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Impex has always had a special place in their hearts for Shoji Yokouchi’s Greensleeves. Standards, original tunes, and traditional pieces (like the title track), are interpreted in unexpectedly funky, soulful ways. The master guitarist is given immeasurable support by organist Yuri Tashiro. Her playing is alternately moody and spry, fiery and funky. Impex’s vinyl reissue preserves the original’s clear, exacting sound (check out the bass on Tashiro’s organ!) while improving surface noise and presentation. This rare gem of Tee Fujii’s repertoire is yet another entertaining listen for Three Blind Mice fans from their friends at Impex Records!



"I cannot understand how Chris Bellman got 100% of the dynamics, power, subterranean deep powerful bass, delicate guitar, bass riffs, and drums all on a 33 RPM release without the instruments colliding into one another. I am shocked by the RTI pressing of such utter quiet and explosive punch... harmonics and layered realistic textures lived in the room as the needle found its groove. Imaging is pin-point stable and precise, and dynamics never overload."

"If this is not the ultimate audiophile demonstration LP released this year, then none will be released. I dare you to stop listening to this LP once the first cut has commenced! With mostly standards jazzed up for the brilliant musicians to love to play, I was constantly tapping my toes and reminiscing on when I first heard a certain melody. What great fun!"

" ...Packaged by Impex in slick classy gloss and full color, Greensleeves is a high-quality production for a top jazz collection. Prediction: this release will triple in price! For those smart enough to buy multiple copies and put extras away, a bonus awaits them! This is the best audiophile system demonstration LP I have heard in ages, and a must-own. Thank you Impex! Greensleeves receives my highest BUY recommendation!" - Robert H. Levi

180-gram 45 RPM double LP. Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing

Genesis' seventh studio album was released in February 1976 on Charisma Records and was the first to feature drummer Phil Collins as lead vocalist after the departure of Peter Gabriel. The album was a critical and commercial success in the U.K. and U.S., reaching No. 3 and No. 31 respectively. A Trick Of The Tail was a landmark album for the band, and it still stands today as one of their best with classics such as "Dance On A Volcano" and "Squonk."

In the wake of Peter Gabriel's departure from the band, the remaining members of Genesis were determined to forge ahead, showcasing their songwriting prowess and recording prowess in the absence of their iconic frontman. This period marked the genesis of A Trick of the Tail. In mid-1975, the band embarked on an intensive creative journey, crafting new compositions and diligently rehearsing them. Their quest for a new lead vocalist led them to sift through a staggering 400 audition tapes.

As the autumn leaves began to fall, Genesis found themselves at Trident Studios in October, accompanied by producer David Hentschel. Surprisingly, the recording sessions began with an air of uncertainty regarding who would take on the role of lead vocalist. However, fate intervened when Phil Collins was persuaded to step up and deliver a powerful rendition of "Squonk." The strength of his performance not only won over the band but also paved the way for him to assume lead vocals for the entirety of the album.

Genesis has always been synonymous with grandeur and innovation, both in their electrifying live performances and their trailblazing studio albums. From timeless classics such as Nursery Cryme, Foxtrot, Selling England By The Pound, to the epic concept album The Lamb Lies Down On Broadway, the band has consistently pushed the boundaries of musical creativity.

Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing.

Over the span of four remarkable decades, Genesis has left an indelible mark on the music industry, having sold a staggering 150 million albums worldwide. Their influence extends far and wide, inspiring artists ranging from the indie rock stylings of Elbow to the experimental sounds of The Flaming Lips, and even the soulful resonance of Jeff Buckley. A Trick of the Tail stands as a testament to their enduring legacy and their ability to adapt and thrive in the face of change.

Vibraphonist Milt Jackson and tenor saxophonist John Coltrane make for a surprisingly complementary team on this 1959 studio session, their only joint recording. AllMusic notes that with fine backup by pianist Hank Jones, bassist Paul Chambers, and drummer Connie Kay, Bags and Trane stretch out on two of Jackson's originals (including "The Late Late Blues") and three standards: a romping "Three Little Words," "The Night We Called It a Day," and the rapid "Be-Bop." The highlight of the set is the eponymous opening track, which just oozes late-night cool.

This deluxe 180-gram 45 RPM 2LP reissue from Analogue Productions (Atlantic 75 Series) is a gem and will be a must-have for all jazz music fans.

Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket by Stoughton Printing

Fragile was Yes' breakthrough album, propelling them in a matter of weeks from a cult act to an international phenomenon. Not coincidentally, it also marked the point where all of the elements of the music (and more) that would define the group's success for more than a decade fell into place fully formed, writes AllMusic, giving Fragile a 5-Star rating.

Propelled by the timeless hit "Roundabout," Yes' fourth album, Fragile, became an instant classic and is undoubtedly one of prog-rock's finest moments. It was the first Yes record to feature Rick Wakeman on keyboards and the first to display the inimitable artwork of Roger Dean. Here's the ultimate way to enjoy one of Yes's most popular and enjoyable albums.

This Analogue Productions (Atlantic Series) reissue of Fragile is a standout for your collection. First, we turned to Chris Bellman at Bernie Grundman Mastering to cut lacquers from the original master tape. Pressing on 180-gram vinyl is by Quality Record Pressings, and the album is housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Dream on, on to the Heart of the Sunrise!

180-gram 45 RPM double LP. Pressed at Quality Record Pressings. Tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing

Boz Scaggs' self-titled album, released in 1969, is an iconic and pivotal record in his career, marking a shift in his musical direction to incorporate elements of soul, R&B, and showcasing his musical versatility.
Departing from the Steve Miller Band after a two-album stint, Boz Scaggs found himself on his own but not without support. Rolling Stone publisher Jann Wenner, his friend, helped him sign with Atlantic Records and the label had him set up shop in Muscle Shoals, recording his debut album with that legendary set of studio musicians, known for their down-and-dirty backing work for Aretha Franklin and Wilson Pickett, among many other Southern soul legends.

