quête:j rob

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

LOLO hat sich im Laufe von drei EPs mit ihren Texten, die das Herz auf der Zunge tragen, und ihren knallharten, von Pop-Punk geprägten Melodien eine begeisterte Fangemeinde aufgebaut. Auf ihrem Debütalbum erkundet LOLO, was es heutzutage bedeutet, ein Mensch zu sein". Aufgenommen mit dem Produzenten Mike Robinson aufgenommen, wurde ihre Single ,u turn me on (but u give me depression)" bereits über 18 Millionen Mal angehört. EUPHORIA schreibt: ,LOLO hat sich zu einer unbestreitbaren Größe im Pop-Punk-Genre entwickelt", was durch ihre ständigen Tourneen mit Künstlern wie Boys Like Girls, New Found Glory und Against the Current deutlich wird. Das Wunderbare an den 15 Songs ist, dass alle direkt reingehen und Spaß machen. Irgendwo gibt es das lose Konzept, aber die Stücke stehen für sich und haben jeweils eine eigene Identität. - plattentests.de "LOLO creates honest, grungy breakup anthems and hot-girl bangers that mix genres and confuse categories."-Westword Für Fans von Charlotte Sands, Maggie Linderman, Stand Atlantic Nachpressung der Emerald Green coloured Vinyl-LP sowie CD (Digisleeve) erhältlich.

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

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

'If We Land On Water' is the first album from Spiral Wrack, a duo of Ali Wade (Frequency Domain) and Ralph Cumbers (Bass Clef / Myriad Myriads). Although the two have been good friends for decades and appeared on some of the same labels, this album marks their first musical collaboration, following a one-off appearance on Frequency Domain's 2023 compilation, 'Partials III'. Previous solo work from Ralph and Ali has appeared onPunch Drunk, Idle Hands, Pan, Trilogy Tapes and Werk Discs.

Here they present a full-length work of woozy, heavily processed guitar and synth duets, where beachcombed melodies wash up on unknown shores and strange flowers bloom at the high water line. Robin Guthrie meets Laurie Spiegel with Neptune at the controls. Rum and reverb, if you will.

"Waxwork Records is honored to present the release of the Original Motion Picture Soundtrack to George A. Romero’s horror classic, NIGHT OF THE LIVING DEAD. Written, filmed, and released in 1968 by a rag tag group of Pittsburgh based misfits, NIGHT OF THE LIVING DEAD is an American independent horror film that follows the story of seven people trapped in a rural farmhouse that is besieged by a large and growing group of living dead ghouls. The film is regarded as a cult classic by critics, film scholars, and fans and has garnered critical acclaim. The film has been selected by the Library Of Congress for preservation in the National Film Registry and is deemed “culturally, historically, and aesthetically significant”.

Filmed and released on a shoestring budget, NIGHT OF THE LIVING DEAD became a smashing success earning over 250 times its budget. The film is a first of its kind and ushered in a new way of writing, directing, and filming horror films. The overused script of romantic, fantastical tales of otherworldly monsters and creatures was completely flipped and tossed aside by visionary George A. Romero. As the film’s writer and director, Romero created a new, obvious threat, and one that is universally recognizable - Our very own neighbors. Due to an unseen force beyond man’s control, the recently deceased arise from the dead in seek of living human victims. These ghouls kill and feast upon the flesh of their victims, and the only way of stopping them is by destroying their brains.

From 2015 to 2018, Waxwork Records worked closely with the remaining members of the independent production company that made NIGHT OF THE LIVING DEAD, Image Ten, to produce a definitive soundtrack album featuring all music from the film. Much of the film’s music was thought to be lost or destroyed but was located in its entirety and faithfully restored and re-mastered for vinyl. This special release of NIGHT OF THE LIVING DEAD features the complete soundtrack, double LP “Black & White Hand Poured” colored vinyl, all new artwork by Robert Sammelin, a booklet featuring never before seen production photos, liner notes by Daniel Kraus (co-author of THE SHAPE OF WATER with Guillermo Del Toro), liner notes by Night Of The Living Dead’s dialogue recorder and sound engineer, Gary Streiner, and deluxe packaging."

This LP is a selection of tracks by The Wilde Flowers representing the origins of the ‘Canterbury Scene’. It features early works by Robert Wyatt, Mike Ratledge, and brothers Hugh and Brian Hopper.

