015 by Matt Colton at Alchemy Mastering, London.

Los Angeles based pianist, producer, and songwriter John Carroll Kirby traveled to Pietrasanta, Italy in the summer of 2018 on a self-imposed writing trip. During his stay he composed Tuscany, a two side-long solo piano exploration of this particular geographical envelope, a place where nature is shaped into form.

Kirby would cycle 12 kilometers each day to Cascata di Malbacco, a waterfall with jade pools and silver stone, and the inspiration for Side A of Tuscany. His own Cascata di Malbacco tumbles and shimmers along the piano as a gorgeous eighteen-minute-long improvised piece, some of it polished and some moments left raw.

On a ride to Sant’Anna, twenty-something kilometers away, Kirby took a wrong turn and got lost among the hills, where he encountered several monuments memorializing the victims of the Sant’Anna di Stazzema massacre. The dark history of an abandoned mill house served as the inspiration for the album’s haunting Side B, a eulogy for all of those forgotten by time.

Although Side A is inspired by the natural beauty of a waterfall, and Side B by the cruelty that people can inflict upon others, both pieces revolve around the same seven-note bassline. The idea Kirby is iterating on is the realization that darkness exists inside light, and vice versa; Tuscany is an inquiry into this duality and its consequences.

John Carroll Kirby has recently released records on Leaving Records, Outside Insight and Pinchy & Friends. In the studio and on the road, he’s produced and/or played with Connan Mockasin, Blood Orange, Sebastian Tellier, Shabazz Palaces and Solange.
He recently signed to Stones Throw Records.

Patience is a new outlet for exploring further beyond the break than usual. Inspired by the music perpetually on rotation at HQ – with E2-E4 representing the format’s high tide mark – each release will be one artist’s deep dive down one inspirational wormhole spread across two sides of vinyl, or two side-long sojourns making full use of a round 12” piece of plastic. Set and forget, zone out to tune in.

Clear Vinyl

For polymath artist Wesley Joseph, writing a song is like shooting a film. He sees in terms of scenes and colors, lighting the proper mood, drawing the right emotional arc_far beyond just getting a catchy melody down on tape. Music and filmmaking are Joseph's two great loves. Film came first_he started making DIY videos at age 12 to entertain himself and his friends growing up in a small UK community_but when he moved to London to study it, the energy he discovered in the city demanded to be captured in song, resulting in his 2021 debut ULTRAMARINE, a distinctly cinematic collection of avant-R&B and soulful future-pop shot through with moments of surprising aggression and an intriguingly complex postmillennial aura. Since collaborating with the likes of Jorja Smith and Loyle Carner, he returns with GLOW, eight more songs of love, loss, anxiety, and joy about coming of age at a time of unprecedented change. Showcasing his range across songwriting, performing, and production_not to mention his flawless transitions between singing and rapping, between character studies and raw emotional honesty_it's a stunningly beautiful work that makes it clear Joseph's on the path to becoming a worldchanging talent. As on previous projects, Joseph is providing his own visual accompaniments for GLOW, creative directing its artwork and directing its first video. "COLD SUMMER" finds Joseph singing from a supervillain's perspective over woozy film-score strings, and the concept bleeds over into its video accompaniment, a cryptic post-post-Tarantino gangster comedy shot in Kazakhstan. It's usually hyperbole to call an artist as young and new as Joseph "visionary," but it's undeniable that he has a vision, one that transcends old ideas of genre and medium, one that seems to get bigger and richer every time he steps into a studio or behind a camera. GLOW is one of the deepest and most satisfyingly cinematic listening experiences of the year_and Wesley Joseph is just getting started.

Lloyd Cole & The Commotions – Cole, Blair Cowan, Lawrence Donegan, Neil Clark and Stephen Irvine – were formed in Glasgow in 1982, where Buxton-born singer-songwriter Cole was studying Philosophy and English at the University of Glasgow -Their sound swam against the tide of shiny 80s synthesisers, offering intense, melodic, guitar-based pop, topped with droll words packed with literary references.