AllMusic writes: "The Muscle Shoals rhythm section, occasionally augmented by guitarist Duane Allman, gives this music genuine grit, but this isn't necessarily a straight-up blue-eyed soul record, even if the opening 'I'm Easy' and 'I'll Be Long Gone' are certainly as deeply soulful as anything cut at Muscle Shoals." Scaggs dabbled in country and blues along with the soul and R&B that grounds this record.

The extended 11-minute blues workout "Loan Me a Dime," functions as much as a showcase for a blazing Duane Allman as it does for Boz. But even with that show-stealing turn, and even with the Muscle Shoals musicians giving this album its muscle and part of its soul, this album is still thoroughly a showcase for Boz Scaggs' musical vision. "Loan Me a Dime" is blues-rock classic. It showcased Scaggs' soulful vocals and Allman's remarkable guitar skills.

Boz Scaggs' songs garnered significant radio airplay and helped introduce Boz Scaggs to a wider audience. The impact of Boz Scaggs extended beyond its initial release. It has continued to influence and inspire subsequent generations of musicians, particularly those interested in blending blues, rock, and soul.

This definitive deluxe 180-gram 45 RPM 2LP Analogue Productions (Atlantic 75 Series) reissue of Boz Scaggs, housed in a tip-on old style gatefold double pocket jacket with textured stock by Stoughton Printing, will be a highlight in your most-listened-to album rotation.

Schrödinger’s Box welcome Catalonia’s Adrian Marth into the fold. The Iberian artist has been drawing crowds and turning heads with his analogue inspired productions and dancefloor inhibitions.

This five tracker sees the Italo Moderni founder explore the glittering angles and brooding shadows of his machines. The punishing percussion and beaming laser lights of “Labyrinth Mind” give way to the tumbling drums and racing synthlines of the addictive “Sex Tonight.” The flip opens with the sleazy grandeur of “Beverly Hills”, looming melodies and retro flourishes combine in this operatic ode to the 1980s. Speaking of the 80s, the inspiration for the penultimate comes from a figure who symbolised the bombastic bravado of the era. “Divine on the Late Show 88” is a tribute to the Pink Flamingos legend, beats sparkle as her sequenced dresses and larger-than-life attitude screams into the present. Danny Wolfers takes the helm to close. Donning his familiar Legowelt moniker, the behemoth of all thing electronics delivers a saturated and spiralling rework of “Divine on the Late Show 88” to the close.

This is an outrageosly brilliant EP. Indie-spirit, early industrial noises, a bold handling of white noise / filter effects and vocoder vocals, virtuously mixed together in a funky acid dancefloor stomper. Jörn’s unmistakable trademark is deep electronic coolness, combined with a good dose of humoristic winks, sophisticated and puristic at the same time - and of course highly recommended. The B-Side contains a remix of Thee Church Ov Acid House, a project by Wuttke together with his longterm recording partner Oliver Bradford.
They offer an intense100 BPM version in an early 90s “post-rave” fashion.
Oscillating samples, drenched in fuzz, skirt around classic organ keys and balearic percussions. A great set opener, closer or, as intended, something to put on when you get home from the rave, while the sun is rising but you’re not quite ready to go to sleep.

Info-text : Miriam Schulte

The next release in Now Again's Memphis Rap series is Breakin Da Law presented on vinyl for the first time ever. This is Gangsta Blac's first, a swaggering and drawling gangster rap outing from hot and humid South Memphis. This is part of Now Again Records multiple LP series on the History of Memphis Rap, which attempts to capture Memphis and its underground rap scene as it began to produce some of the most distinctive music of the 90s. This was a unique hip-hop strain - visceral and often vicious. It was a local, low-fi, cassette-tape based movement - yet it went on to change the course of rap music. These albums have never been pressed on vinyl - until now. From Skinny Pimp and Carmike to Gangsta Blac and Shawty Pimp, these albums have been relegated to the proverbial bins of history and bootlegged, with unofficial copies still fetching top dollar on the secondary market. These albums were all licensed directly from their original creators, and come on limited edition colored vinyl with artist-approved imagery for their first LP iterations. You can read the story of the Memphis Rap scene in a 12-page, oversized booklet with notes by Torii MacAdams. It captures the story of Memphis rap starting with the city’s founding and ending with an auto supply shop that sold these albums over the counter, with all points in between.

F.U.N. Is Now Available In A Limited Frosted Shadow Colored Vinyl Pressing!

The latest full length album from Detroit mainstays Slum Village, F.U.N., has now made its way to vinyl. The 12-track project is their first album in nearly ten years and includes fresh collaborations with Larry June, Cordae, Eric Roberson, Robert Glasper , Karriem Riggins, Abstract Orchestra, Sango, Phat Kat, Daru Jones, Earlly Mac, The Dramatics and more. 2015's critically acclaimed Yes! further cemented T3 and Young RJ's ability to effectively carry on the legacy of the seminal rap group, retaining its essence while evolving its sound with fresh new energy. However, with last year's sold out tour in Europe, and the release of the Larry June and The Dramatics-assisted "Just Like You", it was revealed that the duo was back in the lab together working on a new Slum Village album. F.U.N. finds Slum Village expanding on their signature certain sound, but still staying close to their hometown roots: Young RJ explains- “We wanted to just try something new, so we focused on making Disco-inspired music,” and T3 notes that the recording process all “began with collecting old Disco records.” For fans who wonder why the sonic shift, and why the long hiatus between proper albums, T3 says “Slum is still here. We’re still relevant and we’re still trying to push the envelope. Sometimes people put too many rules on music, and without sounding cliche, we wanted to just have fun with this album.” F.U.N., indeed.

