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Next up on _NRV, CHKLTE takes us on a mesmerizing journey. "Enchanted Alley" establishes a hypnotic groove with deep basslines, perfect for late-night sets. "Fallen Algorhythm" delivers a dynamic auditory experience with a driving tempo and ethereal synths. "The Other One Follows" features a rolling bassline and snapping percussion, a straight groove torpedo launched from the kind of sub we'd rather be around. Cristi Cons's remix of "Fallen Algorhythm" adds a pulsating bassline and slicing percussion, creating a high-energy rave weapon sure to vaporize anyone standing in front of the speakers, all while maintaining the essence of the original, if you were at Sunwaves 32, there's no way you didn't hear this bomb drop.

Still buzzing from the first House of Spirits 12 Inch earlier this summer, RNT tops up our collective high with even more soulful bliss from the mind of Tom Noble. A Brit-funk inspired uptempo heater with spindly guitars, driving bass and a joyous vocal hook, 'Please Take Me There' is another all original modern retro offering that portends the massive gravity of the full LP to come. On the B side, Dutch production wunderkinds Makez reconfigure the tune into a sultry vocal house excursion, and Sizmo takes it to the beach with an extra wavey balearic A Capella dub. End of Summer essential!

Emotional Response returns with a second volume of its All Trades compilation which is named after its own NTS show. It is just as vast both in terms of style but also the eras it spans with a mix of dub, new wave, slow motion electronics and plenty in between. Tolouse Low Trax kicks off with the filthy dirty and seriously heavy dub glitch of 'Ossia' to provide an early highlight before the likes of Al Wootton get percussive and tribal with 'Altai' and HLM38 channels some African Head Charge on another devastating dub cut. Later on, London's Good Block brings a little more light and sunshine with their lovely 'Strong Relax.'

DJ Feedback

Vladimir Ivkovic (Offen):
"I don’t like it, I love it!"

DJ Gibl’r (Versatile):
"A trip through so many electronic styles, much of which has been featured on my Rinse show and DJ sets beyond. "

Valentina Magaletti (CZN / Holy Tongue / Tomaga / Vanishing Twin):
"Delighted to be part of the Emotional Response 10th birthday celebrations and what an amazing selection."

Lovefingers (ESP Institute):
"Always an inspiration, Emotional Response has weaved a long, wide road this past decade and the All Trades compilations are the zenith of that music journey. "

Lena Wilikins (Salon Des Amateurs):
"Great to see so many artists that have represented our scene for the past years, including D�sseldorf luminary Stefan, aka While My Sequencer Gently Bleeps."

Sean Johnston (A Love From Outer Space / Hardway Bros):
"The perfect music to listen to before or after the party. Bravo! "

Trevor Jackson (Output / NTS):
"Congratulations on 10 years anniversay Emotional Response. This compilation covers a lot of bases perfectly."

* Following on from the success of the Liftin Spirit Reloaded USB LP and due to overwhelming demand, we are delighted to present the complete 'Ram Reloaded' vinyl series, 60 tracks in high quality WAV and MP3. This exclusive USB LP includes all remastered tracks in the Ram Reloaded series as well as current remixes, bonus tracks and VIP's of some of the labels biggest releases.

VDR Remixes: Beyond Music

The concept for this remix album evolved gradually through various encounters and exchanges. Despite its complexity, the project would not have come to fruition without the firm dedication of each artist involved.

Artists were given the freedom to select any track from my discography for their remix. With no directives, the LP's magic emerged from their unique styles and creative visions, resulting in a diverse palette of tones and rhythms.

The first record opens with Stephen Brown's electrifying remix of Blunt's "Later For It," originally released on Bright Sounds. Stephen's reinterpretation infuses the track with dark, captivating techno.

On the B-side, Markus Suckut presents his masterful adaptation of "Thrust It," a track marking my first release. Following this, Sawlin transforms "The Venue" from The Cruiser series, infusing it with his signature 'Made by Sawlin' style.

The second record continues with two compelling versions of "Moon, Sea and Waves" by Alek S. These reinterpretations—one dub techno and the other Detroit-oriented—offer a unique and immersive vision of the B+A+D tracks, originally released on Newmont.

On the flip side, Joe Metzenmacher delivers a daring electro remix of "1NON1" on D1, followed by Sicaa's bass music rendition of "Archensweet" on D2.

The third record is entirely dedicated to remixes of the Ashppe series, which I hold dear. Drexl provides a powerful breakbeat cut of "Flexit," a true bomb. Simon Ferdinand from Polycarp Records, with whom I had the pleasure of working, captures the punch and melancholy of "Fudge It". The LP concludes with two Dub 3.0 adaptations of "Let's do it" by Anthony Cacharron, using the aliases Alpha GPC and Redrop, ending on an exploratory high note.

A heartfelt thank you to all the remixers for their boundless creativity and commitment to this project

This is the third album by Sound Limited, also known as "Hidden Treasure". This gloss. This depth. Takeshi Inomata's jazz rock has entered a new dimension.

Sound Limited, which was formed at the end of 1969, recorded three albums in quick succession in 1970, as if to reflect Takeshi Inomata's enthusiasm. The third of these albums is New Rock In Europe. This album is composed mainly of songs by European musicians such as The Beatles, Donovan, and Nino Rota. There are many highlights to listen to, such as "Something," which fascinates with Kimio Mizutani's shimmering guitar, and "Barabajagal," which has an exciting tight groove, but I am happy to see a revival of Inomata's original "Mustache," which is part of the group's repertoire. ?Sounds Of Sound L.T.D.? This is the third recording after "Sensational Jazz Vol. 1/2", and this version is glossy and psychedelic as if it concentrates the atmosphere of the entire album. It is a monumental work that makes it known that Jazz Rock by Inomata has entered a new dimension.

text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

On her new album Alva, singer, musician, activist and cultural icon Mari Boine offers glimpses into a childhood which she abandoned when she chose to leave behind a strict religious upbringing in order to pursue a life of activism.

The new studio record reflects on finding the balance the between her, the at times lonely, mission to share the culture and histories of the Sámi people through music to people across the world, and her personal journey and relationships. The poignancy of the record
reaches an emotional high on the mournful “Mu eadni” (Mother of Mine), wherein Mari laments her own relationship with her mother. She is also found reflective on “Oainnestan” (Glimpses), when looking at the relationship she has with her son.

Alva reflects the “willpower” of its name, and takes the listener on a musical journey of exhilarating momentum, spurred along by a full band. There’s an emancipated energy that is also reflected in the music, soaring to new heights over vast imagined landscapes of the
tundra of Northern Norway.

Mutant, in partnership with WaterTower Music, are proud to present the premiere physical media release of Tom Holkenborg’s explosive score to George Miller’s latest wasteland epic FURIOSA: A MAD MAX SAGA. Tom Holkenborg’s collaborations with the legendary George Miller Mad Max: Fury Road, Three Thousand Years of Longing have produced some of the most unique and powerful film music of the last decade. With FURIOSA, he takes the sonic landscape he created with the last film and shifts into higher gear. The loudest revving-engine of a score you’ve ever heard, absolutely pulsating with ferocity and white-knuckle tension.

"My collaboration with the incredible George Miller began over a decade ago with our work on Mad Max: Fury Road, a project that marked a pivotal moment in my career as a film composer." says Holkenborg. "Returning to this world to score the odyssey of Furiosa, an epic tale of survival, resilience and revenge has been just as eye-opening and gratifying. Furiosa: A Mad Max Saga is a testament to the vision of a singular film maker, whose pursuit of excellence always inspires me to push my creative limits."

Pressed on 2x 140 gram eco vinyl, with liner notes by composer Tom Holkenborg and housed in a tri-fold sleeve designed by Mutant co-founder Mo Shafeek.

Isik Kural returns with Moon in Gemini, a luminous scrapbook of slow-flowing narratives couched in intuitive and symbolic storytelling. Bending a playful take on environmental music to the folk song form, Isik's vocals coo atop pastoral field notes, airy chamber instrumentation and archival recordings culled from a curious musical life. A tender pastiche coalesces across the suite of Moon in Gemini's fourteen pieces, and Isik invites the listener to daydream as-deep-as-possible. "The songs on Moon in Gemini don't mind being slower or taking their time to reach the listener," says Isik, who wanted the title to speak to the album's dreamy, liminal nature. "I enjoyed how the phrase could be used to describe an object, a time or a place simultaneously," he explains. Similarly and subsequently, these songs contain a multiplicity of sonic artifacts, moments and spaces that span Isik's rich musical career to date. With the bulk of the album realized between Amasya, Turkey and Isik's current home in Glasgow, in both domestic and studio recording environments, additional tracks unearthed from his personal recording archive lend their lush patina. The record emerged as a fertile space to reimagine a handful of previously unreleased songs and unfinished ideas spanning the past fifteen years of his life and work, including streetside sounds documented while growing up in Turkey and recordings made while studying music engineering in Miami, Helsinki and Glasgow. Looking to the more recent past, Isik found himself wanting to build upon some of the methodologies and textures explored on his 2022 album in february, seeking a newly intimate, vocal-forward sound. He points to the track "film festival" from that album as a door through which to enter Moon in Gemini, where sample-based arrangements are presented in the context of asymmetrical "build ups and progressions" and ambience and vocals intertwine. Inspired in part by listening to iconic, if not sometimes misunderstood, singers such as Nina Simone, Aldous Harding and Ed Droste of Grizzly Bear, Isik aimed to carve out a new space for his voice on Moon in Gemini, experimenting with novel recording and mixing techniques. Captured at his aunt's farmhouse in Amasya during an extended three week recording session, we find Isik's vocal high in the mix, front-and-center and on newly expressive terms. As a songwriter, Isik is an intuitive and playful lyricist who allows his deep love of literature to flow through his off-kilter texts. Here, echoes of Silvina Ocampo's poem "Dialogues of the Silence" reverberate from the margins of "Most Beautiful Imaginary Dialogues". Likewise, Elliott Smith and Virgina Astley shapeshift through "Behind the Flowerpots," some lines of which were based on misheard lyrics from Smith's "Stickman" and Astley's "Some Small Hope." Attuned to the magic of happy coincidences, other unexpected "themes and connections between tracks flourished" during the recording process, resulting in some songs being more "thematically and lyrically connected to each other compared to previous records." The duos "Prelude" and "Interlude" as well as "Grown One Iota" and "After a Rain" explore connected stories, while "Almost a Ghost" and "Behind the Flowerpots" serendipitously emerged out of a conversation with Stephanie "Spefy" Roxanne Ward, whose balmy vocals heard highlighting in february return and call out to Isik's in sweet dialogue. Plumbing these new potentials of structure and songwriting, Isik also developed a taste for an expanded sonic palette, one enriched by the lulling undertones of live woodwinds and strings. The resulting collaborations with flutist Tenzin Stephen, harpist Kirstin McCarlie and clarinet player Giulia Tamborino envelop the record in an altogether "dreamier sound," swaying pastel and awash in lunar light. Moon in Gemini, brimming with natural imagery and lullaby-inflected tones, tunes into states of being where the wonder filled sound of everyday is heard and felt, perfectly imperfect in its poetry; where the invisible steps forward; where dauntless ghosts wait around every corner and play enriches the soul; where bird song fills sun-soaked afternoons and carries us on its wings into each enchanted evening. Isik Kural's Moon in Gemini will be released on vinyl, Japanese import CD, and digital editions on September 6, 2024. On behalf of Isik and RVNG, a portion of the proceeds from this release will benefit Mor Çaty Women's Shelter Foundation, whose social work at their solidarity centers and shelters supports women building lives unhindered by gender-based discrimination and male violence under free and equal conditions.

Onimikìg Algonquin: (n. an.)- thunder Timothy Archambault's unaccompanied flute pieces for this album have been inspired by Indigenous brontomancy (divination by thunder). Each piece highlights a different extended flute technique metaphorically related to types of thunder sounds: claps, peals, rolls, rumbles, inversions, and CG (cloud-to-ground). An important document of new music meets contemporary musicological research via Stephen O'Malley of SUNN O)))'s Ideologic Organ. The Indigenous flute used in this recording is made of cedar respective to the traditional woods used by the Kichesipirini and other tribes who live along the Ottawa & Saint Lawrence Rivers. To the Algonquin the flute (Pibigwan) is the wind maker or essence of the wind. Unlike other tribal nations whom the majority used the flute as a courting instrument, the Algonquin generally utilized the flute for more contemplative singular usage to mimic the sounds of nature or as a signaling device during times of conflict. When love songs were required, they were usually more plaintive in character expressing sadness, loneliness, or concerning the departure of a lover. The album intro begins with the shaking of a necklace of otter penis bone, fish spine, bear claw, elk teeth and deer hide, gifted from Algonquin Elder Ajawajawesi. It is meant to focus the listener's attention before the flute pieces begin. The warble or multi-phonic oscillation prevalent in all the pieces traditionally represented the "throat rattling" vocalization of the tonic note, sometimes known as the horizon of which the melody floats from. Due to the repetition of multi-phonic oscillation the performer will breathe erratically creating an altered state correlating with similar traditional ceremonial practices.