Given just how loved debut album Rattlesnakes was, it would have been hard for whatever followed to be received as warmly – yet Easy Pieces made a good first of it. It was to sell twice as many copies in its first two weeks as Rattlesnakes had to date, giving the group a Top 5 chart placing on its release in November 1985. Recorded with 80s super-producers Clive Langer and Alan Winstanley, its first two singles, the brooding, gospel influenced Brand New Friend and the forever-jaunty Lost Weekend reached the UK Top 20.

This re-issue faithfully replicates the original 1985 Polydor Records UK release with printed inner sleeve and is pressed onto high quality 180g vinyl.

Demon Records presents a new collection of 23 classic alternative anthems, brought
together on vinyl for the first time, exploring a golden era for American guitar music

Across the two 140g vinyl, highlights include tracks such as - Sonic Youth ‘Teen Age Riot’, R.E.M. ‘The One I Love’, Soundgarden ‘Black Hole Sun’, Pixies ‘Debaser’, The Flaming Lips ‘She Don’t Use Jelly’, and many more huge tracks.

Pressed on two 140g vinyl, housed in printed inner sleeves.

An essential collection for any alternative music fan!

DJ/Producer Kingdom (Kelela, SZA, Tinashe, Fade To Mind Records) und Songwriter/Producer Rush Davis (Duke Dumont, Dawn Richard, Scarface) widmen ihr Kollabo-Album 'Transmission' auf TOKiMONSTAs Label der legendären Queer-Party 'Mustache Mondays' in L.A. Mit technischer Weisheit und experimenteller Freiheit sprengen sie Dance- und R&B-Grenzen links der Mitte und verbinden klassische Kenny Dope House-Hymnen (oft in der Ballroom-Kultur gesampelt) und Janet Jackson-inspirierte Produktion mit Kingdoms komplex-synkopierten Rhythmen und Streuseln von Melancholie und Sex.

Modular synthesizers / electronics + a drum kit enhanced with triggers and sensors: on its self-titled debut album, the duo hÄK / Danzeisen creates a sonic energy that oscillates between high-precision rhythm patterns, analogue sounds and frenzy climaxes.

One must imagine hÄK / Danzeisen as a man-machine apparatus. A collection of cables, resonating bodies and restless limbs that together question all routines. Who overthrow conventional role of instruments and explore the possibilities of a new sound language. Bernd Norbert Würtz alias hÄK operates modular synthesizers, self-soldered circuits and control knobs. Philipp Danzeisen plays a drum kit enhanced with triggers and sensors. These two poles are connected to an interdependent whole in which a constant musical dialogue takes place. The dependencies within this system have been meticulously defined by hÄK / Danzeisen: Drum rolls and sound modulations are interconnected in such a way that there is no contradiction between the strict technological structure and the creative outburst that is possible at any time.

What drives hÄK / Danzeisen is the basic idea that the contrast between acoustic drums and synthetically produced sounds must be overcome in order to create a new experience. Würtz, Danzeisen and their combined instrumentation simultaneously rub up against the same edges, finding a single, piercing voice.

Ideal manifestations of this approach are the duo's live performances: raw energy that oscillates as precisely as it surprises between drones, abstraction and noise attacks, driven by an impudent take on jazz. Constantly oscillating between the registers of "composed" and "improvised", each performance by hÄK / Danzeisen ultimately becomes one of a kind. (Arno Raffeiner)

Satan Takes A Holiday gingen zusammen mit Johan Gustafson (The Hives, Randy) und Alexander Idfalk ins Studio, um das Feuer hinter ihrer Mischung aus Rock'n'Roll, 60er Garage und zeitgenössischem Dark-Pop neu zu entfachen. 'Satanismus' ist das bislang dringlichste Album der schwedischen Alternative-Rocker, die sich in ihrer reinsten Form präsentieren und einen verdammt guten Soundtrack abliefern, bei dem Künstler wie Emmon, (Patrik) Von Arfve, Andreas Hourdakis und David Park kräftig mitmischen.