Kyle Falconer, prämierter Songwriter und Kopf der schottischen Indieband The View, bringt auf "The One I Love The Most" neue Acoustic-Versionen von Songs aus dem umfangreichen The View- und Solokatalog aus fast zwei Jahrzehnten (vom No.1 Debütalbum "Hats Off To The Buskers" (2007) bis zum Top-10-Comebackalbum "Exorcism Of Youth" (2023)), die alle nach Frauen benannt sind. Immer schon von der weiblichen Muse inspiriert, erzählt Kyle von guten Zeiten der Liebe und Lust, von schlechten Zeiten der Reue und des Kummers, von überlebensgrossen Charakteren ("Madonna") und fiktiver Verspieltheit. Bei dem ansonsten reduzierten "Lucy" fügt Rapper PROSE aus Manchester seine messerscharfen Reime hinzu.

** CASSETTE RELEASE

Spanish-born producer Digge Shim relocated to Malmö, Sweden a few years back and found his calling in the reincarnation of electro through his relentless output of acid-flavored 303 jams. Besides establishing the Malmø Traxx label he also ran the city’s foremost record shop for electronic dance music.

For his first release on @blundar.co the producer has sourced tracks from his archive of tapes and found a batch of unreleased gems that seemed to fit nicely together in a sort of megamix style. On Side I, he collects some indica-infused ambient and goes all in on Gregorian chants and samples of political speeches. Side II is a head nodding trip through leftfield experiments in downtempo, dubby disco and the tropical ghosts of boom bap.

Some things take a long time. And some things are meant to last. But how you know that, or learn how to find out, that’s a more intangible thing. That’s A Shaw Deal – intangible. A communal meeting place for two old friends and their different musics. A Shaw Deal is the first album by Geologist and DS. They go back a long ways – back before Highlife, before Shaw joined White Magic – back to the early childhood of Animal Collective. Basically, Doug Shaw touched down in NYC around 2003, and he and Brian Weitz have been friends ever since.

“DS” first released his own music under the moniker “Highlife” on the album “Best Bless” EP, in 2010. Listeners were lifted by the sound – a vital new transmission imbued by the popular African guitar music, British folk-pop, desert blues and the ritual spirit energy that Doug had been evoking in White Magic with Mira Billotte. And really, if you knew Doug, this incredible alchemy was just one of the amazing ways he could come through on the guitar.

A couple years back, Doug was posting bits of his playing on Instagram, and Brian found them to be a much-needed escape from reality – he’d just let them loop for stretches of time, get lost in there, and emerge with recharged energies. They were such perfect mini-encapsulations of Doug’s fantastic spirit. Brian was inspired. Eventually, he ran them through his modular system, editing and tweaking and looping as he went, creating new shapes and juxtapositions, instinctively rewiring Doug’s original sounds to extend the feeling of peace they’d given him. Once it was all together, it would make a cool birthday present to regift to Doug! And once the gift was given, it was sounding like an album too…

From start to finish, A Shaw Deal taps into DS’s guitar playing and the vibe of his expression, drawing out meditative waves in new forms while exploring the worlds within them. Geologist and DS collaborate in a manner that’s brought comfort and release to them both. A Shaw Deal leaves no doubt, as it radiates further into the world and beyond – it will bring a new range of views and feels to everyone who listens in.

The German jazz duo Roman and Julian Wasserfuhr craft an intimate refuge through music. This is not about a physical destination—it’s a state of mind, a sanctuary for reflection and focus amidst the noise of modern life. Joined by cellist Jörg Brinkmann and saxophonist Paul Heller, the brothers craft an intimate, heartfelt soundscape that celebrates genuine connection and invite the listener on a musical journey away from distractions, offering clarity and tranquility. It’s a celebration of friendships, authenticity, and the power of music to ground us in what truly matters.

Straight outta Rockaway Beach, Queens, New York City, USA, THE WORLD, Prison is a state of mind, an experience, a loose collective, a band, a jam band and a bunch of psychedelic dudes who aren"t your average bunch of jambanders. All that, all at once, ALL THE TIME. You get what you"re dealing with here? No...you don"t. The only way to REALLY get it is to go to Prison -- and if you"re not from greater NYC and haven"t showed at any of the shows, here"s your best bet: their breakout album, Upstate. And whatta breakout! So high, you can"t get under it; so wide, you can"t get over it! How wide? Every song has two titles, that"s how wide. And almost everybody sings, like, all the time. That wide. Sure, you can break down the numbers -- five guys, five songs and four sides of vinyl in one gatefold sleeve -- but that won"t get you Upstate, either. Prison is the sound of everybody in the room figuring out where to go, individually and collectively. As they go through it, the meaning changes, the destination changes, the words mean something different. It"s meaning and no meaning, rising and falling, sinking and flying on the back of something massive cacophonized by three guitars, four vocals, a bass and drums. A lot of information bouncing around and enough time to really get you out of yourself! Take a look at the titles: each one a dichotomous inquest that the assembled Prison-ers march upon with fervor, glee, vengeance -- a whole spectrum of feels and perspectives woven into the jam for you to see. The Prison population changes with the seasons, and during the season this album was recorded, Sarim Al-Rawi, Mike Fellows, Sam Jayne, Matt Lilly and Paul Major were in Prison. Sarim you might know from Liquor Store, Mike"s made a bunch of scenes and records as Mighty Flashlight, Sam, who passed away in 2020 (R.I.P., brother) was in Love as Laughter -- and Paul Major you know from Endless Boogie, who Matt had roadied for -- and despite being "just a skateboarder who loves music" with no previous experience on the drums, he and Sarim inaugurated the Prison experience, like, seven years ago. Since then, it just fell together and it keeps doing so. A free thing called Prison.