`Think Differently' is the debut LP by the duo of Callahan & Witscher. Jeff Witscher has been one of the most daring voices in underground American music for two decades, highlighted by releases on Pan and NNA Tapes. Jack Callahan's focused, uncompromising approach to sound caught the attention of both Demdike Stare's DDS label and Swiss composer Jürg Frey, who took Callahan on as his first composition student. Fans of their individual work might expect opacity, disruption, or rhythmic irregularity from their collaboration, but `Think Differently' sounds like a pitbull in a convertible, a sand-kicking beach party, the dopamine hit you get from 311 or Smash Mouth. It's a punchy, crunchy, highly infectious record. How did Callahan & Witscher cut the path from the ghostly margins of avant garde musics to the gutters of post-grunge American hard rock? In the words of Callahan, "at some point, you start to need a stronger drug." The most potent characteristic of this stronger drug is the guitar. And not just any guitar, but a sassy, contagious, blithe guitar. Its presence is a drastic shift for two guys who've combined to make dozens of records over the years, not a single one of which has a recognizable guitar sound on it. Alongside the cool breezes and hyperactive fretwork of Callahan's guitar playing, the songs are backboned by strutting, groove-happy vocals: all bark, all bite. Every song is a careful collage, light but dense, ornate with gang choruses, soulful femme vocals, autotune and whisper scratches. This accumulation almost manages to hide the record's potent undertow of dread. `Think Differently' unfolds carefully, a slow-motion demolition that reveals the anxiety of second guessing, the exhaustion of tour, creative bankruptcy, willful misunderstanding, the pain of caring. Setting this lyrical cynicism against such sonic glee isn't a spoonful of sugar, it isn't a bait-and-switch, it isn't a prank. After all, the dumb bliss of Sugar Ray's "Fly" shades a song about Mark McGrath's mom dying. "All Star" is about climate change. Most Sublime lyrics are a bummer. But there's still room for a raised beer, for a dumb grin. Like these ancestors, Callahan & Witscher aim at maximum uplift, at sounds that warm and dazzle like a sped-up sunrise. In spite of overdraft fees, in spite of bad art, in spite of self-doubt.

** INITIAL 400 LPs CONTAIN A BONUS 7" SINGLE **

MOVEMENTS Vol.12 – A bag full of rare rhythm & blues, mod-jazz, and mid 70s funk.

Side A starts with rhythm & blues from the 1960s. Most of the tracks were pulled from hopelessly obscure 7" singles. The only names of which some of you might be familiar with are most likely Mat Mathews and Lu Elliott. However, both original 45 RPM singles are pretty hard to find these days, especially in playable condition.

Side B is all about deepfunk this time. "Hipper Snapper " is a prime example of that genre. Some say its groove is reminiscent of Charles Wright's "Express Yourself. Agreed! The Villagers are responsible for the first 'aha' moment. Their (previously unreleased!) version of "Funky Broadway" would have certainly astounded even Dyke & The Blazers. Representing Germany on this volume: The Rippers, also called the "Offenburg Beatles"! Back in the USA, John Fogerty has probably never heard of this heavy school-funk cover of "Proud Mary". Drum breaks galore!

Side C begins with another German contribution. Saxophonist Gus Brendel delivers a mod-jazz belter of the highest order as do The Hornets. Definitely sure-shots for any dance floors! High time for 'aha' moment #2. Many bands have tried their hands on a cover version of the Nat Adderley jazz classic, incl. vibraphone player Bret Breitinger! The perfect choice to finish this side is Downtown Trio's smooth and groovy cover of Gershwin's "Summertime ".

Side D is reserved for proper 1970s funk. ONYX's "Break It Loose " has become a certified Rare Groove classic. Here you can enjoy it for the first time with the blessing of the band! Glenn Doughty and his Baltimore Colts Shake and Bake Band of the 70's is the first musical group consisting of former NFL All-Pro players that Tramp Records has partnered with in its history! Watch out, "Shake and Bake " will be re-released on a good old 45 RPM single, too!

Those of you who have been enjoying the detective work of the people behind the label over the past 21 years know that the Movements series can be easily considered as the flagship compilation series on Tramp. So, after having listened to the entire selection of this brand new volume we sincerely hope that we will have achieved our aim to surprise, delight, and enlighten you once again!

Key selling points:

- initial 400 LPs contain a bonus 7" of a SUPERRARE funk 45

- incl. full album download code
- deluxe double-gatefold LP with detailed liner notes & unseen photographs

- ALL but three songs appear on CD, LP & digital for the very first-time

Ltd Edition - 200 copies**

Canadian-currently-residing-in-Berlin and multi intstrumentalist Aidan Baker teamed up with Dutch demolition duo Dead Neanderthals late 2023 to work on the collaborative album entitled Cast Down and Hunted.

Cast Down and Hunted is an abstract affair. Angular and dark, droney and lush. Two lengthy tracks, Subterfuge and Paranoia, each fill one side of the LP, which will be released by the Dutch label Moving Furniture Records.
The artwork was made by Steven Kenny and the album layout was done by Rutger Zuydervelt (Machinefabriek).

The album was mixed and mastered by Marlon Wolterink at White Noise Studio.

ABOUT AIDEN BAKER
Aidan Baker is a classically-trained multi-instrumentalist focusing on the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from post-rock, shoegaze, electronica, neo-classical, and jazz.
A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects—most notably his dreamsludge duo, Nadja—and including collaborations with Tim Hecker, Carla Bozulich, Jussi Lehtisalo, and Andrea Belfi, among others—on such independent labels as Karlrecords, Gizeh Records, Important Records, and his own imprint, Broken Spine Productions. A frequent live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, Roadburn, and Mutek.
Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.

ABOUT DEAD NEANDERTHALS
Dead Neanderthals have spent more than a decade putting together an eclectic and envious back catalogue that spans multiple genres – from free-jazz to grindcore to doom drone by way of psychedelia – and continuously throwing curve balls that defy expectations. You never know what you’ll get, but you know it’ll be heavy.


ABOUT MOVING FURNITURE RECORDS
Moving Furniture Records is a label based in Amsterdam, The Netherlands specialized in releasing experimental electronic music, run by Sietse van Erve, started in October 2008. We are mostly interested in drones, minimalist, microtonal and field-recordings music.
Moving Furniture Records has released music by both renowned, musicians such as Richard Chartier, BJNilsen, Jos Smolders, Gareth Davis & Merzbow and Machinefabriek, as (young) new talent such as Gagi Petrovic, Fani Konstantinidou, and Ryan van Haesendonck.
Aside from the regular releases Moving Furniture Records has two special series: Eliane Tapes: music inspired by and dedicated to the work of Éliane Radigue. Contemporary Series: contemporary music written for acoustic and electro-acoustic ensembles and solo artists.
Moving Furniture Records also organizes concerts in various venues in Amsterdam. For all our releases and more information

A double header from Detroit artist Bobby Hutton, both songs reissued here for the first time and highly sought after. “Lend A Hand” is Bobby’s biggest record on the Northern Soul scene from the 70s, a dancefloor classic, and only previously issues as a UK promo 7” outside of the 1973 album “Piece of The Action” (also reissued on Expansion).

Recorded in 2014, Mid-City Island is the first ever project to be released from Moses Sumney. Moses recorded the entire EP from his apartment in Mid-City, Los Angeles straight to cassette on a four-track recorder that TV on the Radio's Dave Sitek lent him. To mark the 10 year anniversary of Mid-City Island, Moses kept good on a promise he made to himself all those years ago, broke and starting out - that he would press it to vinyl in a decade. Reflecting back on that period, Moses says "Mid-City, Los Angeles was more of a concept than a place. Seemingly nobody had ever heard of it, and yet it was the geographic center of the city. Living there felt analogous to my disposition as a 'rising' Angeleno - highly visible and invisible at the same time. I sat on my bedroom floor and wrote 'Plastic.' Throughout his 10-year career, Moses Sumney has consistently evaded definition as an act of duty: technicolor self-directed videos and monochrome clothes; Art Rock and Black Classical; blowing into Fashion Weeks from a small town in North Carolina; seemingly infinite collaborators, but one staggering voice. Consistent across the worlds of music, fashion, and film is his assertion that the undefinable still exists and dwelling in it is an act of resistance.

The Flaming Lips will celebrate 25 years of their seminal 1999 album, The Soft Bulletin, with the brand new The Soft Bulletin 25TH Anniversary Vinyl out September 6. It will be available in limited-edition 2LP Vinyl with stunning Zoetrope designs notably co-created by Drew Tetz and band frontman Wayne Coyne. Plus, it boasts brand new sleeve artwork in addition to an insert with text penned by Wayne.

The Flaming Lips first unveiled The Soft Bulletin on May 17, 1999. Anchored by staples such as “Race for the Prize,” “Waitin’ for a Superman,” and “Feeling Yourself Disintegrate,” it earned some of the highest critical praise of the band’s career. Pitchfork placed it at #3 among “The Top 100 Albums of the 1990s,” hailing it as “godlike music” and professing, “Remarkably, the band's music maintains a general air of feel-goodness while their lyrics concern sobering subjects as bleeding, bites, and mortality.” Moreover, Entertainment Weekly bestowed an “A” rating upon the record, Spin scored it “9-out-of-10,” NME applauded it with a “9-out-of-10,” and Pitchfork delivered a rare perfect “10.0” score.

Quill was a Boston-based rock band that had national exposure when they played the Woodstock festival in August of 1969.

The quintet got together in 1967 and played New England and New York over the next few years, getting

some positive regional press for their combination of high- wattage rock with elements of psychedelia and jazz,

and what would later be identified as performance art. Most of the songwriting was handled by John and Dan Cole,

who tended to deliver fairly complex pieces that lent themselves to elaborate performances, sometimes involving some heavy audience participation as well.

Aquatronics Aka Datawave, Is Gaétan Votion of Brussels. The “Sunset Streams” EP immediately became highly sought after and revered, after selling out 200 copies in just under 3 months in 2021, quickly making an imprint on the electro scene. 3 years later, 200 crystal clear records have re-incarnated for everyone who couldn’t get a copy the first time.

Ever wondered what music would sound like if it was ripped from the space directly preceding sleep? The tracks within this album are your gateway to discovery. These recordings, which were laid down especially for the USA radio stations WFMU and WGXC, will melt your speakers and your mind. Released on the ever excellent Feeding Tube Records (USA) & Cardinal Fuzz (UK). BHAJAN BHOY (aka Ajay Saggar) symbolises boundless creative freedom in all the music he has produced to date. This LP is no exception to that rule….in fact, this album showcases an even wider spectrum of sounds and ideas than could ever be imagined. From heavy lysergic guitar excursions, to dub inflected guitar pedal pop, to nu-age minimalism, to electronic experimentalism….all the terms and descriptions in the world don’t do justice to the originality that lies within. When USA radio station WFMU asked Ajay to contribute tracks to a session for the show “Feelings” (co-hosted by Michele and Creamo Coyl), he turned in 5 tracks that received tremendous feedback from around the world on the station’s live chatline when broadcast. In addition, a session for WGXC further showcased the songwriting talent of Ajay. The ensuing 3 week tour of the USA cemented BHAJAN BHOY’s status as one of the most innovative musicians around. This LP marks another giant leap forward in BHAJAN BHOY’s musical development. He’s brimming with ideas and the imagination runs wild. This music is for the listeners who want to follow a path of discovery and be mesmerised and blown away by what they hear. Be sure to be one of the listening party. Presented in a high gloss outer sleeve with 2 sided insert.

Die definitive Vinyl-Neuauflage von Nancys drittem Album mit den Hits "Summer Wine" und "Friday's Child" und tollen Versionen von "On Broadway", "Wishin, and Hopin'" und "This Little Bird". Frisch remastered von den analogen Originalbändern durch den GRAMMYr-nominierten Toningenieur John Baldwin, enthält das LITA-Reissue vier Bonustracks: die kompletten 1969er Mickie Most-Sessions inklusive dem bisher unveröffentlichten "Colors Are Changing" Wunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet mit Q&A von Nancy und dem GRAMMYr-nominierten Co-Produzenten Hunter Lea PLUS nie zuvor gezeigte Fotos aus Nancy Sinatras persönlichem Archiv. "Strawberries, cherries, and an angel's kiss in spring_" waren die unsterblichen Worte, die die fünfundzwanzigjährige Nancy Sinatra an einem eiskalten Frühlingstag in London sang, während der Aufnahmen zu ihrer dritten LP innerhalb von nur vier Monaten! Das Album wurde 1966 in nur drei Tagen in den Pye Studios aufgenommen, in denen Mitte der 1960er Jahre auch The Kinks, Petula Clark und David Bowie sich die Klinke in die Hand gaben. Durch die Wahl von Songs wie "On Broadway", "Wishin, and Hopin'" und "This Little Bird" hat das Album einen eindeutig britischen Touch. Die LP enthält zudem das zeitlose Duett "Summer Wine" von Nancy und Lee Hazlewood.