All tracks are mono except “The Pieman Cometh” and a re-working of the Soft Machine classic “Hope For Happiness” recorded by Brian Hopper in 2003 which are both in stereo.

We end the year with the second in our series of The Coin EP featuring a different artist on each side. In case you missed Volume 1 - TLM033 it featured Cumulative Collective and Re:Fill in September 2023. This time on side A we have Italian brothers The Robinson who have previously released their track Song 1 on TLM034. They are back once again with two superb jazz infused house tracks, Passion Is The Key and A Satisfying Day. Both ideal for the dancefloor.

Moving onto the AA side and someone who has become a TLM regular, namely Japanese artist Takahiro Fuchigami who supplies us with three amazing tracks; Jazzing Bird, How’s That Sound? and In Motion. Fantastic broken beat from one of Japan’s rising stars. If you missed his two tracks that we previously released on TLM034 - Strange Acquaintance and TLM035 - Outer Heaven, you need to check them out.

Tina Records presents Cargo Cult, six tracks from the Musci archives created using an extensive collection of traditional instruments combined with synthesisers and electronics, with remixes provided by Cut Hands and Nokuit.

Italian ethnomusicologist Roberto Musci, active since the mid 80s, has experienced a resurgence in interest since the 2016 Music From Memory compilation 'Tower of Silence', receiving endorsements from disparate influential figures. His music featured in a playlist Ryuichi Sakamoto curated for his favourite Japanese restaurant in New York, as well as in a 2019 Yung Lean playlist for The Opioid Crisis Lookbook.

Cut Hands is the alias of William Bennett, most well known as the originator of the Power Electronics genre with his project Whitehouse. Inspired by Haitian Vodou, under the Cut Hands moniker, Bennett has been exploring rhythm and percussive instrumentation since 2007 with releases on Blackest Ever Black and Downwards.

A film composer by day, Nokuit has developed a distinctive cosmology over a mutating series of releases on underground labels such as wannamarchi.club and NKT. He has performed internationally, including at Cafe OTO as part of a lineup curated by Flora Yin-Wong.

The Numero Group guide to private issue new age. Featuring Laraaji, Iasos, Joanna Brouk, Don Slepian, Peter Davison, Master Wilburn Burchette, Jordan De La Sierra, David Casper, Robert Slap and 9 other pioneers of the Perrier underground. Adorned with Marcus Uzilevsky's Linear Landscapes, this 2xLP compilation is housed in a sturdy tip-on jacket and is accompanied by a 32-page booklet. The fourth world awaits.

The Numero Group guide to private issue new age. Featuring Laraaji, Iasos, Joanna Brouk, Don Slepian, Peter Davison, Master Wilburn Burchette, Jordan De La Sierra, David Casper, Robert Slap and 9 other pioneers of the Perrier underground. Adorned with Marcus Uzilevsky's Linear Landscapes, this 2xLP compilation is housed in a sturdy tip-on jacket and is accompanied by a 32-page booklet. The fourth world awaits.

When dub and dope beats entered into an open relationship in the mid-nineties and created a casual hybrid with trip hop, Jean-Yves Prieur aka Kid Loco was one of the first French people to be there. With singles like "She"s My Lover" and "Love Me Sweet" and the album A Grand Love Story, the producer proved himself to be a loverman indeed, with a knack for bedroom moods, charming little melodies and a comforting balance between minimalism and lush arrangements . As a keyboard all-rounder, Guillaume Méténier aka Soul Sugar has been featured on numerous Kid Loco productions for more than twenty years. From the synthesizer to the clavinet, from the Fender Rhodes to the Leslie organ, the "Funky Frenchman" is no stranger to any keyboard instrument. The Hamburg label Echo Beach, which has already issued dub commissions for a number of pop and new wave classics, thought it was time to change that. Dub masters such as Rob Smith, Noiseshaper, Dubmatix, Paolo Baldini and many others remixed for the label. Songs by Martha & The Muffins, The Police, David Bowie, Grace Jones and Robert Palmer, among others. In order to honor the music of Florian Schneider, Ralf Hütter and their respective fellow Kraftwerkers with a dub set, they turned to Kid Loco, who has now established himself as a musical all-rounder, and who immediately invited his long-time accomplice Soul Sugar brought on board. The calculation really worked out.