Over the past half century, Tony Levin has been a prolific session player and one of the most active live performers on the planet. He’s contributed his talents to over five hundred albums amongst which include 15 with Peter Gabriel and 18 with King Crimson (counting live, studio, and compilations) alongside contributions to the work of John Lennon, Alice Cooper, Lou Reed, Herbie Mann, Paul Simon and many others. On tour, he’s traveled the World many times over with the aforementioned King Crimson, Peter Gabriel, and several of his own bands including Stick Men
.
This Fall, he’ll stage 65 performances in North America as a member of BEAT, celebrating King Crimson’s ‘80s repertoire alongside Adrian Belew, Steve Vai and Danny Carey interpreting “Discipline, Beat and Three of a Perfect Pair.”

Levin’s seventh solo album, and his first since 2007, is an autobiography of sorts, with the themes drawn from Levin’s musical life. It features a myriad of collaborators from his half-century-plus on the road and in the studio with Peter Gabriel, King Crimson and many, many others.

Features a Murderer’s Row of guest musicians including Robert Fripp, Vinnie Colaiuta, Earl Slick, Mike Portnoy, Steve Gadd, Jerry Marotta, Gary Husband, L. Shankar, Pete Levin, Jeremy Stacey, David Torn, Pat Mastelotto, Larry Fast, Steve Hunter, Manu Katche, Alex Foster, Dominic Miller, Markus Reuter, Collin Gatwood, Chris Pasin, Jay Collins, Josh Shpak, Don Mikkelsen.

Released in October 1983, “North Of A Miracle” was Nick Heyward’s first solo album after leaving Haircut 100. Produced by Geoff Emerick (The Beatles, Elvis Costello, Badfinger, America, Supertramp and many more), the album features the hit singles “Take That Situation”, “Whistle Down The Wind”, “Blue Hat For A Blue Day” and “On A Sunday”. The album went on to sell over 100,000 copies in the UK, earning a Gold Disc Award.

Deluxe 3CD Edition:
Expanded to a Deluxe 3CD Edition, Disc One features the original album mastered from the original stereo tapes, Disc Two features the various 12” mixes, instrumental versions and non-album B-sides, while Disc Three, entitled “Recordings 1984”, features Nick’s 1984 single releases “Love All Day” and “Warning Sign”, along with the tracks from their accompanying 12” singles. Also featured are three previously unreleased tracks: “Teach Till You Reach” (an unreleased single), “Give Love More Time” (an alternate instrumental version of “Love All Day”), and “Kiss Those Tears Goodbye” (an unfinished recording featuring the backing vocals only). Annotated by author and journalist Daryl Easlea, based on a brand-new interview with Nick Heyward, this 3CD set is presented in Deluxe 7” Packaging, with a 20-page booklet.

180g Vinyl Edition:
This new edition has been expertly mastered by Barry Grint at AIR Mastering from the original stereo tapes using precision half-speed mastering. Half-speed mastering is a vinyl cutting technique that improves groove accuracy and transient information creating an incredibly detailed stereo image with a natural high frequency response.

Presented in its original gatefold sleeve, pressed on 180-gram heavyweight black vinyl, featuring an obi strip and housed in a poly-lined inner sleeve, with a 2-page insert.

Und meine Güte, ist "Tyran’s Oath" gut gespielt. Und vor allem: Extrem gut gesungen! Nicolas Peter erinnert an eine Mischung aus Per Lengstedt (Portrait) und Olof Wikstrand (Enforcer). Dem Album wurde damals eine rechtmäßige Krönung zum NewcomerAlbum des Monats verwehrt. Die Wiederveröffentlichung 2025 wird diesen Umstand verändern und Tyran’s Oath wird sich in vielen Jahres-Hitlisten wieder finden. Solange es Bands wie Tyran gibt, die sich so erfolgreich und detailverliebt mit dem Erbe von Saxon, Accept und Judas Priest beschäftigen, muss niemand befürchten, dass der klassische Metal ausstirbt.

Auf ihrem neuen Werk schafft das Duo einen intimen Zufluchtsort durch Musik. Hier geht es nicht um ein physisches Ziel, sondern um einen Geisteszustand, einen Zufluchtsort für Reflexion und Konzentration inmitten des Lärms des modernen Lebens. Gemeinsam mit Jörg Brinkmann (Cello) und Paul Heller (Saxophon) schaffen sie eine intime, herzliche Klangwelt, die echte Verbundenheit zelebriert und den Zuhörer auf eine musikalische Reise abseits von Ablenkungen einlädt, die Klarheit und Ruhe bietet.

After a rollercoaster ride through their debut album and COVID plagued campaigns, KAWALA are gearing up to release ‘KAWALA Collection’ a collection of tracks that the band recorded in early 2024.

The band saw themselves stripping away some of the grander studios in favour of their own small east London studio working with close friends Saint Raymond and Mathi Wang to create a collection of music that they would love to listen to in their own time. The release features singles, ‘American Adrenaline’ and ‘Time Slipping Away’ and now lead single ‘Make A Difference’. While the band didn’t set out for the KAWALA Collection to be their final release, it feels like a fitting end to an incredible 10-year career..