Die definitive Vinyl-Neuauflage von Nancys drittem Album mit den Hits "Summer Wine" und "Friday's Child" und tollen Versionen von "On Broadway", "Wishin, and Hopin'" und "This Little Bird". Frisch remastered von den analogen Originalbändern durch den GRAMMYr-nominierten Toningenieur John Baldwin, enthält das LITA-Reissue vier Bonustracks: die kompletten 1969er Mickie Most-Sessions inklusive dem bisher unveröffentlichten "Colors Are Changing" Wunderschön verpackte und erweiterte Gatefold-LP mit 20-seitigem Booklet mit Q&A von Nancy und dem GRAMMYr-nominierten Co-Produzenten Hunter Lea PLUS nie zuvor gezeigte Fotos aus Nancy Sinatras persönlichem Archiv. "Strawberries, cherries, and an angel's kiss in spring_" waren die unsterblichen Worte, die die fünfundzwanzigjährige Nancy Sinatra an einem eiskalten Frühlingstag in London sang, während der Aufnahmen zu ihrer dritten LP innerhalb von nur vier Monaten! Das Album wurde 1966 in nur drei Tagen in den Pye Studios aufgenommen, in denen Mitte der 1960er Jahre auch The Kinks, Petula Clark und David Bowie sich die Klinke in die Hand gaben. Durch die Wahl von Songs wie "On Broadway", "Wishin, and Hopin'" und "This Little Bird" hat das Album einen eindeutig britischen Touch. Die LP enthält zudem das zeitlose Duett "Summer Wine" von Nancy und Lee Hazlewood.

Vor mehr als einem Jahrzehnt krachten The Dead Daisies mit voller Wucht in die Musikszene. Ihre Mission: den guten Oldschool-Rock im Stil der 70er
Jahre zu spielen, einige der besten Musiker der Welt zu versammeln und mit ihren Fans eine großartige Zeit zu verbringen, um die Rockmusik am
Leben zu erhalten.
The Dead Daisies veröffentlichten im Mai die erste Single „Light ´Em Up“ ihres gleichnamigen neuen Albums. Mit „Light ´Em Up“ bestimmt die Band
nicht nur den Ton ihrer neuen Scheibe, sondern ebenso den der 2024er Welttournee, die durch die USA, Großbritannien und Europa führt.
„Light ´Em Up“ wurde in Nashville mit Produzent Marti Frederiksen aufgenommen und ist gleichzeitig das erste Album der Band seit 2022 und die
erste mit ihrem zurückgekehrten Sänger John Corabi seit 2018.
Das neue kompromisslos rockige Album ist randvoll mit großartigen Hooks, Dougs begeisternden Gitarrenriffs und Johns unverwechselbarem Gesang.
Kein Zweifel: Wenn The Dead Daisies die Scheibe live spielen, wird es das Publikum von den Stühlen reißen.

The next album in our Cuban Classics series is a hard one to pigeonhole. It’s a real oddity, unique and not in keeping with the majority of Cuban albums we know, but it's all the better for this. Coming courtesy of Juan Almeida, the Fantasia LP is an eclectic and epic, instrumental ride through Latin jazz-funk, trippy electronics and orchestrated classical music. Sounding at points like a full-blown orchestrated score to a dusty animated film extravaganza, with phrases and passages repeating like the appearance of ghostly spectres throughout the recording. At others, it busts into exotic funk, psychedelic-trippiness and Afro-Cuban percussion.

As rich and varied as the record, so too was Juan Almeida's (Juan Almeida Bosque) life. A descendant of African slaves born in a poor neighbourhood in Havana in 1927, Almeida went from bricklayer to university law student, through which he would meet Fidel Castro. He played a key role in the Cuban revolution, becoming the only black commander and famously voicing “Aqui no se rinde nadie!” (“Nobody here surrenders!”) when outnumbered at the start of the offensive. Castro would later make him one of his vice presidents, but Almeida’s legacy does not stop there. He also became the composer of over 300 popular Cuban songs, many of them recounting his days as a guerrilla.

Produced, orchestrated and conducted by Rafael Somavilla, who worked on a vast array of Cuban recordings including Raúl Gómez's 'Instrumental' which we also reissued on Mr Bongo, the feel of Fantasia is big, luscious, grand and pop-classical. It has become a highly sought-after, cult Cuban rarity amongst collectors and like many great albums, every repeat listen brings with it new elements previously unnoticed. Such is its richness and depth. A truly mesmerising, off-the-beaten-track instrumental record.

The true test of originality for any musician comes when you hear an instrument being played and you instantly know who’s playing it. For electric guitarists, certainly Hendrix qualifies; Page and Clapton, too. Maybe Eddie Van Halen before the legion of imitators. You probably have your own list, but to us, standing toe-to-toe (or pick-to-pick) with those legends is Television guitarist and solo artist Tom Verlaine. His self-taught, jazz-influenced style, largely devoid of effects, and vibrato tone (oh, that tone!) makes any Verlaine solo unmistakably a Verlaine solo. That he was quite an accomplished, idiosyncratic songwriter is just a bonus. Real Gone Music is very, very proud to announce that we have arranged with the Verlaine estate to release Tom’s last three solo albums on LP; Songs and Other Things was the last record he released, in the same year (2006) as the all-instrumental Around. As the title indicates, this was indeed a return to lyrics and vocals, the first record with “songs” since 1990’s The Wonder (although the first track, “A Parade in Littleton”—one of the “Other Things”—is a low-key, funky instrumental that would have been home on a late Talking Heads album). The time off clearly allowed Verlaine to build up a strong cache of compositions, with “Nice Actress” and “The Earth Is in the Sky” among the highlights. The record also marks a welcome return of Verlaine’s enigmatic lyrics, which as always prompt head scratching while somehow making intuitive sense. But in the end, it’s the amazing guitar work—ably supported by Fred Smith of Television fame and Jay Dee Daugherty of The Patti Smith Group among others—that elevates Songs and Other Things to essential status, worthy of its exalted position as the final release of Tom Verlaine’s career. Bassist and original engineer Patrick Derivaz has mastered the album for its vinyl debut; Verlaine’s long-time partner Jutta Koether contributes notes. Teal vinyl pressing!

Santana III is an album of 'lasts'. It was the last album recorded with the original Woodstock-line up and the last to hit #1 in the Billboard charts until 1999's Supernatural. But there are also a number of important 'firsts' on this album; Coke Escovedo joins in for the first time on percussion, as does Neal Schon (Journey) - who was a mere 17 of age when they recorded the album - on guitar. Santana III is viewed by many as the band's commercial and creative highpoint. The band sounds darker, rawer, and more eager with the doubling up on guitar of Schon's Rock 'n' Roll sensibilities and Santana's ecstatic high notes and soulful fills. Escovedo and Chepito's percussion are as fast as it is furious, and the minimal production adds greatly to the timeless appeal of this album. Santana III is available as a limited edition of 1500 individually numbered copies on translucent yellow coloured vinyl, housed in a deluxe heavyweight gatefold sleeve.

Between December 2022 and January 2024, the collective De Niemanders (producer Rick Wiegerinck joined the team) visited asylum seekers' centers in the Netherlands with a mobile studio, searching for singers, musicians, and their music and stories. The music sessions were mostly filled with pure joy, while the conversations were heavy, hopeless, hopeful, cheerful, and everything in between. The collective connected with creative individuals from all over the world, who in turn introduced them to even more artists, writers, and storytellers. Rocco, Wout, and Rick quickly realized that they needed to offer more than ‘just’ the music album as a platform, so a completely unique Niemanders newspaper was born, and journalist Christianne Alvarado joined for a six-part podcast series.

Following their instincts, they created a new Niemanders album that became a genuine collaboration between the people they met and themselves. A significant difference from the prisons was that this time, the singers and musicians could be recorded in a mobile studio. As a result, the album is a mix of many singers and languages, telling the stories of their journeys, dreams, families, past lives ‘back home,’ and their current situation as refugees. There are songs inspired by the stories that residents of asylum seekers' centers told or wrote down, sung by Rocco, while other tracks emerged from writing sessions with singers Isma IP, Guy-El Mabiala, Q-Mars, and Hamid Reza Behzadian, and are also sung by them. The song material is a creative melting pot of colorful music that ranges from swinging afrobeat, highlife, desert rock, and rootsy psychedelia, but the alternative rock for which Ostermann and Kemkens are known also seeps through. You could say that, with few exceptions, each song is a film soundtrack for the text.

Unfortunately, the harsh reality of asylum procedures also intruded into some of the blossoming musical friendships. Due to a negative decision by the Immigration and Naturalization Service (IND), one of the great singers was forced to leave the Netherlands. This is just one example of the lack of control over—and the nerve-wracking wait for—an IND decision, which unfortunately seems to be something every person in an asylum procedure must endure. The asylum process can bring years and years of uncertainty and waiting, or sudden deportation.

Kevin Godley and Lol Creme worked together for several decades, were part of many different bands and wrote hit after hit. Two highly successful multi-instrumentalists, singers and producers who became world renowned video producers as well. Godley & Creme's Collected album features inventive, eclectic music blending pop, rock, and art influences, showcasing their unique, avant-garde style. This 2LP features the duo's biggest hits, including ""An Englishman In New York"", ""Freeze Frame"", the top hit ""Cry"" (which showcased their amazing video), ""Wide Boy"", and ""A Little Peace Of Heaven"" among others. The 2LP Godley & Crème Collected is housed in a gatefold sleeve with liner notes.

Dutch artist LEYO delivers his debut album via Cécille Records this September, comprised of eight originals and featuring collabs with Toman and Thierry Ganz.

LEYO is a project based out of Amersfoort in the Netherlands, marking its beginnings here with an LP composed utilising a
full band set up, vocals from Thierry Ganz and a singular collaborative appearance from fellow Dutch artist, Toman. The debut album showcases LEYO’s depth of influences, straddling the lines throughout between soulful electro-pop and funkinfused disco jams through to more raw house and sun drenched lounge cuts.
Opener ‘Hello (Intro)’ sets the tone with bumpy drums, psychedelic guitar tones and a dreamy phone call voice before
‘Don’t Do It’ picks up the pace, blending funky guitar lick, organic percussion and resonant synth leads with sporadic vocal
chants. Thierry Ganz first appearance on the album follows with ‘Know Your Name’, merging together Ganz hypnotic vocal
stylings with choppy bass stabs, cinematic strings and crisp disco drums. ‘Open Up The Trunk Do It’ then shifts gears into
jazz-tinged raw house territory via twinkling keys, saturated drums and a vacillating low-end drive.

Up next LEYO welcomes both Toman and Thierry Ganz into the mix for ‘That Booty’, a high octane disco house jam fuelled
by swinging drums, soulful vocals and tension building atmospherics. ‘That’s Why’ then brings down the pace to a more
dreamy aesthetic with fluttering keys and wandering synths intertwined with congas and breathy vocals. The final full
length track ‘Without You’ then lays down a shuffled rhythm section and plucked guitar lines with hypnotic chords and
filtered vocals throughout its six and a half minute duration before ‘On My Mind ft. Thierry Ganz (Outro)’ concludes the
package in a fully- fledged funk fashion, Ganz lays down his signature vocal style uttering the tracks title while underpinned
by wandering bass notes, bouncy drums, wandering guitar notes and Moog style synth licks.

MJ Lenderman is a songwriter born and raised in Asheville, North Carolina. The anatomy of an MJ record might go something like this: warped pedal steels and skuzzed out guitar; crackin" a cold one with some buds; a voice reminiscent of the high lonesome warble of a choirboy. Songs snake their way from a lo-fi home recording to something glossier made withn longtime friends at Asheville"s Drop of Sun studios, but the recording setting doesn"t seem to matter much - at its core, a Lenderman song rings true. Manning Fireworks is a remarkable development in MJ Lenderman"s story as an incredibly incisive singer-songwriter, whose propensity for humor always points to some uneasy, disorienting darkness. The punchlines are still here, as are the rusted-wire guitar solos that have made Lenderman a favorite for indie rock fans looking for an ernerging guitar hero. There"s a new sincerity, too, as Lenderman Iets listeners clearly see the world through his warped lens.

New York’s Sarah Kinsley is fascinated by creating imaginary worlds and alternate realities. We all need an escape. To that end, Sarah’s first album is called Escaper, and to which world you choose to escape is ultimately your own decision. This is vibrant, bold, beautiful music that confronts death and loss, the decimation of old friendships, romantic love’s shortcomings compared to the love shared with close friends, and fraught relationships that flourished and then fizzled. It sounds hugely confident, a real body of work. “A huge way of how I get through life and pain and horrible experiences is through the creation of these spaces where you can become someone else as a distraction—as a means to solving grief,” Sarah says. She works through it all as if the centerpiece of an epic poem, with high drama melodies and huge sweeping choruses.

This year's compilation is once again dedicated to the Bärenherz children's hospice here in Leipzig.
The people in this organization do such incredibly important work, but unfortunately it is all too often "invisible" - because if we're honest, it's not a topic you like to deal with unless you are directly or indirectly affected yourself. And then you realize that the costs of care, accommodation, supplies and psychosocial therapies are only partially covered by health insurance. The children's hospice does not receive any state subsidies, and that's why it is dependent on private donations.