- Formate: Digipack CD / Limitierte LP-Auflage auf phosphorierendem Vinyl im Gatefold

Originally released in 2014, Kero Kero Bonito’s debut mixtape, Intro Bonito, was a monumental success in the underground hyperpop scene bubbling up throughout the band’s hometown of South London. The trio, featuring Gus Lobban, Jamie Bulled, and Sarah Midori Perry, started crafting their unique blend of electronic pop music after school friends Gus & Jamie met Sarah on the internet. With Perry’s unique singing style (featuring lyrics in both Japanese and English), the band went on to write influential tracks such as “Sick Beat,” “I’d Rather Sleep,” “Pocket Crocodile,” and others that were inspired by J-pop, dancehall, and video game music.

The Intro Bonito mixtape paved the way for Kero Kero Bonito’s rise from underground glitch pop wizards to a monumental act within the PC Music scene and beyond. Since its release, the trio has built up a devoted fanbase across the globe, racked up over 500 million streams & video views across multiple albums, EPs, and singles, collaborated with numerous high-profile artists (e.g. 100 gecs, Porter Robinson, Felicita, Soccer Mommy, Ashnikko, etc), and performed at festivals around the world.

Over the course of a nearly 50 year romantic and creative partnership sound artist Annea Lockwood and the late pioneering electronic composer Ruth Anderson have shared space on a number of significant releases of early electronic and tape music, including Charles Amirkhanian’s trailblazing 1977 anthology of women electronic composers New Music for Electronic and Recorded Media, a 1981 split LP on Opus One, a 1997 CD for Phill Niblock’s XI imprint, and 1998’s Lesbian American Composers compilation on CRI. The couple additionally taught a course on the history of women’s music-making, at Hunter College, called Living Women, Living Music. Throughout their time together, they co-authored a number of Hearing Studies designed for people with no formal musical training, which were collected for a 2021 book publication by Open Space Music. They spent most of their private life between Crompond, NY and the house they built themselves at Flathead Lake, Montana. Although Ruth passed away in 2019, the composers’ dialogue continues today with Tête-à-tête, a collection of unreleased archival and new material spread across an LP and a single-sided 10” record.

It all began with a telephone call. In 1973, Ruth Anderson was seeking a substitute to cover a yearlong sabbatical from her position as the director of the Electronic Music Studio she had founded at Hunter College in New York City. Her friend Pauline Oliveros too was on sabbatical, but recommended Ruth call Annea Lockwood—then living in London—about the post. Already drawn to America by the work of the visionary composers with whom she would soon be labelmates on Lovely Music, Annea jumped at the opportunity and within days of meeting in person the pair were, in her words, “joyously entangled.”

Over the next nine months, while Ruth was living in Hancock, New Hampshire, the couple would speak daily by phone in between visits. Ruth recorded these phone calls and, in 1974, surprised Annea with a cassette containing “Conversations,” a private piece she composed by dexterously collaging fragments of their conversations alongside slowed and throwed snatches of old popular songs: “Yes Sir, That’s My Baby”; “Oh, You Beautiful Doll”; and “Bill Bailey.” The centerpiece of Tête-à-tête, this side of intimate musique concrète extends to its listeners a rare invitation to eavesdrop on the halcyon phenomenon of two people falling in love. Tender and playful throughout, “Conversations” comes to its zenith with a cut-up of relentless laughter of a contagious beauty that is, for once, properly convulsive.

“For Ruth” is Annea’s elegy to her life partner. In 2020, Annea returned to Hancock as well as to Ruth’s resting place at Flathead Lake to make field recordings, which she wove together with further excerpts of the couple’s 1974 conversations for a commission presented as part of the 2021 Counterflows Festival in Glasgow. A consummate field recordist, Annea imbues the simple sounds of church bells, birds, wind, and the bodies of water that permeated her time alongside Ruth with an otherworldly depth and sense of narrative akin to that of her celebrated sound maps of the Hudson, Danube, and Housatonic rivers. An oneiric, subtly tonal evocation of a meeting at the shores of existence.

The collection opens with “Resolutions,” Ruth’s last completed electronic work, from 1984. A meditation for the individual listener composed as the result of her study of Zen, it’s a rigorous, process-driven piece that charts the very slow, smooth descent of a 5th from the octave above middle C down to sub-bass frequencies. Minimalist in execution, yet powerful in effect, it glides by almost imperceptibly, with new tones arriving and hovering or levitating upwards, seemingly out of nowhere. A healing piece, it harnesses the highly focused energy of pure tones as a means to, in Ruth’s words, “further wholeness of self and unity with others.”