It took a while but now it's (almost) finally here, The West Pole on double vinyl! This record,
originally released in 2009, has been out of print on vinyl for over 13 years. It is the first
album with new singer Silje Wergeland and contains guest vocals from Marcela Bovio and
Anne van den Hoogen.
The Gathering's ninth studio album is perhaps the most varied album from the band's
catalogue, going from up-tempo rock orientated songs like ‘All You Are’ and ‘No One Spoke’
to dreamy, soundscape-like tracks such as ‘No Bird Call'. Above all it is a typical The
Gathering album with all the musical ingredients you can expect from this band.
The West Pole has been specially remastered for vinyl from the original mix and contains 4
bonus tracks

More than a decade into his career, Harlem emcee Smoke DZA has become one of hip-hop’s most recognizable voices. Vividly narrating his own remarkable lifestyle with slick wordplay, DZA has amassed an unprecedented catalog for an independent artist, with more than 40 projects to his name featuring the likes of Kendrick Lamar, A$AP Rocky, Wiz Khalifa, Action Bronson, Ty Dolla $ign, ScHoolboy Q, Cam’ron, Wale, and more. A key member of burgeoning Buffalo collective Griselda Records, Benny The Butcher is a formidable lyricist known for powerful flows and complex punchlines steeped in his real criminal past. In recent years, Benny has continued his ascent, signing with iconic label Def Jam and releasing a series of acclaimed studio albums featuring collaborations with Lil Wayne, J. Cole, Snoop Dogg, Rick Ross, Big Sean, and more. In 2019, Smoke DZA and Benny The Butcher linked for the joint project Statue Of Limitations, entirely produced by the legendary Pete Rock. The union of three supremely talented artists drew immediate attention online, leading to coverage from outlets like Complex, Okayplayer, The Fader, HipHopDX, RapRadar, Stereogum, Hypebeast, and more. Finding genuine chemistry over Pete’s raw instrumentation, DZA and Benny deliver a cohesive exploration of Empire State street life on this memorable collection, which features appearances by Westside Gunn, Conway The Machine, and Styles P. To celebrate the 5th anniversary of its release, Statue Of Limitations is now available on vinyl for the first time in years, complete with the previously unavailable Pete Rock instrumentals.

Tempat Angker (haunted place) is a Halloween mixtape compiled by music researcher and artist Luigi Monteanni, aka Neurotica Exotica.

To celebrate a second year of fieldwork research in West Java and to bring together the longing for All Hallows’ Eve partying with the archipelago’s richness in local and historical horror folklore tropes, figures, characters and stories, Artetetra’s co-founder cuts up 120 minutes of soundtracks, sound effects and dialogues from the glorious and extensive Indonesian horror movies tradition counting more than 700 titles.

Hear it from speculative horror and sci-fi filmmaker Riar Rizaldi (whole essay in the tape’s leaflet):

“The popularity of cinematic media during the New Order era led to the unprecedented development of more rapid and large-scale production methods. ⁤⁤Genre films, particularly horror and fantasy, emerged as some of the most prolific outputs, with hundreds being produced annually. ⁤⁤The filmmaking process was accelerated, and post-production ᅳ especially sound design ᅳ was completed as swiftly as possible. ⁤⁤Notably, veteran composer and musician Gatot Sudarto, who had worked extensively on drama films in the 1970s, became a regular contributor to studios producing horror and fantasy films in the following decade ᅳ although composer Embie C. Noer was also active during this period, his focus was more on action “sword and sandals” films. ⁤⁤Gatot’s influence in the music departments of these films was significant, helping to create an authentic soundscape. ⁤He adapted many of the compositional techniques used in European horror films (mostly the usage of harpsichord) at the time, blending them with the bass synths characteristic of American horror, while incorporating local and regional instruments to tailor the sound to Indonesian audiences.”

By sampling excerpts from 43 movies spanning the ages from the early seventies to the two thousand and tens, mostly trying to portrait the sound influence of the vintage horror era made popular by the “queen of horror”, actress Suzzanna, Tempat Angker throws you into decades of experimentation in conjuring the sound of Indonesian terror. Unearthly screams, bombastic fights, bamboo music, eighties synthy extravaganza, ominous sound effects, sexy dangdut, evilish pitched vocals, gamelan, eerie laughters from beyond and even calls to prayer fill the air in the spooky month!

Coming in HOT with the next forthcoming release from Ashanti Selah Music and here we have a top-draw sound system style release.

This release features the voice of the great Iqulah Rastafari from JA with a track entitled 'Need No Approval' accompanied on a 12" vinyl alongside 3 dub cuts courtesy of Ashanti Selah; in which comes as an sharply crafted modern roots-reggae classic that has a very fitting and inspiring message to be ever-relevant to the times we are living in.

Denmark"s leading outlet for jazz April Records presents their first debut of 2025 from a brand new quintet of some of the country"s most well known and respected young musicians - collectively called Oh People. Inspired by the works of Duke Ellington in the 20"s and combining them with sounds that came to life over half a Century later with a palpable sense of joy and love, "Part-Time Elegance" is set to release on January 17th on April Records. Exploring the idioms and tropes of the golden age of jazz, the record is built from deep pocket swing, lovesick ballads, percolating latin grooves, and upbeat melodies that can"t help but bring a smile to one"s face. With undertones of contentment and playfulness, each song evokes a sound and style of some of the 20th"s Century"s greatest jazz composers before evolving into passages of animated improvisation from Denmark"s finest new-generation soloists. Anyone who has been keeping up to date with Denmark"s prolific scene will recognize the members of "Oh People" from their solo projects and contributions to many of the nation"s leading jazz innovations. Jonas Due"s trumpet can be heard in the DR Big Band, and popular modern outfit OTOOTO. Andreas Toftemark cut his teeth working and learning as a musician in New York, before returning to Denmark to establish himself with two releases under his own name, receive the prestigious Bent Jædig Prize, and become one of the country"s busiest artists. Casper Christensen"s deep roots in the jazz tradition and Brazilian, coupled with the warm, acoustic sound of his guitar have seen him perform with the likes of Nana Rashid, Jesper Lodval and his own quartet. Lasse Morck has released three albums under his own name, drawing on South American musical traditions as well as literature and mythology. Henrik Holst has spent over a decade contributing his talents to Danish outfits like the Kathrine Windfeld Big Band and Jeppe Zacho Quintet, as well as international jazz legends Mike Stern, Gilad Hekselman and Immanuel Wilkins.