We asked a few old friends from our new hood (now that we are no longer just mentally but also physically located in Leipzig) for tracks, as well as new ones - from Connewitz to Chicago - bridging the gap between Neo-Soul, good old Boom Bap, Modern Funk, Electro, Synthiepop, Breaks and of course, House Music in all its shades.

One love goes out to all artists and supporters!

Returning from time apart to a world forever changed, dread-fuelled duo A SWARM OF THE SUN bring with them their fourth studio album, `An Empire'; its brooding, yet beautiful, melancholic narrative arc allows the band to dig ever deeper into desolation whilst a newfound lyrical focus adds a tenderness that is both harrowing and heartwarming at once. With the early bones of forthcoming `An Empire' tabled by events beyond their control in 2019, Erik and Jakob came together years later and scrapped them in favour of creating something entirely new; something distinctly different to break the cycle, defy categorisation and reflect the uncomfortable uncertainties of the times we now live in. The result is astounding; continuing the thread of narrative composition seen on `The Woods', `An Empire' is a six-track tale told in four distinct movements that are nothing short of devastating, from plaintive piano ballads to raw, full-band fury. For instance, taken from the album's third side, lead single `The Burning Wall' embodies this sprawling compositional feat perfectly, with the painfully frank opening couplet of "I know I fail you / I know that I run" establishing a gripping narrative trajectory backed by a simmering, impatient pulse that slowly and inevitably rises to an inescapable crescendo of cymbal chaos and wall-of-sound guitar drone. Elsewhere, 18-minute epic `The Pyre' represents Side B of `An Empire' with the confessional intimacy of a waltz-time ballad; the raw, wavering emotion of Jakob's words accompanied only by a haunting, lilting piano refrain before it too is consumed by the bittersweet might of post-rock euphoria to leave only embers of the apocalyptic lyrics in its wake_ `An Empire' marks a significant evolution of A Swarm of the Sun's already indelible post-metal sound. With increasingly bleak times forcing the band to reassess their relationship with creativity and suffering, this new body of work captures all the anthemic, intimate highs and crushing, debilitating lows of modern life on a knife edge.

Returning from time apart to a world forever changed, dread-fuelled duo A SWARM OF THE SUN bring with them their fourth studio album, `An Empire'; its brooding, yet beautiful, melancholic narrative arc allows the band to dig ever deeper into desolation whilst a newfound lyrical focus adds a tenderness that is both harrowing and heartwarming at once. With the early bones of forthcoming `An Empire' tabled by events beyond their control in 2019, Erik and Jakob came together years later and scrapped them in favour of creating something entirely new; something distinctly different to break the cycle, defy categorisation and reflect the uncomfortable uncertainties of the times we now live in. The result is astounding; continuing the thread of narrative composition seen on `The Woods', `An Empire' is a six-track tale told in four distinct movements that are nothing short of devastating, from plaintive piano ballads to raw, full-band fury. For instance, taken from the album's third side, lead single `The Burning Wall' embodies this sprawling compositional feat perfectly, with the painfully frank opening couplet of "I know I fail you / I know that I run" establishing a gripping narrative trajectory backed by a simmering, impatient pulse that slowly and inevitably rises to an inescapable crescendo of cymbal chaos and wall-of-sound guitar drone. Elsewhere, 18-minute epic `The Pyre' represents Side B of `An Empire' with the confessional intimacy of a waltz-time ballad; the raw, wavering emotion of Jakob's words accompanied only by a haunting, lilting piano refrain before it too is consumed by the bittersweet might of post-rock euphoria to leave only embers of the apocalyptic lyrics in its wake_ `An Empire' marks a significant evolution of A Swarm of the Sun's already indelible post-metal sound. With increasingly bleak times forcing the band to reassess their relationship with creativity and suffering, this new body of work captures all the anthemic, intimate highs and crushing, debilitating lows of modern life on a knife edge.

Carving an unlikely and elaborate niche in the stoney academic landscape
which she once shared with the likes of Phill Niblock, John Cage and Sorel
Hayes, the excitable proto-punk poèmes sonores of the linguistic loose
cannon known as Beth Anderson first rolled through New York in the mid-
1970s (from Kentucky via San Francisco) like a jumbled tumbleweed of lost
Letterism, face paint and threadbare drummy funk to astonish gallery floors,
lecture theatres and loft apartment stages.
One thousand leagues under the radar of the commercial music industry,
with a sense of humour that elevated way above her highbrow peer group,
the music of Beth Anderson has successfully evaded the pressing plant for
most of her creative career, and not unlike fellow New York gallery actionist
Suzanne Ciani, it has taken decades to successfully collect and contextualise
these early recordings - expanding her elusive discography beyond the rare
and mysterious solo single entry in the process.
When uttered amongst the type of vinyl vampires that haplessly gravitate
between both art school vintage vanity pressings and family funded plunder
funk, there’s an outside chance that the name Beth Anderson might muster
some vague recognition on account of her one and only solo wax sojourn
into the expansive DIY market. In 1980 the 45rpm single, ‘I Can’t Stand It’,
combusted into the consciousness of adventurous participants with its deep
rhythmic backbeat (courtesy of future Sonic Youth / Dinosaur Jr producer
Wharton Tiers, member of the new wave band Theoretical Girls), climaxing
with two colourful and commanding linguistic tantrums before disappearing in
a puff of smoke leaving would-be fans dumbstruck without so much as a
label name or distribution contact to explain what they had just heard.
For those who have spent the subsequent years on the edge of that same
seat, it might come as some comfort knowing that somewhere out there,
there is also a contrasting world of gallery patrons and experimental sound
poetry enthusiasts that similarly didn’t know that their regular performance
poet Beth Anderson even made the ambitious pop record. For the uninitiated,
the enigmatic Beth Anderson has straddled both sides of the art / rock fence
placed between two equally niche pastures.
Hopefully this first ever vinyl compendium will succeed in joining the dots,
loops, yelps, squeaks, beats and repeats. Let us follow Beth’s lineage, along
her magnetic tape highways crossing multiple boundaries in a hope to bridge
unlikely anti-genres like ‘yoga punk’, ‘ramble rap’, ‘combustion pop’ and
‘formroom funk’… all of which were officially neatly bracketed under the
curious Text-Sound movement where Beth garnered utmost respect as a key
practitioner.

This is the first reissue of the “Piece Of The Action” LP since 1973, and the CD has bonus tracks with everything Bobby Hutton recorded between 1969 and 1974. Everything taken from the original master stapes and restored.

Bobby Hutton is from Detroit, Michigan and began his career after winning a talent show at the 20 Grand nightclub. In 1971 he performed on the very first nationally aired Soul Train TV programme. He cites Jackie Wilson as his biggest influence. He began writing under his real name Harold Hutton, then Billy Davis at Chess Records persuaded the change to Bobby Hutton. He had decided not to pursue a career at Motown, and after one single for Checker, then another at Blue Rock (a subsidiary of Mercury) he moved to the Philips label for the huge Northern Soul favourite, “Come See What's Left Of Me" which was first played at the Stafford All-Nighters back in1985, covered up as Casanova Brown. Talents that produced and arranged for Bobby during those Blue Rock/Philips sessions include Donny Hathaway and Joshie Jo Armstead, and in fact it was with Jo that Bobby co-wrote that Northern Soul classic.

The Philips tracks are all on the CD as bonus tracks to the Piece Of The Action” album for ABC Records in 1973.

Produced by Dee Ervin, there are several fine tracks to enjoy but surely none better than the Gary Wright-penned “Lend A Hand” which became one of the biggest 'modern' Northern Soul tracks of all-time after spins at venues like the Highland Room at the Blackpool Mecca and Wigan Casino. The track was first championed by DJ Colin Curtis in 1974.

The album is beautifully produced with vocal accompaniments from artists including Patti Hamilton of The Lovelites, Jean Plum, Mikki Farrow and Frankie Karl. It received great reviews at the time and that persuaded ABC to release a non-album follow-up 45 produced by the brilliant McKinley Jackson and Reginald Dozier credited “Loving You, Wanting You, Needing You, Wanting You”/'Watch Where You’re Going” which is an elusive, highly sought-after single by soul collectors worldwide (now an Expansion 7” reissue).

In 2007, Bobby was honoured as he was voted the best singer in Chicago, quite an achievement and something that Bobby is quite rightly very proud of

“If rock ’n’ roll’s a dream, please don’t wake me.” Midwife’s No Depression In Heaven, her fourth studio album, was written primarily in the back of vans while on tour endlessly over the course of the past few years. The record engages with the contemplative spirit of rock ’n’ roll from within a body in motion. No Depression In Heaven explores themes of sentimentality, the interplay between dreams, memory, and fantasy, and a familiar subject seen throughout all of Midwife’s work: grief. Madeline Johnston takes a look at the tender and transcendent underneath a hard exterior of leather and studs, exposing a different side of the heavy music scene, where Johnston’s project has been living and evolving. Recording at home in New Mexico between 2021 and 2023, Johnston aimed to create something that was rough around the edges, returning to a free recording process that was less focused on perfection and more attuned to expressing the spirit that lives inside of the songs. The album features collaborations with Chris Adolf and Michael Stein of American Culture, Ben Schurr and Tim Jordan of Nyxy Nyx, Angel Diaz of Vyva Melinkolya, and Allison Lorenzen. Inspired by ephemeral moments that make up life on tour, the totemization of vehicles, outlaws, and the psyche of America’s underbelly, No Depression In Heaven affirms Johnston’s existential status as a woman of the highway

At last, this classic Americana album by the telecaster master is released on vinyl - and it's a limited edition ten-inch LP.

Bill Kirchen's band on this release features Geraint Watkins, Austin DeLone, Nick Lowe and Bobby Irwin.
Hammer Of The Honky-Tonk Gods keeps up his consistently high standard, with maybe just a little more diversity than on his previous offerings
Although there's lots of variety here, there's plenty of signature Kirchen Twang cuts that are sure to please his existing fans.

Air, Nico, St Etienne, Kid Loco, Young Marble Giants, Sandy Denny, Vashti Bunyan, Andrew Weatherall, Robert Wyatt and Serge Gainsbourg. Limited edition first pressing of 500 copies on "Mock Turtle" Blue. International collaboration between artists in Glasgow, London, Paris & New York. Mastered by Shimmy-Disc founder Kramer. Accompanying visual art work by Film and art director Tim Saccenti. Inspired by the intensity of lockdown, the self-titled debut album by electro-pop project Gates of Light, is the result of a collaboration between five artists across four cities, three time zones and two continents. Hailing from Glasgow, singer-songwriter Louise Quinn and producer Bal Cooke teamed up with London-based DJ and producer Scott Fraser; Parisian musician, DJ and producer Kid Loco; and film director and photographer, New York’s Tim Saccenti - who has previously worked with Run The Jewels and Pharell- to create a sublime, electro-pop reflection on the grief, insularity and peculiar highs of lockdown. Immediately after hearing the album, revered post-punk musician and producer Kramer offered to release the vinyl edition on his iconic cult label Shimmy-Disc, which boasts an impressive back catalogue of artists including Daniel Johnson, Low and Galaxie 500. A project grounded on collaboration - born from a period of disconnect - Gates Of Light perfectly amplifies the longing, confusion, lucid dreams and appreciation of the outdoors that the pandemic ignited in so many over the last couple of years. Originally written and recorded by Louise and Bal from their bedroom studio in Glasgow whilst their one-year-old twins slept, the tracks were then sent to Scott and Kid Loco who remixed the tracks from home studios in London and Paris before Tim created the artwork and a video for the track ‘When The Leaf Falls’. Gates Of Light is the latest project from Louise and Bal who have released music in the past as A Band Called Quinn and DAWNINGS. Louise and Scott Fraser have also previously collaborated following a chance encounter at a nightclub in Glasgow. Their single ‘Together More’ was released on Andrew Weatherall’s renowned Birdscarer vinyl imprint in 2019 and featured a remix by the Guv’nor himself who described the track as “sublime magik”.

MOVIE MOVIE takes the listener on a cinematic journey in their songs. They combine elements of power pop, '60s, '70s, and '80s garage, classic, alternative, and glam rock, but they have a sound all their own, with afocus on strong hooks and melodic vocals.

MOVIE MOVIE was formed in NYC in early 2022 by Derek Davidson (formerly of THE ELECTRIC MESS), and includes former members of other popular NYC and internationally known bands, including Andrea Sicco (TWIN GUNS) and Frank Caira (THE ABOVE), with Alan J. Camlet (also from THE ELECTRIC MESS). They recorded their debut 6 track EP "Now Playing" (Ghost Highway/KOTJ), over the summer of 2022, with the addition of Dave Amels (REIGNING SOUND) on keyboards.

They quickly followed it up with a full 10 track LP, "Storyboards" (Topsy-Turvy), completing it in early 2023, and they toured Spain later that year to well-received shows and receptive audiences. Around that time they went back into the studio and recorded the 10 tracks that would become their second full LP, "In 4-D!" (Topsy-Turvy), for release in late 2024. Again, they emphasize their cinematic flashback approach in the sequencing, with a wide range of styles along the way, beginning with '60s garage, through pop psychedelia, glam, New Wave, post-punk, and even veering into stadium rock territory (in the best sense) by the end, all filled with ear worms and indelible vocal arrangements and harmonies.