Tape transfers by Maggi Payne, master by Giuseppe Ielasi and lacquers cut at Dubplates & Mastering, with domestic photos and liner notes provided by Annea Lockwood.

Since many years now the house music culture and more widely the electronic music scene have gone down the route of money making, focusing more on high cache bookings, paying little to none attention to local artists, records collectors and djs.

This EP works as I remainder to all, including myself, that cultures are created by the people that live them every day, from those who buy records, to those who play them, producers, PRs, club owners. We all play a role in the prolification of the electronic music culture.

So, wherever you live, go out and support your local artists, djs, local clubs, bars and PRs, buy records from your local shop, support upcoming artists and local heros alike. Only this will save the heart and soul of the club culture.

WE ARE THE COMMUNITY.

Les Disques Bongo Joe return to the scorching Kabyle rock of Abranis, the pioneering Algerian band that blended traditional Berber music with western rock, folk, disco, and funk, all the while proudly celebrating their Kabyle heritage. Amazigh Freedom Rock is a comprehensive look into their discography, from the garage-rock experimentations of their early days to their lushly orchestrated North African fusion masterpieces of the 1980s.

The Abranis story begins in the mid-sixties, when Shamy El Baz and Karim Abdenou crossed paths in one of Paris' bohemian neighborhoods. Both were Kabyle, the Berber
people from Algeria’s northern regions, both loved rock music, and both were passionate about fostering a modern Algerian sound, as inspired by Kabyle rhythms and melodies as it was by western rock. The two musicians founded Les Abranis in 1967.
Together they experimented by mixing Kabyle vocals and melodies with garage and psych-rock but as the '70s progressed they increasingly moved away from the garage and psychedelia of their early days and began to interpret their Kabyle repertoire in more open and creative ways melting prog rock, jazz and some early electronic influences.

Over 11 electrifying tracks, Amazigh Freedom Rock 1973-1983 highlights their legacy as the underground kings of Kabyle rock.

Spider-Man: Homecoming is a 2017 American superhero film based on the Marvel Comics character Spider-Man. The movie was directed by Jon Watts and the soundtrack composed by Michael Giacchino. Besides the original motion picture soundtrack by the award-winning composer, the score also features the theme from the 1960s cartoon series composed by Paul Francis Webster and Robert “Bob” Harris.

The film follows a young Peter Parker/Spider-Man (Tom Holland), who made his sensational debut in Captain America: Civil War, who begins to navigate his newfound identity as the web-slinging superhero. Thrilled by his experience with the Avengers, Peter returns home, where he lives with his aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man
– but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened.

Spider-Man: Homecoming is available as a limited POP-UP edition of 2000 individually numbered copies on blue coloured vinyl with an etch on Side D. The vinyl package includes a 4-page booklet and movie poster.


[a] A1. Theme (from “Spider Man”) [Original Television Series]

Das Debütalbum "Backstreet Symphony" der britischen Rockband Thunder wurde 1990 veröffentlicht und war sowohl bei Kritikern als auch kommerziell sehr erfolgreich.

Es wurde von Andy Taylor von Duran Duran produziert, erreichte in den britischen Albumcharts Platz 21 und wurde inzwischen mit Gold ausgezeichnet. Es brachte fünf Hit-Singles hervor: 'Love Walked In', 'Dirty Love', 'Gimme Some Lovin', 'She's So Fine' und den Titelsong,
der ebenfalls in den britischen Charts landete. Das Album hat sich zu einem Klassiker im Katalog der Band entwickelt und viele der Songs sind auch heute noch im Live-Set der Band zu hören. Diese erweiterte Ausgabe enthält drei bisher unveröffentlichte Bonus-Live-Versionen
von Hits aus dem Album. Das Album ist zum ersten Mal seit über 30 Jahren wieder auf farbigem Vinyl in limitierter Auflage erhältlich.

Silberfarbenes 2LP-Vinyl zur Feier des 100-jährigen Jubiläums von Disney mit Favoriten von Three Little Pigs, Snow White and the Seven Dwarfs bis Coco, Encanto und mehr!