Big'n was, is and always shall be a legacy noise rock band from Chicago (est. 1990) comprised of vocalist William Akins, guitarist Todd Johnson, bassist Fred Popolo, and drummer Brian Wnukowski. After releasing a stellar debut album (1994), followed by their sophomore and signature effort Discipline Through Sound on Skingraft Records (1996) and a split single with Shellac, the band became inactive for some years. In 2018,Big'n recorded and releaseda new EP, Knife of Sin,via Computer Students. In 2022, they released DTS 25, an expansion of their pioneering second album. Both were recorded by the late, great Steve Albini. Big'n is back once again with a ruthless new album, End Comes Too Soon - their first in 28 years - released via Computer Student. It"sall still here as presentand disciplined as ever - BrianE's powerful, reliably precise drumming with melodic phrasing that shapes the songs, Fred's metallic superstructure of a bass that builds the defined framework of the music, Todd's clangorous guitar that has more harmonic content than a lot of his noisier peers, and William Akins' yarling vocals, the most recognizably human thing about the band, that convey layers of tension and intent, all the emotional content of a hellbound therapy session. Tragically, on May 7, 2024, Steve Albini suddenly passed away of a heart attack. Naturally, Big'n were shocked and devastated. End Comes Too Soons' title comes from a lyric, and is unrelated to Albini; still, the album became a roundabout love letter to the man, his studio, and his legacy. Like its predecessors, the album is structured by snippets of musical interludes or Transmissions - and there are six here, under the common code "XMSN."

Novalis wurden 1971 gegründet und fingen schon 1975 auf ihrer zweiten LP "Novalis" an in Deutsch zu singen. Lediglich ihr Erstling "Banished Bridge" (1973) war in englischer Sprache. Neben verklärten romantischen Texten benutzten sie auch Werke der Klassik. "Impressionen" vom Album "Novalis" ist zum Beispiel eine interessante Adaption der 5. Symphonie von Anton Bruckner. "Vielleicht Bist Du Ein Clown" erschien 1978 auf dem Brain Label, Achim Reichel produzierte das Album. Es ist der fünfte Longplayer der Band. Das Cover designte Hipgnosis (Storm Thorgerson, Aubrey Powell), die auch zu dem Zeitpunkt für alle Cover von Pink Floyd oder dem Alan Parsons Project verantwortlich zeichneten. Novalis schafften es auch auf diesem Album wieder, einen Sound zu kreieren, bei dem alle Instrumente in einem partnerschaftlichen Gleichgewicht nebeneinander agieren. Zeitlose Musik, die auch heute noch funktioniert. Der Re-Release kommt als Vinyl in einer limitierten Edition von 500 Stück im farbigen (zufällig) Vinyl.

Over the past few years, Giulio Erasmus has been carving out his very own musical idiom, referencing the fragmentative cause-and-effect possibilities of soundsystem culture. Accompanied for the occasion by The End Of The Worm, the recording of this concert highlights the futurist intentions of early 80s underground music in the UK and beyond. Although the expression is clear, there's continuous room for exploration and innovation. With heavy delay effects often cut short, metallic percussion, murky vocals, deconstructed electronics, and miniaturist melodies with snippets of the grandiose and the absurdly urban, all tracks here are patient, explorative, and freeform. Through curves of darkness and curves of light, this is a choreography of ideas, a passing infatuation that runs deep.

Giulio Erasmus was a member of D.U.D.S, Handle, and released his first solo outing, Re-Adjustment, in 2021. His second album, called Second Attempt, was released to acclaim in 2024 and hailed as an extremely modern take on the possibilities of underground pop through the extended ripples of soundsystem culture. Being the son of musical royalty, his father is legendary Factory Records co-founder Alan Erasmus, is almost too easy a reference. Giulio taps into 80s counterculture sonic experiment as a universal musical language that allows for futurism and fragmentation, reversing narrative logic and the transmission of musical ideas.

This recording of the amazing live performance by Giulio Erasmus & The End Of The Worm beautifully captures the investigative and unforgiving nature of all the instrumentalists that were on stage on that warm night last August in Eupen, Belgium. Through spirals of ideas, fragments, and experiment, they built a vapourous yet focused suggestion of openness and endless possibilities.

This live incident involved:
Fiona Brunet, Paul Cossé, Romain Simon, Lola Lextrait, Guyilo Erasmus

Recorded and mixed by Etienne Foyer

The Alloy Six's third album Delicate Days is a rock album with roots in 60s and 70s rock and pop music but with an eye on the future. Ten new strong songs with jangly and fuzzed guitars, organs, and fine vocal harmonies.

From his early days signed to Ninjatune as one half of Dynamic Syncopation, Jonny’s love of Hip Hop led to a fruitful collaboration with Atlanta underground legends, Mass Influence, the mighty Chill Rob G, Apathy, EV.ON, Juice Aleem, Phi Life Cypher, Yeshua Da PoEd the list goes on. In 2009 he then went on to form Soundsci with former Mass Influence Emcee Audessey AKA Jack Jones and the Herbaliser’s Ollie Teeba. Soon the crew expanded to include U-George and digger supreme DJ/Emcee Oxygen. The crew released a solid run of LP’s, Ep’s and singles with highlights including Soundsational (Ubiquity Records), the Library sampling ‘My Boosey Weighs a Ton’ (Cavendish Library) and their final LP ‘Walk The Earth’ (Fresh Pressings) with Emcee Supastition joining the roster.