The legendary UK Thrash Band Solitary mark three decades of metal, with the release of a brand new album " Embrace The Darkness" which is the fifth of their thirty year career - and not only is it their heaviest, hardest, most confrontational release to date, it's undoubtedly their best yet, following on from the highly acclaimed "The Truth Behind The Lies" (Metalville Records 2020).

The UK's resolute and relentless kings of thrash, Solitary, have tapped into the thick, black blood that pulses sluggishly through the fat and filth congested veins of society. It is fact that we live in dark times; alongside war, pandemics, grief and horror. These are the days of division, where we turn against each other in politically driven hatred and against ourselves, choking on a social media diet of self-loathing and isolation.

Through our ever-glowing screens we watch the crumbling of virtue and the slow, agonised death of decency and honour. Solitary have stared into the alleyways, the cellars and the broken minds of our youth and forged their most unflinching album yet. This is their hymn to a dying world, their soundtrack to the end of days it's time to "Embrace The Darkness"

This summer is all about the Toxic Funk jams over at Breaknbeat Paradise Recordings and for the 15th installment of the Toxic Funk series we have welcomed back the Suckaside team to produce 2 timeless funky joints.

Suckaside aka DJ B-Side and Sucka Timmy is always on point when putting their tasty funky mashups together and this time around they're keeping it fresh with some soulful funky twists on some catchy RnB jams.

This is the second time Suckaside is dropping a toxic funk 7"inch after their highly successful Vol. 7 from 2021.

Starting things off with the catchy Sometimes Bootyful that featuring some smooth RnB vocals on a funky organ riff with a steady rocking breakbeat.

On the b-side the smoothness continues on the highly addictive Sugar Face, that's take a big slow-rockin' groove and mashes it with some catchy RnB vocals that will leave you asking for more every time it's played.

Another timeless 45 that will be going quick so get it while you can and look out for more Toxic Funk coming very soon…

Rio-born, Joyce Moreno, is one of the greatest Brazilian artists of all time. The voice, the playing, the writing, they all combine to make her a true allrounder. She possesses the ability to transport, captivate and transcend listeners. With a career that has spanned more than 30 albums and over 50 years, she continues to record and tour the world.

‘Aldeia de Ogum’ is one of her most well-known songs. With a joyfully jazzy arrangement, building Latin percussion, Brazilian flute and tropical atmosphere, this full-bodied samba smash became an anthem amongst London’s DJs and dancers in the Acid Jazz days. A favourite of Patrick Forge and Gilles Peterson, it was regularly spun at their legendary Dingwalls sessions.

Originally featured on her sought after Feminina LP from 1980, it also appears on our 'Essential' Joyce compilation from 1997. The original pressing of this Brazil 45 was the first time the track had been released on 7".

A fellow Rio native, Rosinha was a highly acclaimed composer, arranger and guitarist who played with legends including Baden Powell, Sérgio Mendes and Sivuca.

Here we present her stunning cover of the Gershwin classic, ‘Summertime’. Rosinha’s elegant, instrumental interpretation showcases her majestic guitar playing, and what a player she was! Backed with beautifully arranged, emotion-drenched strings, this track is guaranteed to stir your soul.

'Summertime' is taken from her 1975 RCA LP entitled Um Violão Em Primeiro Plano. The original pressing of this Brazil45 was the first time the track had been released on 7".

Remastered with refreshed artwork.

Two classic cuts from Jorge Ben and Miriam Makeba take either side of this Mr Bongo Brazil 45 reissue.

’Xica Da Silva’ is one of Jorge Ben’s most well-known and well-loved cuts, housed on the legendary Africa Brazil LP that deserves a place in every collection. A magical MPB cut, it instantly transports you to the shores of Rio de Janeiro. With a low-slung funky samba flavour, Ben’s absorbing vocal recounts the legend of one of Brazil's oldest black icons.

On the flip side, Miriam Makeba serves up an entrancing, slowed-down, grooved-out version of ‘Xica da Silva’. A highly influential singer, songwriter, and civil rights activist from South Africa, this low and slow interpretation is doused in strutting guitar, off-beat piano stabs and hypnotic drums providing the perfect platform to let Miriam’s vocal shine through.

Remastered with refreshed artwork.

Norwegian talent Meera makes her Crosstown Rebelsdebut with the atmospheric ‘Stikk’. Landing on 30th August, the EP sees the young artist flex her production prowess with remixes from Dennis Cruz and Tripolism.

Riding the success of her debut single ‘Music For Humans’ in 2023, Norway’s Meera was swiftly recruited by Damian Lazarus, joining him at his Hï Ibiza residency before heading to Rebellion for the release of the resonant ‘Teflon’. The sought-after artist has shown no signs of slowing, releasing a series of remixes this year amongst European shows, festival appearances, and Ibiza
pit stops. Continuing this momentum, she now makes her label debut on Lazarus’ renowned Crosstown Rebels with ‘Stikk’, with imprint regular Dennis Cruz joining on remix duties alongside melodic Danish trio and former collaborators Tripolism, who also make their first outing on Crosstown.

Landing in realms of afro-house, Meera’s production is cool, confident, and creative. With eclectic influences audible throughout her standout sound, her ‘Stikk’ EP proves why she first garnered the attention of artists such as Jimi Jules and John Digweed. The title track leads with minimal climbing percussion, introspective piano melodies and delicate, dreamlike vocals. In contrast, Tripolism’s remix turns up the intensity to a biting crescendo, adding sharp synths for a more dancefloor-focused feeling. ‘Sykkelkurv’ reaches for higher planes of emotion with its atmospheric soundscape, moody chords and driving drums, toeing the line between light and dark. Next, Dennis Cruz’s interpretation drives the track off the line and into deeper rhythms with chunky low-ends, picking up the pace for peak time. Digital purchasers are treated to a bonus track titled ‘Stikk Reprise’, a pulsating trip back into the lead single, with a heightened focus on the song's hypnotic vocals and raw emotive energy.

Get ready for a musical revolution! The Antwerp Gipsy Ska Orkestra is back, and this time, they're turning the music world upside down with their electrifying new album, "Revolution (Never Has Been Simple)." This groundbreaking project, produced by the modern genius Lunaman, features an infusion of new energy and talent with the remarkable addition of 18-year-old sensation Ramadan Sali, who has been a fan of the band since the tender age of three. But before we dive into the future, let's take a moment to appreciate the rich history of the Antwerp Gipsy Ska Orkestra.

A Journey Through Time and Sound: The Antwerp Gipsy Ska Orkestra Story
The Antwerp Gipsy Ska Orkestra's journey is a testament to the transformative power of music. Rooted in the vibrant city of Antwerp, Belgium, this innovative collective began its musical voyage decades ago. Their story is one of passion, diversity, and an unshakable commitment to crafting unforgettable sounds.

The band's unique blend of Gypsy and Ska, along with an eclectic mix of world influences, has earned them a dedicated global following. With each album, they pushed the boundaries of musical fusion, forging a path where genres intertwined, creating something entirely unique. Their evolution has been an ongoing exploration of culture, rhythms, and the unifying language of music.

"Revolution (Never Has Been Simple)": A New Era of Sound
And now, they're back with "Revolution (Never Has Been Simple)" – a title that perfectly encapsulates their journey. Produced by Lunaman, known for his innovative approach to modern soundscapes, this album is a breath of fresh air for the music world. It's a bold step forward, a revolution of their own creation, and a testament to their constant willingness to reinvent themselves.

Meet the Prodigy: Ramadan Sali
But that's not all that makes this album special. The Antwerp Gipsy Ska Orkestra has also welcomed a young prodigy into their ranks: Ramadan Sali. At just 18 years old, he's not only an extraordinary talent but a lifelong fan of the band, having followed their music since he was three years old. His fresh energy and creative spirit have injected new life into the band, making "Revolution" a truly remarkable chapter in their history.

"Revolution (Never Has Been Simple)" Unveiled
This album is more than just a collection of songs; it's a testament to the band's enduring spirit, their journey of growth, and their unyielding commitment to the craft of music. The tracks on "Revolution" are a thrilling mix of genres, emotions, and messages. From the high-energy dance anthems to soul-searching ballads, this album encapsulates the complexities of life and the raw power of music to connect with our hearts.

Get Ready for the Revolution!
As we eagerly await the release of "Revolution (Never Has Been Simple)," mark your calendars and prepare to join the musical revolution. This album is a testament to the Antwerp Gipsy Ska Orkestra's ongoing legacy, a fusion of the past and the future, and a celebration of the unifying power of music. Stay tuned for release dates, sneak peeks, and all the excitement surrounding this revolutionary musical masterpiece. The Antwerp Gipsy Ska Orkestra is back, and the world is about to witness a "Revolution" like never before!

The impact, influence, and importance of Run-D.M.C.'s self-titled debut – the album that invented hardcore hip-hop and bridged rap, rock, and funk in then-unparalleled ways – cannot be measured. The first full-length record released by Profile Records, the 1984 set permanently changed the sound of music, broadcast streetwise wisdom to every corner of the country, and made the notion of a one-man band a distinct reality. Bolstered by an incendiary blend of staccato deliveries, stark beats, aggressive exchanges, evocative hooks, and socially conscious messages, Run-D.M.C. still hits listeners in the jaw with the same intensity it did nearly 40 years ago when it could be heard booming from ghetto blasters carried around city blocks nationwide.

Sourced from the original master tapes, pressed on MoFi SuperVinyl, and strictly limited to 3,000 numbered copies, Mobile Fidelity's 180g SuperVinyl 33RPM LP is the definitive-sounding version of the groundbreaking work cited by Rolling Stone as the 378th Greatest Album of All Time. This reissue also represents the first time this gold-certified effort has been presented in audiophile quality. Benefitting from the ultra-low noise floor, superb groove definition, and dead-quiet surfaces of SuperVinyl, Run-D.M.C. now plays with a clarity, immediacy, punchiness, and directness worthy of the artistry, urgency, and intellect of the trio's material.

The brilliance of Russell Simmons and Larry Smith's production comes into view as if the music is being broadcast on a giant system in a small club — only more focused, lively, and unlimited. Free of dynamic constraints and fatiguing harshness, this LP invites you to turn up the volume and experience the raw, rough, invigorating songs that changed the look, sound, and feel of hip-hop overnight. Think the trio’s sparse framework of drum machines, tag-team rhymes, keyboard accents, and turntable scratches is stuck in the mid-80s? Spin MoFi’s SuperVinyl LP and gain new appreciation for the music, messages, and production on display on Run-D.M.C.

Recorded in the wake of two successful and pioneering singles, both included on the album, Run-D.M.C. effectively took a sheet of coarse-grit sandpaper to the polish, sheen, and linear presentation of all the hip-hop that preceded it. Stripped to bare-bones foundations, the songs grab your attention and shake you by the collar with a combination of industrial-leaning rhythms, staggered deliveries, dance drama, and hard, minimalist percussion. Then there are the lyrics.

The LP broadcasts a smart mix of boots-on-the-ground reports, uplifting advice, and then-nascent b-boy culture. In one fell swoop, its narratives and music rendered the scene’s proclivity toward glamor and softness passé. Run-D.M.C.’s tough, cool-minded fashion sense showed the trio walked its talk and gave fans — particularly those living in long-ignored urban areas — heroes which with they could identify. Kangol hats, black jeans, leather jackets, Adidas sneaks, and gold chains were the new currency.

In every regard, Run-D.M.C. signifies the birth of modern hip-hop. Never more obviously than on the groundbreaking “Rock Box,” where rap and rock were first fused. As the first hip-hop video to receive regular rotation on MTV, the track eviscerated racial and social boundaries, awakened musicians and listeners to new possibilities, and redefined both popular music and, ultimately, popular culture. As the Roots’ Questlove has stated, it “ knocked down many obstacles, enabling hip-hop to become the new gospel."

Such teaching includes the real-world scripture of “Hard Times,” utopian hopefulness of “Wake Up,” and observational truths of “It’s Like That.” Released as the group’s debut single well before its eponymous album, the latter tune established themes and outlooks Run-D.M.C. would embrace during its career. Namely, the keen awareness of various prejudices, economic ills, and disruptive violence as well as the knowledge that education, self-motivation, and hard work were the ways to escape disadvantages and disillusionment.

Inspired and inspirational, the song reflects the spirit and shrewdness that courses throughout Run-D.M.C. That includes a detailed account of the trio’s not-so secret weapon (“Jam-Master Jay”), purpose statement (“Hollis Crew (Krush-Groove 2)”), and a revolutionary hybrid autobiographical narrative-dis track (“Sucker M.C.’s (Krush-Groove 1)”) widely regarded as one of the best hip-hop songs ever created. The same can be said for every moment on Run-D.M.C.