 Blasting off higher than ever before, Metro Boomin proudly presents his anxiously awaited blockbuster new album, HEROES & VILLAINS, out via Boominati Worldwide/Republic Records through Island in UK. Assembling an Avengers-level guest list, the album also notably boasts the likes of John Legend, Future, Chris Brown, Don Toliver, Travis Scott, 21 Savage, Young Nudy, Young Thug, Mustafa, A$AP Rocky, Gunna, and the late Takeoff. It notably serves as his first solo LP in four years and the follow-up to his 2018 full-length debut, Not All Heroes Wear Capes. The latter bowed at #1 on the Billboard 200, picked up a platinum certification, and housed the triple-platinum “Space Cadet” feat. Gunna, platinum “No Complaints” feat. Drake & Offset, platinum “Don’t Come Out The House” feat. 21 Savage, triple-platinum “10 Freaky Girls” feat. 21 Savage, platinum “Overdue” feat. Travis Scott, among others.

BBE Music are proud to reissue one of the most elusive and sought-after Afro-Funk LPs of all time: SON OF AFRICA, by REMI KABAKA.

Now a proud 85 years of age and enjoying retirement in America, Remi was the cornerstone of British West African music in the 50s, 60s and 70s, along with Ginger Oloronso Johnson, Fela Kuti and others. But while Ginger played mambo and cha cha cha in Soho clubland and Fela released his early ‘highlife jazz’ records on the Melodisc label, Remi Kabaka was fully ensconced in the UK Rock world, playing sessions and live shows with The Rolling Stones, Paul McCartney, Ginger Baker, Steve Winwood and countless others.

As the 60s became the 70s, Kabaka developed yet another string to his bow: the development of a UK based West African Funk scene, that found its genesis in the legendary Osibisa, but with an influence and an inspiration that spilled over into every contemporary Brit Funk band from Cymande and the Equals to The Average White Band, Matata and beyond.

SON OF AFRICA was originally released by Chris Blackwell’s Island records in 1976, to little acclaim, very few reviews, and with almost no promotion. African music was a hard sell when the 70s Black British record market wanted reggae first and foremost, and with Bob Marley on the books, Island understandably had other priorities at the time. The record disappeared. Until it reappeared in the early 2000s, as a £700-plus collectors’ item.

It’s barely 30 minutes long. But every single minute is drenched with sinuous, spare funk: no spacey psych rock, no disco, no boogie, no over-the-top production: just 90-110 BPM grooves that go straight to the body.

So: whether you’re a turntablist, a hip hop sampler, or just an honest-to-goodness African Funk lover, catch this limited reissue (with full, updated liner notes) while you can. There won’t be another chance.

Gear up, get down & flip shit! IT’S PARTY TIME!!! San Diego, California’s Peak Geeks brings it in the form of real-deal west coast BREAKS, like actual f’n BREAKS!!! - for all the ladies, homies & heads far & wide, from street 2 shore!

VINYL ONLY !! NO REPRESSES!! Snooze = lose & cry the blues. Get the goods at One Eye Witness.. NOW!!!

Over the course of a 19-year career, Marshall Watson has released all manner of musical treats for a similarly wide array of labels, yet it’s the effortless beauty of his downtempo works – and particularly his ambient and Balearic excursions – that have often left a lasting impression.

It certainly caught the attention of NuNorthern Soul founder Phil Cooper, who brought the West Coast producer to the label in the summer of 2021. That EP, Sunsets on Larkin Parts 1 & 2, was undeniably special. The same can be said about his belated return to the label, Foothills, an EP packed to the rafters with slow-burn melodies, sustained chords, becalmed textures and gently unwinding grooves.

Watson’s distinctive take on Balearic naturally comes to the fore on EP opener ‘High Desert’, a soft-focus delight where languid electric guitars, starry electric piano lines, echoing chords and gently pulsing electronics stretch out across a shuffling groove. While tailor-made for watching the sun set off his beloved Pacific Coast – and over the Mediterranean Sea – ‘High Desert’ offers a dose of hazy sonic sunshine that can brighten up even the greyest of days.