After having helped out his Soundsci crew members U-George, Ollie Teeba and Jack Jones on their solo LPs it is now Jonny’s turn to complete the circle and release his own solo project. ‘The wreckage’ sees Jonny flex his bold yet intricate production style. Carving a new facet into the Hip Hop jewel, expect to hear previously unheard samples and breaks, abrupt breakdowns and exciting rhymes from his circle of friends who lace ‘A’ grade verses over hypnotic drums. The roll call of Emcee’s includes J Scienide, Eddie Meeks from Southern Vangard Radio, Canada’s Ghettosocks and Nilla. NYC stalwart DJ and Emcee Emskee, Jesus Mason and of course his Soundsci brothers: Jack Jones, U-George and Oxygen. The cuts and scratches are provided by DJ Ollie Teeba.

Every track on ‘The Wreckage’ takes the listener on a new sonic adventure and will demand multiple listens to capture the twists and turns Jonny has fed into his diabolical infernal machine, true Hip hop science.

From his early days signed to Ninjatune as one half of Dynamic Syncopation, Jonny’s love of Hip Hop led to a fruitful collaboration with Atlanta underground legends, Mass Influence, the mighty Chill Rob G, Apathy, EV.ON, Juice Aleem, Phi Life Cypher, Yeshua Da PoEd the list goes on. In 2009 he then went on to form Soundsci with former Mass Influence Emcee Audessey AKA Jack Jones and the Herbaliser’s Ollie Teeba. Soon the crew expanded to include U-George and digger supreme DJ/Emcee Oxygen. The crew released a solid run of LP’s, Ep’s and singles with highlights including Soundsational (Ubiquity Records), the Library sampling ‘My Boosey Weighs a Ton’ (Cavendish Library) and their final LP ‘Walk The Earth’ (Fresh Pressings) with Emcee Supastition joining the roster.

After having helped out his Soundsci crew members U-George, Ollie Teeba and Jack Jones on their solo LPs it is now Jonny’s turn to complete the circle and release his own solo project. ‘The wreckage’ sees Jonny flex his bold yet intricate production style. Carving a new facet into the Hip Hop jewel, expect to hear previously unheard samples and breaks, abrupt breakdowns and exciting rhymes from his circle of friends who lace ‘A’ grade verses over hypnotic drums. The roll call of Emcee’s includes J Scienide, Eddie Meeks from Southern Vangard Radio, Canada’s Ghettosocks and Nilla. NYC stalwart DJ and Emcee Emskee, Jesus Mason and of course his Soundsci brothers: Jack Jones, U-George and Oxygen. The cuts and scratches are provided by DJ Ollie Teeba.

Every track on ‘The Wreckage’ takes the listener on a new sonic adventure and will demand multiple listens to capture the twists and turns Jonny has fed into his diabolical infernal machine, true Hip hop science.

Picking up where "Máquina de Vénus" (Blacksea Não Maya) left off, this is now 100% DJ Kolt at the controls. Slow, grinding power tools working their way across the complex web of ideas the producer lays down. Truly a next level thing, taking elements from recognized styles such as tarraxo, EDM, even trap, bending their accepted signifiers to suit his own creative mind instead of the crowd pleasing monster that constantly haunts Dance Music. Here we find a wonderful, twisted approach to the dancefloor, one heavy on brain activity, fantastically moody, showcasing music that we long ago quit trying to define.

"Despertar" (again) changes the game, adding secret doors and pathways previously unheard and unthought of. This right here is the mark of a unique producer. You'll have a hard time trying to compare Kolt with any other artist on Príncipe, much less on the outside world. A keen sense of groove filters through all tracks, the dance is never forgotten but you know there are certain demands - you can't just expect a straight line to "a good night out", there's an effort required, you'll have to reach out as well so you can let loose and connect with the universal Master Plan.

The album is all made up of liquid transitions as much as rock-hard foundations, perfectly capable of being explicit when honouring the roots but so committed to a new stance that one may feel thrown off balance by the sheer genius of

COMES WITH INSERT & BONUS TRACK FT. PINK SIIFU

Featuring PINK SIIFU, FLY ANAKIN, SIRI IMANI, DEVIN BURGESS, PESO GORDON and more

Productions handled by MICHAELXWHITE, AUTUMN JIVENCHY, GUIDO, JAY KURZWEIL, COUSIN VINNY and more

Turich Benjy, from Cincinnati Ohio, is a shapeshifter. He is a frequent collaborator of the great Pink Siifu, and in 2023 the pair released a magnificent album called ”IT’S TOO QUIET..’!!”. Throughout the album, Benjy showcases his versatility and his ability to have as much fun as possible on a track. His voice reminds me so much (and I say this with all seriousness) of Young Thug.

Benjy feels like what you’d get if Young Thug took a deep dive into exploring alternative trap and neo-soul production. He manages to always find the most creative possible way to navigate a beat, best showcased on his songs like “Sparkz (In The Air)” and “WYWD..’!?” with Pink Siifu.























u b9. Sparks [Remix] (Bonus) 04:00





















[u] b9. Sparks [Remix] (Bonus) 04:00

We finally return to the infamous 1980 production run of Sly & Robbie and their Taxi label. Keen followers of the dubplate runnings of yore know that in ’80 going into ’81, the spare, piledriver sound of Taxi drum and bass at Channel 1 was one of the, if not THEE ruling sound on dubplate. Some tunes, like “Heart Made of Stone” and several Black Uhuru tunes were eventually released on wax and became hits. Others, like “Warrior” and “Rocks and Mountains”, never got that far, only unearthed after decades of infamy as dubplates. So to kick off our return to this sound, here’s one that was never released and very few ever had the privilege of playing, even on steel. “Don’t You Cry” by the Viceroys is raw, haunting roots with a monster drum and bass workout of a version. Straight from the dub room at 29 Maxfield Avenue to your living room, another DKR special delivery.