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

COEO back on Toy Tonics! The German duo has been part of Toy Tonics since day one. Now they celebrate their return to Toy Tonics with an outstanding EP full of timeless, contemporary house music that also marks their 10th contribution to the label after their first release on the imprint 10 years ago. Their house vibes have been defining the sound of the Toy Tonics label for many years and still now they regularly play the Toy Tonics events around the world. (The Toy Tonics Jams).

On this new EP one more time the boys dive deep into the Italo & Piano House world- getting more electronic than ever. This EP is 100% in the vibe of now. With great piano chord drops that make everybody scream on the dance floor, with horn and synth melodies that you can sing along after you heard them one time only and with classic house beats that are THE sound of today.

The main title “Nostalgia” is inspired by and a tribute to all the intimate and ecstatic moments they were able to share over the years with music lovers on festivals and in clubs around the world. While the piano house theme on the A1 brings you in that festive mood of your last summer festival you have been to with your closest friends, the second track of the EP „Breeze“ takes it on a higher energetic level and combines a funky bass guitar with progressive house elements. Remember that special moment when you were attending your first full moon party in that far away country after you have finished school? That gentle wind blowing through the trees? „Breeze“ could be the soundtrack of that adventure.

On the B side Italo house influenced „Meet me at the cascades“ captivates through an hypnotic approach and unfolds dreamy synth pads and arpeggios to take you on a imaginary journey to your favourite retreat, a place you feel safe.

The EP features 3 original tracks and also a remix by COEO friends Stump Valley. The former Dekmantel artists who now joined Toy Tonics. Stump Valley btw are Francesco and Aleksei. Aleksei also works under the name of Brian de Palma and will release a solo album soon on Peggy Gou’s label Gudu. Stump Valley‘s remix of „Nostalgia“ rounds up the EP with its stand out piano solo and marks the perfect end to an EP that is meant to stay in your head just like all those intense memories which life in general evokes.

RAWAX proudly welcomes Mr. Gerald Mitchell to the Family!
We are happy to present you in near future his own series on the Motor City Edition! This will include new releases and classic re-issues.
Starting with M5 - Celestial Highways from 1999. Originally released on Metroplex.

We present UT006, a compilation featuring six dynamic tracks, each with its own unique flavor. This
collection showcases the diverse sounds found within the electro universe.

Dark Vektor and The Bandit, united by the bass, unleash a high-energy blast brimming with
intricate sound details, power, vocoders, and versatility—all in one.

Cyberdom offers a captivating track with arpeggiated bass lines and a nostalgic 2000s vibe. His
signature style and well-crafted arrangements create a journey through sweet and subtle darkness.

Amor 307 joins the lineup with an aggressive track featuring thick, looped sounds and strident acid
elements, revealing his techno influences.

Spectrums Data Forces delivers a high-end track that defies conventional electro norms. If not for
its broken rhythm, it could be described as a storm of quality techno with intense melodies.

The Belgian Dark Prophet contributes a 4x4 hit designed to ignite any dance floor, blending a
touch of classic electro that resonates with our audience.

Promising/Youngster has once again proven his mastery. This track exudes pure quality,
demonstrating that simplicity can be the ultimate form of beauty, and a sample can evoke powerful
memorie

Tuff Trax and Jay Ward are two of the most potent producers in the UKG scene right now and they both appear together in collaborative mode on this new EP for Rhythm N Vibe, which also happens to be their tenth outing. It's pure filth from the off with 'Higher' sure to get the gun fingers out and the fists pumping. 'Something Like This' is a more raw and percussive garage bumper with sleazy low ends and naughty bass, then 'Crazy' gets funky with some nice retro r&b vocal samples and warm chords surging through the mix. 'Give Me Love' shuts down in soulful fashion with great colour bursting out of the beats.

An All-Time Jazz Audiophile Masterpiece - Now on UHQR!
200-gram 45 RPM 2LP release limited to 5,000 copies
Mastered by Kevin Gray at Cohearent Audio from the original analogue tapes
Set includes 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal
Pressed on Clarity Vinyl at Quality Record Pressings
Purest possible pressing and most visually stunning presentation and packaging!
One of the most classic jazz albums and live recordings, a regular on most best-of jazz lists!

The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz For Debby was originally released in 1962 as a companion to Sunday At The Village Vanguard. It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans' unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality.

The title track, "Waltz for Debby," serves as the centrepiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans' masterful piano playing.

Throughout the album, Evans and his trio venture into other classic jazz standards, including "My Foolish Heart," "Detour Ahead," and "Milestones." With each performance, they delve deep into the heart of the music, exploring its nuances and improvising with a profound sense of lyricism. Evans' introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection.

The beauty of "Waltz for Debby" lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience's presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album.

Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz For Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue.

Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paid to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process.

Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records.

Waltz for Debby stands as a testament to Bill Evans' genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for its timeless beauty and the lasting impact it has had on the genre.

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Already familiar to fans of Freestyle Records acts Frootful and Lack
Of Afro after supplying her memorable voice to tracks by both, as well as working with masters of the mellow; The Ambassadors Of Sorrow, Angeline Morrison's ability to craft subtle, yet very catchy melodies infused with folk, bossa nova, R&B and jazz rhythms and textures ensures her music sounds fresh, engaging and highly original.

PYJÆN is the reflection of 5 souls. Their joy, their happiness, their worries and experiences come together in one unified higher identity. PYJÆN’s story will be expressed not only musically but also with other visual arts.

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Consisting of guitarist Dani Diodato, trumpeter Dylan Jones, saxophonist Ben Vize, drummer Charlie Hutchinson and bass player Benjamin Crane, PYJÆN have been touring in the UK this year with dates at iconic venues such as the Jazz Cafe, Vortex Jazz Club and Ronnie Scott’s as well as playing Glastonbury, Love Supreme and Brainchild Festival.

Described by Jazz Wise Review as having “a groove propelled with dynamism and formidable technique”, PYJÆN seamlessly meld funk, afro-beat and contemporary sounds with nods to hip-hop and disco, whilst acknowledging the traditional era of 1920s jazz and dance music.

Their debut self-titled album ‘PYJÆN’ was released on 20th September 2019, both digitally and physically with 300 limited copies of Vinyl being distributed across selected UK record stores, as well as Bandcamp.
The album will also be supported by a graphic novel, which will tell the story of PYJÆN and the influences and stories behind the songs.

1STEP Process 180g 45rpm 2-LP, Pressed on VR900-Supreme Vinyl!
The ultimate edition of Frank Sinatra’s famed 1950 concept album
Cut Using Original Analogue Mix-down Masters by Chris Bellman and Andreas Meyer! Strictly Limited To 5,000 Numbered Pressings!
Two 45-rpm 1STEP LPs pressed by RTI on VR900 Supreme Vinyl
New lacquers cut after each run of 500 pressings
Distinctive Impex 1STEP packaging featuring a gorgeous tip-in 36-page booklet with exclusive photography and period graphics, an expanded historical essay by Charles L. Granata

A heavy-stock two-sleeve Monster Pack jacket by Stoughton Printing and a luxe colour-matched slip case


We are beyond thrilled to announce the release of a very special limited edition of Frank Sinatra’s historic Sing and Dance with Frank Sinatra on Impex 1STEP! Our all-analogue 2-LP set adds further narrative substance and sonic greatness to The Voice’s first big-band jazz long-play vinyl “concept” album! Our 33.3 release was a landmark reissue, but this is a whole other level!

Like all Impex 1STEPs, this audiophile recording is pressed at 45-RPM on high-definition, VR-900 Supreme vinyl for incredible clarity, immediacy and a tonal depth that virtually mirrors the original monophonic master tape. Additionally, the tapes and discs we mastered from have rarely been used by other labels, delivering the original recording sessions closer than releases whose tapes have gone through mastering chains over and over. Silent, flat surfaces provide for near-perfect audio playback without distracting non-fill issues.

Exclusive to the Impex 1STEP edition are two previously unreleased bonus recordings and an extended version of the “It All Depends On You” Session + Take, where Sinatra capably arranges the musicians in real time!

The luxurious 1STEP packaging includes a gorgeous 36-page full-colour booklet with expanded historical liner notes, unique photos and graphics, and a deluxe slipcase. It provides an excellent listening experience and a “coffee table book” for your living room or den!

The Bluesville Series from Craft Recordings and Acoustic Sounds!
Inspired by the original Prestige label imprint established in 1959
Live Wire/Blues Power by Albert King
All-analogue mastering by Grammy-nominated engineer Matthew Lutthans
180-gram vinyl pressed at Quality Record Pressings
Obi strip with reflections written by Grammy-winning producer, writer, and musician Scott Billington
Highlighting trailblazing blues musicians from legendary labels

Live Wire/Blues Power is a live album from Albert King recorded in 1968 at the Fillmore Auditorium in San Francisco, California. Featuring originals and King's rendition of classics, the album demonstrates Albert King's blues prowess.

Featuring all-analogue mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios. Pressed on 180-gram vinyl at Quality Record Pressings, this album is released in partnership with Acoustic Sounds, and features a paper-wrapped tip-on jacket. According to Rolling Stone, this album is "Just the unadulterated pure and simple blues.

The Bluesville Series from Craft Recordings and Acoustic Sounds!
Inspired by the original Prestige label imprint established in 1959
Last Night Blues by Lightnin' Hopkins with Sonny Terry
All-analogue mastering by Grammy-nominated engineer Matthew Lutthans
180-gram vinyl pressed at Quality Record Pressings
Obi strip with reflections written by Grammy-winning producer, writer, and musician Scott Billington
Highlighting trailblazing blues musicians from legendary labels

Last Night Blues is Lightnin' Hopkins' 1961 album, featuring Sonny Terry.?The second of three album collaborations, Last Night Blues showcases Hopkins' and Terry's different yet complementary styles to create a well-rounded listening experience. AllMusic declared, "this dynamite disc represents what the blues should be: stripped-down, soulful, and full of truth."

Featuring all-analogue mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios. Pressed on 180-gram vinyl at Quality Record Pressings, this album is released in partnership with Acoustic Sounds, and features a paper-wrapped tip-on jacket.

After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970. Label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result. It was the group's swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purist's Velvet Underground album. Still, AllMusic gives the album 5 Stars and Pitchfork calls it a "perfect rock 'n' roll record — 40 minutes long, five songs to a side, and not a single wasted note." Loaded is the sort of proper album that feels like a greatest hits collection, with each track thoroughly inhabiting and mastering a dominant rock archetype. Although the songs "Sweet Jane" and "Rock & Roll" distinguished the band as a "seminal proto-punk" act, "The trifecta of 'Who Loves the Sun,' 'Sweet Jane' and 'Rock & Roll' is among the best three-song openings on any rock and roll record," wrote Paste contributor Jeff Gonick Analogue Productions has given Loaded the deserving full reissue treatment: Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Critically acclaimed series We Are Lady Parts follows the highs and lows of the band – Lady Parts – as

seen through the eyes of Amina Hussain – a geeky microbiology PhD student, who’s on the lookout for love and is recruited to be their unlikely lead guitarist.

The second season, which launched on Channel 4 (UK) and Peacock (US) on May 30th, sees the band return

with a renewed artistic mission after the high of their first UK tour, only to find a rival band threatening their delicate status quo.



But as the reality of chasing success sets in, Lady Parts embarks on recording their first album,

juggling personal ambitions and questioning whether ‘making it big’ is really what they want.



This vinyl release features original songs and surprising cover tracks from season 1 and 2!!

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“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

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If one band could be cited for the emergence of Ska music, that band would be the Skatalites.

Formed around June 1965 and built around the many musicians that had honed their craft at the Alpha Boys School in Kingston, Jamaica. The early line up consisted of Don Drummond (Trombone), Roland Alphonso (Tenor Saxophone), Tommy McCook (Tenor Saxophone), Johnny ’Dizzy’ Moore (Trumpet), Lester Sterling (Alto Saxophone), Jerome ’Jah Jerry’ Hines (Guitar), Jackie Mittoo (Piano), Llyod Brevett (Bass) and Llyod Knibbs (Drums).

Named originally The Satellites after the big news of the day, the Soviet space satellite. They became The Skatalites when band member Tommy McCook introduced a play on the characteristic ‘Ska’ sound, made by the guitar when following the’ after beat’ of the music.The group had already cut its musical teeth by playing under various guises around the Jamaican island in numerous ‘hotel bands’. When the big Sound System operators Sir Coxsane Dodd, Duke Reid and King Edwards needed new material to play out with and their usual source of the material, American R & B records were drying up. They turned to this pool of musicians to back up their main singers of the day. Delroy Wilson, Alton Ellis and Lord Creator to name but a few. Also to cut the many instrumental tracks they needed usually under the tutor ledge of Don Drummond, official band leader and main musical director. Their knowledge of the old mento tunes and an understanding of Jazz and R&B music somehow blended to make this musical sound that was to dominate the island from the early 60’s up until around 1966 when the sound would slow down to what we now know as Rocksteady.

The time span of the Skatalites career considering their output of litually 100’s of sides of music, was a relatively short one of just over two years. We have delved into the vaults of Wirl Records and have selected some tunes that show the dexterity of the band and what great sounds this group of musicians were capable of producing and the high quality they maintained. They recorded before they were named as a collective The Skatalites, when personal and financial problems became an issue the band split into two halves. Jackie Mittoo and Roland Alfonso going on to form The Soul Brothers band for Coxsone Dodd. Tommy McCook moving over to work with Duke Reid as musical director. Sadly, Don Drummond suffering for years from depression would see his career cut short ending in Belle Vue hospital in 1969.