Fittingly, the accompanying remix comes from long-time friends of the label Seahawks, whose textured, layered and atmospheric productions similarly blur boundaries between Balearic, ambient, pitched-down dancefloor grooves and glassy-eyed psychedelia. Employing opaque, shape-shifting pads, effects-laden guitars, subtle spoken word snippets and yearning, almost melancholic chords – all atop a crunchy, head-nodding beat and toasty bassline – the duo deliver a remix that’s as emotive and sonically stunning as Watson’s original mix.

The EP’s three other tracks amply demonstrate the subtle variety within Watson’s downtempo output. Vocalist Julie Childe makes her mark on ‘Sweet Sounds’, a brilliant blend of warming deep house and laidback Balearic nu-disco that sports subtle hints to his work as one half of synthwave duo Causeway, while ‘Open Sky’ brilliantly wraps undulating TB-303 acid lines and echoing Spanish guitars around a hypnotic, locked-in dancefloor groove.

Then there’s ‘The Landscape’, a deliciously saucer-eyed slab of breakbeat-powered, TB-303-sporting genius that evokes the immersive, early morning waviness of the ambient house era, the beach party psychedelia of San Francisco’s free party movement, and the bleeping wonder of turn-of-the-90s UK dance music. Like the rest of the EP, it’s an enveloping, head-soothing and mind-expanding treat.





e B2 High Desert Seahawks High Sky Remix

Legendary 7X GRAMMY and Emmy Award-winning artist/producer Dr. Dre celebrates the 30th anniversary of his magnum opus, The Chronic by announcing the album will be re-released. The Chronic, which is not currently available on streaming services, will again be available to fans on all major DSPs .

Steve Berman, Vice Chairman of Interscope Geffen A&M, said: “Dr. Dre is without a doubt one of the most iconic and groundbreaking artists in the modern era. He has also used his platform to fuel some very impactful philanthropic efforts that will ensure his legacy is felt for generations to come. Dre’s solo career all started with the The Chronic, one of the most celebrated recordings of all time.

First released on December 15, 1992, The Chronic peaked at No. 3 on the Billboard 200 and has spent 97 weeks on the chart since its release. The album also spawned three top 40 hits on the Hot 100, including top ten records with "Nuthin' But a “G” Thang" (No. 2) featuring Snoop Dogg and "F— Wit Dre Day" (No. 8). The Chronic topped the Top R&B/Hip-Hop Albums chart for eight weeks, while "Nuthin’ But a "G" Thang" hit No. 1 for two weeks on Hot R&B/Hip-Hop Songs. Last June, Rolling Stone placed The Chronic on its 500 Greatest Albums of All-Time List, boasting how the album "redefined the West Coast Hip Hop sound." Pitchfork also holds the seminal album in high standing, saying The Chronic lives on as a “timeless show of strength” and “gave shape to L.A.’s present and future.” Videos from The Chronic are also available on Dr. Dre’s official YouTube channel.

Last year, Dr. Dre dazzled during the Super Bowl LVI Halftime Show in Los Angeles. His enormous set was star-studded, as Dre performed alongside some of music's biggest stars, including Snoop Dogg, Kendrick Lamar, Mary J. Blige, Eminem, and 50 Cent. Dre commanded the stage – just a few miles from his birthplace of Compton – with a groundbreaking setlist anchored by hits such as "The Next Episode" and the 2Pac-led "California Love." The historic performance earned Dr. Dre his first-ever Emmy for Outstanding Variety Special (Live). The Hollywood Reporter called the halftime show "thrilling and nostalgic," while Billboard credited Dre for his "seismic impact" on music.