A special moment here with this one. This is one of my personal all time favorite tunes since I first heard it just about 20 years ago. Likewise, it’s been on the DKR wish list since the very first time such a list was made. This record has it all - one of the best rhythms of the entire ‘80s let alone the early digital canon, laced with lazers, killer synths, dive bombs, vocoder, screeching across the border, militant lyrics, gigantic drums, perfect claps, the list goes on and on. An absolutely perfect record for the period and for the ages. Hopeton Lindo lets loose an awesome vocal - his salute to the heroes and martyrs of the militant struggle against South African apartheid - Benjamin Moloise, Stephen Biko and of course Nelson Mandela. If you don’t know, read up on these men ASAP. This tune was made at Tubby’s on a wild mix of the original King Tubby’s tempo riddim, and was originally released on the very short lived Aqua label due to some producer runnings back in the day. Now recut from the original master tape, this is one of those joyous occasions where this new issue actually sounds better than the original, which suffered from being made at the notoriously quality plagued GG’s pressing plant. Fans of late ‘80s digital and militant reggae take note - this is your perfect storm. A long time searching for this one, finally here.

Massive roots produced from the fruitful partnership of Jah Life and Junjo Lawes. The rhythm will be familiar to students of the Channel 1/Radics/Scientist axis. Only ever released on a rare UK press 12" via Junjo, this different mix of the tune was slated to be a Jah Life 7" 30+ years ago, and never happened for nobody-remembers-why. Finally out now, killer tune.

GENE CHANDLER was born Eugene Dixon in Chicago 1937. He began to sing in a number of local groups and joined the Dukays who were signed by Carl Davis and Bill “Bunky” Shephard to their tiny Nat label where they recorded ‘Duke Of Earl’, co- written by Chandler. The song was assigned to the Vee-Jay label, for national distribution, and was released in 1961 attributed to Gene Chandler. It went to the top spot on both the pop and R&B charts selling a million copies and marking the start of Chandler’s solo career.

Chandler was at the centre of Chicago's thriving soul scene and when he joined Ewart Abner’s Constellation label in 1963 a string of hits followed breaking both the Billboard Hot 100 and the R&B Top 5.

This long-overdue collection brings together the cream of Chandlers Chicago recordings from the legendary Constellation label, featuring Chandler’s smooth, effortless, vocals, and Curtis Mayfield’s signature sound that filled the dance floors on both sides of the Atlantic.

First ever compilation of his finest Chicago recordings courtesy of the Constellation label Features ten chart hits including four Top 5 Billboard R&B smashes Grammy award winner

Recorded in 1966 and released by Blue Note Records in August of 1967, Don Cherry's Symphony for Improvisers features Gato Barbieri, Henry Grimes, and Ed Blackwell, all of whom had appeared on Cherry's previous album Complete Communion. Also featured are Karl Berger, Jean-François Jenny-Clark, and Pharoah Sanders. The album received a rating of ****½ on AllMusic, with reviewer Steve Huey stating that, "Even though the album is full of passionate fireworks, there's also a great deal of subtlety. Feverish but well-channeled, this larger-group session is probably Cherry's most gratifying for Blue Note."

Produced by Creed Taylor and originally issued on the CTI label in 1975, Jim Hall's Concierto followed the path of Miles Davis' celebrated Sketches of Spain in presenting, among other tunes, an arrangement of Joaquín Rodrigo's "Concierto de Aranjuez."

The LP was an all-star venture, with Hall accompanied by such luminaries as Chet Baker, Paul Desmond, Roland Hanna, Ron Carter and Steve Gadd. Desmond had a long history of recording with the guitarist, but this was Hall and Baker's first out of just two recorded encounters.

Concierto received a **** ½ rating on AllMusic, with reviewer Anthony Tognazzini stating that it "ranks among the best albums of Hall's superb catalog and the personnel is a jazz lover's dream come true."

Lee Hazlewood's second album for MGM had something of a split personality, though both sides were an accurate depiction of various aspects of his musical mind. Released in 1967, Lee Hazlewoodism: Its Cause and Cure opens with five story-songs, most of which are dramatic narratives in which Hazlewood speaks rather than sings, approaching his recitations with all the seriousness he can muster, while Billy Strange's arrangements provide elaborate but understated accompaniment. Elsewhere, the album's second half finds Hazlewood in broader and more playful form.

The album received a **** rating on AllMusic, with reviewer Mark Deming stating that, "This LP reflects Hazlewood's wit and talents better than most."

Released in 1966 on Verve Folkways (a partnership between Verve Records and Moses Asch's Folkways Records), Mixed Bag was Richie Havens' official debut album and tackles a variety of song styles, hence its title. Among its highlights are Havens' readings of Bob Dylan's "Just Like a Woman" and The Beatles' "Eleanor Rigby." The album received a ****½ AllMusic rating, with reviewer Jim Newsom stating that, "Richie Havens' finest recording, Mixed Bag captures the essence of his music and presents it in an attractive package that has held up well. It's the sound of Havens' distinctive voice coupled with his unusual open-E guitar tuning, rather than the specific lyrical content of the songs, that pulls the listener in. 'Handsome Johnny,' one of Havens' best known songs as a result of the Woodstock film, is a classic anti-war ballad, stoked by the singer's unmistakable thumb-chorded strumming.