But while together they cut some of the finest Ska Sounds to be found on record. We hope you enjoy this set as much as we have in putting it together.
So, stand Up, Listen Hard and do the Ska……

2024 Repress

The follow up to the highly acclaimed reissue of the first volume Ethiopian Hit Parade. This 2nd volume features 'Ethiopian Hits' from 1972 to 1975. The track layout is Identical reissue to the original vinyl

"After releasing around fifty 45 rpm singles and his first 33 rpm album (Ethiopian Modern Instrumental Hits AELP 10, re-released by Heavenly Sweetness HS092VL), Amha Esthèté set about compiling his best 45s on a series of now legendary albums (the originals are impossible to find) in 1972. The first four volumes of Ethiopian Hit Parade were released in September and October 1972, with the fifth volume appearing in January 1973. You are the proud owner of Volume 2.

It is worth reminding ourselves that when Amha Esthèté set up his Amha Records label in 1968-69, it was in defiance of a state monopoly designed to regulate the imports and production of records by an imperial decree of July 1948. This extravagant state privilege had produced only 78s of traditional music , which though thrilling, excluded anything at all modern. To the best of our knowledge, only sixty-seven of these prehistoric discs were pressed in Great Britain between 1955 and 1961 and released by His Master’s Voice. They were supposed to be part of celebrations of Emperor Haile Selassie’s silver jubilee . . . even though 33s and 45s had existed since 1948 and 1949 respectively! Such incompetence and servility, combined with a rejection of an effervescent contemporary music scene, were symptomatic of the decadence surrounding the end of an era.

An audacious, funky outlaw, a music lover and an entrepreneur in tune with the baby-boomer generation, young Amha Esthèté (he was only twenty-four when he launched his label) will be remembered as the instigator of a peaceful revolution thick with soul and rock’n’roll.

After the acclaimed reissue of the first volume Ethiopian Hit Parade. Here is the second volume that include all the greatest Ethiopian Hits from 1972 to 1975. Identical reissue to the original vinyl which is extremely rare and expensive.

The opening track of the compilation is the song Tezeta Slow and Fast by GETACHEW KASSA were featured on the album Ethiopiques, Vol. 10: Ethiopian Blues & Ballads. and originally released on 1972. The other tracks on this second volume celebrate such pioneers of modern Ethiopian groove as Abayneh Degene, Tèshomè Meteku, Menelik Wossenachew Mulatu Astatqe and Muluken Melesse, alongside “tradi-modern” singers representing Amhara and Oromo culture, so rich and so long marginalized."

"Waxwork Records is excited to present FRIDAY THE 13TH PART VIII: JASON TAKES MANHATTAN Original Motion Picture Score by Fred Mollin. Released in 1989, Friday the 13th Part VIII: Jason Takes Manhattan is an American slasher-horror film written and directed by Rob Hedden and stars Kane Hodder as Jason Voorhees. The eighth installment of the series follows Jason as he stalks a group of high school graduates on a ship en route to New York City.

The film’s musical score was composed by Fred Mollin, who worked with longtime Friday the 13th composer Harry Manfredini on the previous installment, Friday the 13th Part VII: The New Blood.

Jason Takes Manhattan was the first film in the series not to feature Manfredini credited on the score. Navigating away from traditionally used strings and horns, Mollin’s score to Jason Takes Manhattan is electronic based and utilizes digital keyboards and synthesizers popular of the time.

Waxwork Records is thrilled to release the complete score for the very first time on vinyl. Sourced from the original master tapes from Paramount’s vaults, the score has been restored and remastered. The 2xLP album package features 180 gram colored vinyl, an interactive die-cut old style tip-on gatefold jackets with matte satin coating, printed inner sleeves, and new artwork by Anthony Petrie."

Metronomy haben heute ein neues Kapitel ihres langen und bunten musikalischen Lebens aufgeschlagen. Es ist erneut ein kollaboratives Kapitel, es ist die kommende „Posse EP Volume 2“, die am 12. Juli 2024 bei ihrem neuen Label, Ninja Tune, erscheint. Auf den fünf Tracks schlüpft Bandgründer und -leader, Joe Mount, in die Rolle des Produzenten und erschafft musikalische Welten, in denen neue Sänger:innen und Künstler:innen ihre Stimme zu Mounts feierlichen Instrumentals veredeln können.

Auf der „Posse EP Volume 2“ arbeitet Mount mit Miki, Faux Real, Nourished By Time, Lynks, SPIDER, Master Peace und TaliaBle zusammen. Die Geschichte der „Posse“ EPs begann im September 2021, als Mount den ersten Teil veröffentlichte, eine fünf Tracks umfassende Kollaboration mit einer Reihe neuer Freund:innen, darunter DJ und MC Pinty, der bereits bei Rhythm Section veröffentlicht hatte, und Biig Piig. Im darauffolgenden Jahr veröffentlichte er das bislang letzte Metronomy-Album, „Small World“, das die Party fortsetzte, indem er Künstler:innen von Nadeem Din-Gabisi bis Katy J. Pearson für eine spezielle Remix-Edition einlud.

Format: - Schwarzes Standardvinyl (140g) mit Artwork von James Vinciguerra inklusive Downloadcode.

Black Vinyl-Edition des LP-Samplers der Chicagoer Shoegaze-Band Slow Pulp mit allen 12 Songs der beiden EP's 'EP2' (2017) und 'Big Day' (2019).

Anciients teilten die Bühnen mit Bands von High on Fire und Goatwhore bis Boris und Lamb of God, und befanden sich mitten in einer Europatournee, als sie entdeckten, dass sie mit dem JUNO Award (dem kanadischen Grammy-Äquivalent) in der Kategorie Heavy Metal/Hard Rock ausgezeichnet wurden.

Nach acht Jahren Stille kehren Anciients mit neuen Besetzung und einem neuen Album zurück, das ihr härtestes, kopflastigstes und innigstes Werk genannt werden kann.

Fans, die auf gebeugten Knien auf weitere Griffbrett-Heldentaten gewartet haben, werden von Beyond the Reach of the Sun nicht enttäuscht sein. Die Leadsingle „Melt the Crown“ feuert gleich mehrere Gitarrensoli ab - Jedes von ihnen hat seine eigene Note, die von klagendem Folk über Südstaaten-Blues bis hin zu psychedelischem Prog reicht.

Natürlich haben Anciients auch keine Angst vor dem Headbangen. Nach einem Intro entpuppt sich „Cloak of the Vast and Black“ als ein wahres Riff-Monster.

Konzeptionell ist das Album ebenso heavy - Es erzählt die Geschichte einer Gesellschaft, die von Kräften aus einer anderen Dimension versklavt wird.

Anciients teilten die Bühnen mit Bands von High on Fire und Goatwhore bis Boris und Lamb of God, und befanden sich mitten in einer Europatournee, als sie entdeckten, dass sie mit dem JUNO Award (dem kanadischen Grammy-Äquivalent) in der Kategorie Heavy Metal/Hard Rock ausgezeichnet wurden.

Nach acht Jahren Stille kehren Anciients mit neuen Besetzung und einem neuen Album zurück, das ihr härtestes, kopflastigstes und innigstes Werk genannt werden kann.

Fans, die auf gebeugten Knien auf weitere Griffbrett-Heldentaten gewartet haben, werden von Beyond the Reach of the Sun nicht enttäuscht sein. Die Leadsingle „Melt the Crown“ feuert gleich mehrere Gitarrensoli ab - Jedes von ihnen hat seine eigene Note, die von klagendem Folk über Südstaaten-Blues bis hin zu psychedelischem Prog reicht.

Natürlich haben Anciients auch keine Angst vor dem Headbangen. Nach einem Intro entpuppt sich „Cloak of the Vast and Black“ als ein wahres Riff-Monster.

Konzeptionell ist das Album ebenso heavy - Es erzählt die Geschichte einer Gesellschaft, die von Kräften aus einer anderen Dimension versklavt wird.

Leyya made it - das Duo tourte weltweit, spielte große Festivals und wird von Kritiker:innen hochgelobt. Mit ihren jeweils anderen Projekten und Produktionen zeichnen sich Sophie Lindinger (My Ugly Clementine) und Marco Kleebauer (Sharktank, Produktion für Bilderbuch, Faber u.v.m.) in den letzten Jahren auch außerhalb von Leyya als musikalische Genies aus und sollten die Wiener Independent-Szene nicht nur erobern, sondern prägen. Ihre Ankündigung, vorerst keine Konzerte mehr zu spielen, ist jedoch keinesfalls als Rückschritt, vielmehr als ein Schritt zur Seite zu sehen: "Wir sind endlich wieder bei uns selbst angekommen und es fühlt sich richtig an", so das Duo und produziert als Auszeichnung der Aussage innerhalb einer Woche beinahe ein ganzes 16-Track-Album. Half Asleep ist Bremse, Innehalten und Reflexion, eine Besinnung an die Gegenwart.

Saxophonist and composer Wayne Escoffery reflects on love, loss, and solitude on his stunning new album, an atmospheric and haunting mood piece, Alone, featuring a remarkable all-star quartet with pianist Gerald Clayton, bassist Ron Carter, and drummer Carl Allen. In the summer of 2023, saxophonist and composer Wayne Escoffery found himself alone in a way that he’d never quite experienced before. He was away from home, on sabbatical in Europe with a month to himself between tours. A long-term relationship had just ended, and he was confronted with the loss of friendships that he’d once valued. Worst of all, he’d suffered a broken finger that left him unable to play the saxophone for the first time since he’d picked up the horn in high school. “Normally, my coping mechanism would be the saxophone,” Escoffery laments. “But even that wasn't available to me for about nine weeks, so I just had to be alone in my thoughts.” He made good use of this alone time, conceptualizing the music that makes up his striking and singular new album. What emerged from that solitude was an extended mood piece, a workunique in Escoffery’s typically wide-ranging catalog for its sustained atmosphere of stark melancholy and searching introspection. Alone was conceived during a time of isolation, heartbreak, regret, and reflection, but the experience of the album is far richer even than that. In the end, “I was forced to reflect on life and what was most important to me,” Escoffery concludes. “The concept of this album grew out of that reflection.”

These songs are a showcase of Caudle’s singular command of language. He sees the world through a hyperreal lens wholly unique to him, one that renders dank humidity “horsefly heat,” a moody sky “cast iron skillet” dark, or a loved one’s “wind chime of a smile.”

Originally scheduled for release way back in March 1996, "The Raw Factor" by North Carolina native Omniscence is one of the last of the unreleased mid-90's albums to see the light of day. Despite being awarded The Source's coveted "Hip Hop Quotable" and dropping two well-received singles ("Amazin" and "Touch Y'all"), record label politics meant the full-length "The Raw Factor" album was never released and fans were left wondering what might have been.

28 years later, "The Raw Factor" is finally being released on vinyl, CD and digital stores. Featuring punchline-driven lyrics from Omniscence delivered in his unmistakable cadence, and backed by head-nodding production from Fanatic, the album is a must-own for fans of 90's Hip Hop.

Omniscence haunted the same early 90's cyphers and stages that many lyrical greats from the era had to cross. With a gruff delivery and equal adeptness with punchlines and metaphors, his high finish at the 1994 edition Battle For World Supremacy at the New Music Seminar assured heads across the culture were watching. After this, Omniscence locked in with producer Fanatic (who also laced tracks for Notorious B.I.G., Ma$e and Michael Jackson). The result was "The Raw Factor" album, fifteen plus tracks of jazzed out boom-bap, replete with crackin' drums.

Now Below System Records has not only given the album its first deluxe physical release (including 2xLP, CD and digital) as well as a slew of bonus/unreleased tracks.
















p Touch Y'all (Remix) feat. Sadat X
















p Touch Y'all (Remix) [feat. Sadat X]
















[p] Touch Y'all (Remix) [feat. Sadat X]
















[p] Touch Y'all (Remix) [feat. Sadat X]

Die norwegische Band LEPROUS kehrt mit einem furchtlosen und atemberaubenden neuen Album zurück, das wahrscheinlich ihr bisher fesselndstes und eindrucksvollstes ist. "Melodies Of Atonement", das 8. Studioalbum der Band, enthält 10 Songs / 51 Minuten zeitgenössischen Rocks vom Feinsten. Aufgenommen von David Castillo (Opeth, Katatonia, Soen, etc.) bei Ghost Ward in Schweden, wurde das Material von Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves, etc.) gemischt und von Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.) gemastert. Das Album ist erhältlich als Ltd. Deluxe 2CD+Blu-ray Artbook (mit Bonustrack auf dem Album, Instrumental-Mix auf der Bonus-CD und Dolby Atmos-Mix, 5.1 Surround-Mix sowie einer HighRes Stereo 24/96 Version auf der Blu-ray), Ltd. CD Mediabook (mit Bonustrack) & Leprous Logo Patch, Standard CD Jewelcase, Gatefold 180g 2LP (in schwarzem sowie farbigem Vinyl), Digitales Album (auch als Dolby Atmos Version). Verpasst nicht die Tournee von LEPROUS rund um den Globus mit ersten Stopps auf europäischen Sommerfestivals, gefolgt von einer Tournee in Nordamerika und vielem mehr...