Mammal Hands announce spell-binding new album 'Gift from the Trees', their fifth studio album, pointing to subtle shifts and exciting new departures for the unique trio
"We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance..."
Mammal Hands fifth album 'Gift from the Trees' offers a fresh perspective on the unique trio's singular music. The first to be recorded in a residential studio, the band enjoyed the opportunity to go late into the night searching for a deeper, more organic experience, closer to both their writing process but also their trance-like live performances. While some of the music was pre-composed and had even been performed live, the band also enjoyed the opportunity to improvise ideas in the studio. Drummer Jesse Barrett explains:
We wanted to have a more immersive experience that felt closer to our writing process. One thing that was really important to us was feeling free to jam out ideas as they came to us. We're at a point now where playing and writing together can sometimes feel almost telepathic, that as individuals we can tune in to a collective resonance and just follow that thread where it wants to go. Sometimes it's something as simple as a rhythmic, textural flow, like in Sleeping Bear.
There was also a conscious decision to move away from the sound and ambiance of the recording studio, with the band opting to engineer the record with their go-to live engineer Benjamin Capp before mixing the sessions with Greg Freeman in Berlin. The idea was to try and capture more of the energy of the band's captivating shows, saxophonist Jordan Smart explains:
Considering the group of tracks we had, it made sense to try and capture this process as organically and honestly as possible, and so a change in studio environment felt like the right move to us. Some of the tracks have a raw joy and energy that came with being able to play together again after a long period of time of having been apart, and capture that feeling of just being happy to be in a room with our instruments altogether again.
Whereas for pianist Nick Smart there was also the chance to really go deep into the band's music:
The new studio environment really opened us up to different ways of working and thinking because we could record at any hour of the day or night. I think this allowed us much more freedom to try unusual ideas and push elements of the music to extremes because we had the time to really focus in on the detail and work on things without time pressure. With some tracks, we were trying to find the boundaries of our playing ability and push beyond that point. With others, it was just getting into the right mindset and putting as much energy and emotion into the take as possible.'
The Welsh environment outside the studio doors seeped into the music presented on Gift from the Trees, with two recording sessions (one in winter and one in the spring) bringing different moods: one bleak and wintery, the other more hopeful and bright – an energy that permeates through tracks such as Kernel and Dimu.
Gift from the Trees opens with wonderfully elevating The Spinner which grew from one of Nick's piano parts and was developed and arranged into a complete tune without losing the feeling of constant flow and motion. It is almost like a dance, with the interaction of different melody parts and the doubling of certain parts melding together and fitting into the overall energetic flow, while Jesse's drums are both floating and deeply melodic. Riser aims to capture the band's raw energy and intriguingly is influenced by both breaks and modern drum production but also minimalist classical composition. Nightingale features the band at their most delicate and lyrical – a band favourite it draws heavily on modern folk with a beautifully realised melody that came unforced to pianist Nick Smart before being jammed out together. It was recorded early one morning, bringing an extra light and brightness to this beautiful performance.
Another album highlight is Dimu which utilises one of drummer Jesse Barret's favourite rhythmic devices from the Tabla repertoire and draws inspiration from Indian, Greek and Arabic music as well as modern folk arrangements. Dimu starts with saxophone over a bed of drones and percussion and moves through many different sections that frame and present the melodies in unique ways. The beguiling, intimate Deep within Mountains aims to place you in the room with the band as they play; it was recorded late at night to capture a dreamlike, liminal ambiance. The piano solo really reflects this mood and energy while the tenor is some of the softest and closest on the recording. Elsewhere, the remarkable Labyrinth started with what Nick describes as "some weird recording on my phone from a soundcheck, where Jordan was playing some crazy sounding bass clarinet part and I quickly recorded him", giving birth to a captivating, complex slice of propulsive 'almost' contemporary classical that like so much of the music on Gift from the Trees really couldn't be any other band than Mammal Hands.
Finally, the album draws to a close with the glorious Sleeping Bear, a tune that was wholly improvised in the studio. Nick and Jesse entered a simple but 'weird' locked groove and Jordan improvises melodies over the top. The track came about without any planning or thought; it was one of those special things that came by surprise and the band felt offered the perfect ending to their latest gift to us all: a deeply enthralling album that captures so much of what makes Mammal Hands a special band while mapping out new routes and paths for their beautiful, beguiling music.

Repress!