Die norwegische Band LEPROUS kehrt mit einem furchtlosen und atemberaubenden neuen Album zurück, das wahrscheinlich ihr bisher fesselndstes und eindrucksvollstes ist. "Melodies Of Atonement", das 8. Studioalbum der Band, enthält 10 Songs / 51 Minuten zeitgenössischen Rocks vom Feinsten. Aufgenommen von David Castillo (Opeth, Katatonia, Soen, etc.) bei Ghost Ward in Schweden, wurde das Material von Adam Noble (Placebo, Biffy Clyro, Nothing But Thieves, etc.) gemischt und von Robin Schmidt (The 1975, Placebo, The Gaslight Anthem, etc.) gemastert. Das Album ist erhältlich als Ltd. Deluxe 2CD+Blu-ray Artbook (mit Bonustrack auf dem Album, Instrumental-Mix auf der Bonus-CD und Dolby Atmos-Mix, 5.1 Surround-Mix sowie einer HighRes Stereo 24/96 Version auf der Blu-ray), Ltd. CD Mediabook (mit Bonustrack) & Leprous Logo Patch, Standard CD Jewelcase, Gatefold 180g 2LP (in schwarzem sowie farbigem Vinyl), Digitales Album (auch als Dolby Atmos Version). Verpasst nicht die Tournee von LEPROUS rund um den Globus mit ersten Stopps auf europäischen Sommerfestivals, gefolgt von einer Tournee in Nordamerika und vielem mehr...

Experience the soulful and funky gospel sounds of the Howard Lemon Singers with the reissue of their 1977 album, Seasons, originally released by TK Records' Gospel sub-label Gospel Roots. Now reissued on vinyl for the first time through Regrooved Records, this album masterfully blends traditional gospel with modern soul elements, showcasing the Howard Lemon Singers at their most dynamic and inspirational.

Featuring rich vocal harmonies and uplifting messages, Seasons invites listeners on a spiritual journey through life's varying stages, emphasizing renewal, celebration, and introspection. Among the standout tracks is "You Are Somebody," a powerful anthem that resonates deeply with its message of affirmation and empowerment. The vinyl reissue preserves the original essence of the album, enhancing the audio quality to highlight the depth and warmth of the studio recordings.

Perfect for both avid gospel enthusiasts and newcomers, this reissue of Seasons by The Howard Lemon Singers is not just a record—it's a celebration of faith, resilience, and the human spirit. Add this pivotal piece of gospel heritage to your collection and let the timeless beauty of their music inspire you throughout the seasons of your life.

Experience the divine power of gospel music with the reissue of the legendary album Together by Gloster Williams and The King James Version. Originally released in 1977 on Gospel Roots Records, this seminal work is now re-released for the first time on vinyl, courtesy of Regrooved Records.

Together captures a moment in gospel music that is both timeless and transcendent. Led by the dynamic Gloster Williams, The King James Version choir brings an electrifying blend of traditional gospel with hints of soul and R&B, creating a sound that uplifts and inspires. This album is famed for its stirring harmonies, powerful lyrics, and the passionate delivery that fans and newcomers alike will find deeply moving.

Highlights of the album include the soaring title track, "Together," which has been a staple in gospel music playlists for decades, celebrated for its message of unity and spiritual upliftment. Each song on the album is crafted with care, featuring intricate arrangements and a raw emotional energy that captures the essence of gospel music's golden era.

This reissue is a meticulously remastered version that enhances the original recordings while preserving the authentic sound that made Together a must-have for gospel collectors and enthusiasts. It's pressed on high-quality vinyl to deliver the best listening experience, ensuring that the richness of the choir’s vocals and the depth of the instrumentation are beautifully rendered.

Don't miss this opportunity to own a piece of gospel history. The reissue of Gloster Williams and The King James Version’s Together is a testament to the enduring power of gospel music to console, celebrate, and connect us. Add this vital record to your collection and let its messages of faith and fellowship fill your home with joy and inspiration.

Let It Burn" ist ein Feuerwerk von einem Rock-Album, mit dem BONSAI KITTEN 2024 laut zurückkommen. Wollen sie jetzt alles niederbrennen? Nicht alles, aber sicherlich die Brücken zu Allem, was man meint, über diese Band aus früheren Veröffentlichungen zu kennen. Denn die Flammen, die die Band hier anzünded, erleuchten hell den zuletzt eingeschlagenen Weg. Leidenschaftlich und ungestüm prescht die Band um Frontfrau Tiger Lilly Marleen in musikalischer Vielfalt und Virtuosität von Metal bis Blues durch das gesamte Album, welches in fließenden Übergängen an Rock-Klassiker der 70er als auch der 80er erinnert. Musikalisch hat sich der Stil der Band über die Jahre vom Punk-A-Billy über Punkrock zu Metal mit Prog- und Blueseinflüssen entwickelt. Sängerin Marleen hat ihre Band mit Metal- Schlagzeuger Marc "Reign" Reinke (ex-Destruction) und Bluesrock-Gitarrist André "Wally" Wahlhäuser neu aufgestellt. Zusammen mit Marcus "Spoxx" Schütze am 3-Saiter-Bass, setzten BONSAI KITTEN ihrem richtungsweisenden Vorgänger LOVE AND LET DIE (2020) mit LET IT BURN (2024) jetzt noch einen drauf! Die erste Vorab-Single "I Wonder" rockt es bereits! Selten wird ein Album heute noch so handgemacht und detailverliebt produziert, wie es Gitarrist Wally hier geschafft hat. Hitzig und dynamisch glänzen die 10 Songs und werfen dabei auch lyrisch ein Licht auf das Festhalten an dessen, für das Du brennst. Just LET IT BURN!



Als Digipak-CD mit Booklet, LP klassisch schwarz, limitierte LP farbig, streng limitierte LP farbig Special Collector's Edition (Vinyl jeweils mit Insert und im Gatefold-Sleeve) sowie Album Digital erhältlich. Als besonderes Highlight wird das Album außerdem im aufwendig produzierten Dolby-Atmos Mix neben dem Standard-Streaming auf den relevanten Portalen digital verfügbar sein!

180gr Tiger Splash LP (orange-red w/ yellow & black splatter) im Gatefold-Sleeve mit Insert

Let It Burn" ist ein Feuerwerk von einem Rock-Album, mit dem BONSAI KITTEN 2024 laut zurückkommen. Wollen sie jetzt alles niederbrennen? Nicht alles, aber sicherlich die Brücken zu Allem, was man meint, über diese Band aus früheren Veröffentlichungen zu kennen. Denn die Flammen, die die Band hier anzünded, erleuchten hell den zuletzt eingeschlagenen Weg. Leidenschaftlich und ungestüm prescht die Band um Frontfrau Tiger Lilly Marleen in musikalischer Vielfalt und Virtuosität von Metal bis Blues durch das gesamte Album, welches in fließenden Übergängen an Rock-Klassiker der 70er als auch der 80er erinnert. Musikalisch hat sich der Stil der Band über die Jahre vom Punk-A-Billy über Punkrock zu Metal mit Prog- und Blueseinflüssen entwickelt. Sängerin Marleen hat ihre Band mit Metal- Schlagzeuger Marc "Reign" Reinke (ex-Destruction) und Bluesrock-Gitarrist André "Wally" Wahlhäuser neu aufgestellt. Zusammen mit Marcus "Spoxx" Schütze am 3-Saiter-Bass, setzten BONSAI KITTEN ihrem richtungsweisenden Vorgänger LOVE AND LET DIE (2020) mit LET IT BURN (2024) jetzt noch einen drauf! Die erste Vorab-Single "I Wonder" rockt es bereits! Selten wird ein Album heute noch so handgemacht und detailverliebt produziert, wie es Gitarrist Wally hier geschafft hat. Hitzig und dynamisch glänzen die 10 Songs und werfen dabei auch lyrisch ein Licht auf das Festhalten an dessen, für das Du brennst. Just LET IT BURN!



Als Digipak-CD mit Booklet, LP klassisch schwarz, limitierte LP farbig, streng limitierte LP farbig Special Collector's Edition (Vinyl jeweils mit Insert und im Gatefold-Sleeve) sowie Album Digital erhältlich. Als besonderes Highlight wird das Album außerdem im aufwendig produzierten Dolby-Atmos Mix neben dem Standard-Streaming auf den relevanten Portalen digital verfügbar sein!

Special Collector’s Edition: 180gr Tricolor-Rainbow-LP + CD + Poster + signed trading card + Sticker + im Gatefold-Sleeve mit Insert

Let It Burn" ist ein Feuerwerk von einem Rock-Album, mit dem BONSAI KITTEN 2024 laut zurückkommen. Wollen sie jetzt alles niederbrennen? Nicht alles, aber sicherlich die Brücken zu Allem, was man meint, über diese Band aus früheren Veröffentlichungen zu kennen. Denn die Flammen, die die Band hier anzünded, erleuchten hell den zuletzt eingeschlagenen Weg. Leidenschaftlich und ungestüm prescht die Band um Frontfrau Tiger Lilly Marleen in musikalischer Vielfalt und Virtuosität von Metal bis Blues durch das gesamte Album, welches in fließenden Übergängen an Rock-Klassiker der 70er als auch der 80er erinnert. Musikalisch hat sich der Stil der Band über die Jahre vom Punk-A-Billy über Punkrock zu Metal mit Prog- und Blueseinflüssen entwickelt. Sängerin Marleen hat ihre Band mit Metal- Schlagzeuger Marc "Reign" Reinke (ex-Destruction) und Bluesrock-Gitarrist André "Wally" Wahlhäuser neu aufgestellt. Zusammen mit Marcus "Spoxx" Schütze am 3-Saiter-Bass, setzten BONSAI KITTEN ihrem richtungsweisenden Vorgänger LOVE AND LET DIE (2020) mit LET IT BURN (2024) jetzt noch einen drauf! Die erste Vorab-Single "I Wonder" rockt es bereits! Selten wird ein Album heute noch so handgemacht und detailverliebt produziert, wie es Gitarrist Wally hier geschafft hat. Hitzig und dynamisch glänzen die 10 Songs und werfen dabei auch lyrisch ein Licht auf das Festhalten an dessen, für das Du brennst. Just LET IT BURN!



Als Digipak-CD mit Booklet, LP klassisch schwarz, limitierte LP farbig, streng limitierte LP farbig Special Collector's Edition (Vinyl jeweils mit Insert und im Gatefold-Sleeve) sowie Album Digital erhältlich. Als besonderes Highlight wird das Album außerdem im aufwendig produzierten Dolby-Atmos Mix neben dem Standard-Streaming auf den relevanten Portalen digital verfügbar sein!

‘Rick Astley's 1991 album 'FREE' marked a significant departure from his previous pop-driven sound, showcasing a more mature and introspective side. The album, which featured a blend of pop, soul, and R&B influences, and a star-studded list of collaborators, including Elton John, Michael McDonald and Mark King, presented Rick in a new light, exploring themes of love, loss, and personal growth. Singles like ‘Cry for Help’ and ‘Move Right Out’ displayed Astley's emotive vocals and soulful delivery.

'Free' received critical acclaim for its musical diversity and Astley's vocal prowess, earning praise for its mature songwriting and emotional depth. 'Free' remains a standout moment in his career, demonstrating his artistic evolution and versatility as a musician. With its heartfelt lyrics and soulful melodies, 'Free' continues to resonate with listeners, offering a timeless exploration of love, freedom, and self-discovery.

The LP format is available for the first time featuring the full 11-track album (originally released with just 10 tracks) and comes in a highly desirable gold mirrorboard sleeve. The double CD format features 18 bonus tracks, 7 of which are previously unreleased, including studio track ‘Call Me’.

This is the repeated call and the rallying chorus of the nearly 40-minute centerpiece to composer and percussionist Asher Gamedze’s new album Constitution. The expansive double album, a minoritarian fellowship in breath, is Gamedze’s follow-up to 2023’s Turbulence and Pulse (IARC0057), and his first with The Black Lungs. The album – recorded in one day at Cape Town’s Sound and Motion Studios – is an elaboration of the possibilities of autonomous constitution in and through polyrhythmic, modal, large ensemble music.
On Constitution, the power of the question, the possibility of an improvised answer and the celebration of being together exists not in the solo but in the group, the ensemble. Here The Black Lungs collectively explore and deconstruct the conceptual, tonal, and atonal possibilities of themes which are at once of old and new dreams - curious and instantiative, melancholic and emergent.

“The Black Lungs is inspired by the revolutionary thought and practice of the Black Consciousness Movement. In particular, the relationship between antagonism – constituting a united front of all the oppressed against white supremacy and racial capitalism – and the possibilities for resistance and elaboration - the creative militant capacities of those assembled – enabled and unleashed by that process of constitution.”