For his Carpark debut, Saint Pepsi takes a step away from the more genre-shuffling styles of his Internet releases to focus his skills on high-power pop. The title track of the "Fiona Coyne" 7-inch is an uplifting tribute to fantastical romance and the joyous dreams pop culture can provide

Limited Vinyl

Polly Records, the new Hamburg based music imprint kicks of with a 2 Track 7'' record added by 3 digital jams called "Bumpers". On this release, producer Speckman captures a part of his 2020 outlet, which includes a heavy UK influence, driven sound-textures as well as fast and shaking beats. At some point it might feel like you would touch the power supply with wet fingers. The producer and Golden Pudel Club resident Speckman also happens to be a member and co-founder of the Polly Records Crew. Accompanied by his fellows and partners Natalie Andruszkiewicz and Malte von der Lancken, who both are heavily involved in the Hamburg club and art scene, they built the group behind the promissing new label. Andruszkiewicz, graphic-designer and artist, known for her exquisite and unique style in colors, forms and typography evolved in a surrounding of bands and musicians, her talent and high demand led into works such as Booklets, Party-Flyers and Album-Covers for bands like Aroma or Pool. Malte von der Lancken, does bookings for the highly reputed club Uebel & Gefährlich and is responsible for tons of great parties that clearly pushed the landscape of electronic dance music around the city of Hamburg since years.

With forced powers the trio is now setting up Polly Records, a label that is willing to push boundaries and provide a platform to artists that really try to outbreak specific genres or styles, visually and audio vise. Aware of a long-lasting tradition of great hamburg based institutions such as Smallville Records, Dial or the Golden Pudel Club, Polly will certainly continue that road but perhaps in another vehicle for example a sportscar with butterfly doors.

After Speckman's "Bumpers" EP which is going to be released in late summer, the label wants to introduce another hamburg based talent, that been kept hidden for too long. Stay tuned.

Ltd. & numbered 10" Vinyl Single / 45rpm

blue marbled vinyl

Tim Reaper ​returns to ​Lobster Theremin​ with a weighty masterclass of all things old school jungle, rave and D&B. 2020 has been a massive year for the rising London-based DJ/producer Tim Reaper, with an impressive output of twelves on labels such as 7th Storey Projects, Repertoire, Beyond Electronix & his own imprint Future Retro. On top of this, Reaper was also nominated in the ‘Best Producer’ category at this years DJ Mag awards, as well as the ‘Best Remix/Edit’ category. 2020 has paved the way for what is set to be a massive future from the versatile producer, his infectious brand of high energy jungle & D&B is making him the producer on everyones lips. His latest outing ‘Teletext’ EP for London based record label ​Lobster Theremin ​explores deep all things bass driven, head high rave breaks sit on top of euphoric vocals and synth patterns, creating a feel good masterpiece. Tim joins forces with long time friend & collaborator ​Devnull​ on two tracks, blending both of the producers individual sounds into a hybrid mash up, which works oh so good.

Buckle up for Dubblack002, this time courtesy of Italian rising star TAGLIABUE. The Milanese DJ & producer is a an ideal ambassador of the label’s ethos, with his deep and mysterious electronic attitude. The opening track ‘Odissea’ lays the groundwork for the record to rise, with a cryptic intro which breaks out in a progressive detonation, referring to a late 90s/early00s sound but interpreting the scenario with a modern, actual twist.

‘Baraka Trance’ keeps the standard high and, as the title suggests, offers the artist’s POV on the Trance matter with a high-tempo, neatly arranged beat and a slightly acid bass-line, both creating a constantly evolving eight minutes-long acoustic journey. ‘A Oltranza’ slows the pulse but doesn’t decrease the pressure with captivating rhythmics perfectly blended with an avant-garde harmonic section; a complex but never baroque arrangement that constantly holds the listener on the rope. Three tracks with unique features, presenting a vast array of musical influences all merging to produce a cohesive, new and unheard record. Music written and composed by Tagliabue, project curated by GNMR.

Es ist die EP, mit der die sagenhafte Erfolgsgeschichte von Provinz ihren Anfang nahm: "Reicht dir das".

Ursprünglich veröffentlicht im Mai 2019, erscheint die Debüt-Songsammlung der Ravensburger Band zum diesjährigen Record Store Day am 21. April erstmals als 10" Vinyl. Darauf enthalten sind die vier Songs des originalen Tracklistings, darunter auch der Hit "Was uns high macht".