Sole Aspect takes us around the world and to the studios of artists based across Madrid, Switzerland, Los Angeles and Detroit on The Mystic Embrace EP. Opening it up is Ernes Joey & Robbin Hauz with 'U Should Know' (feat Shea Doll - Age Of Rage remix) which is a version by Dubbyman with some delightfully jazzy keeps, seductive deep house drums and aching vocals full of heart. The original is a stripped-back sound with less melodic luxuriousness but the still superb vocal front and centre. Dubbyman then mixes Klima Project's 'Sweetback' into a mid-tempo, cuddly back room deep house sound and Patrice Scott Reshapes it with some crystal-cut synth lines that bring cosmic charm.

The Soul Album is the fourth studio album by American soul singer-songwriter Otis Redding, released in 1966. It features Redding performing songs that he co-wrote, as well as covers of songs by such musicians as Sam Cooke, Eddie Floyd, Roy Head, and Smokey Robinson. Guitarist Steve Cropper contributed guitar on the album and is also credited as the co-author of three tracks. The Soul Album shows Otis Redding moving from strength to strength in a string of high-energy, sweaty soul performances, interspersing his own songs with work by Sam Cooke ("Chain Gang"), Roy Head ("Treat Her Right"), Eddie Floyd ("Everybody Makes a Mistake"), and Smokey Robinson ("It's Growing") and recasting them in his own style, so that they're not "covers" so much as reinterpretations.

Tape

On Repetitions, New York-based Swiss artist and composer Samuel Reinhard brings us close enough to a piece of music that its systematic nature begins to buckle and fade. Across four movements, three pianos pursue their own respective threadbare motifs, which overlap at the hands of a predetermined ratio of duration. What unfolds—at first glance slow, melancholic, deliberate, even plain—is a study of repetition’s in-betweens, populated by unexpected resonances and delicate traces of notes in the process of being played by human hands. The three pianos are not in sync, but are nevertheless in relation, the nature of which shifts with the listener’s orientation and attention. Each piece within Repetitions arrives as a constant whole, containing harmonies and silences that are in a never-ending process of unfurling.

Repetitions is a joint release from Hallow Ground and Präsens Editionen and follows offerings by Kali Malone, Lawrence English, and FUJI | | | | | | | | | | TA on Hallow Ground, and Robert Turman, Magda Drozd, and Anna Homler on Präsens Editionen.

* Edition of 100 professionally dubbed cassette tapes
* special artwork by artist Jeff Rossi, graphic desing by Coline Houot

Waxwork Records is proud to present BARBIE Score From The Original Motion Picture Soundtrack composed by Mark Ronson and Andrew Wyatt! The score is featured in the juggernaut film Barbie, directed by Greta Gerwig and starring Margot Robbie and Ryan Gosling as Barbie and Ken.

On composing the score, Ronson says, “Greta’s Barbie overflows with emotion in a way that inspires us to no end, not just with harmony and melody but also textures, sonics and rhythms. Sometimes Greta wanted us to elicit tears, sometimes she wanted it to feel like a disco. Sometimes she loved the warmth of vintage analogue synthesizers, sometimes she wanted the richness of the orchestra. Often, she wanted both.

“The late nights and crazy hours we put into Barbie were all worth it to us, because we were so in love with this film. And we truly hope listening to our score from beginning to end will give others the same emotional, whimsical experience they had watching this magical film.”

The highly anticipated film score vividly brings Gerwig’s vision to life and adds the perfect layer to the film that immerses fans into the Barbie Universe.

Tracklist:Creation of Barbie , Pink ("Barbie" Opening Theme) *Lizzo Cover , Beach Off , Ken Thinks , Stairway to Weird Barbie , Thoughts of Death , Send Me Through the Portal , Ken Makes a Discovery , Bus Stop Billie *Billie Eilish Cover , Mattel , Meeting Ruth *Billie Eilish Cover , You Failed Me! , Alan vs Kens , Deprogramming , Warmth of Your Gaze , An Ending , I Don't Have an Ending , What Was I Made For? (Epilogue) *Billie Eilish Cover

Naoki Zushi. Perhaps best known for his stellar guitar contributions to psych folk group, Nagisa Ni Te, Zushi has had a parallel career, for several decades, slowly releasing solo albums that spotlight his exultant guitar playing. Originally released to CD only by Shinji Shibayama of Nagisa Ni Te’s Org imprint in 2018, IV has Zushi playing and writing at a peak, its six songs slowly unfurling with a kind of paradoxical understated grandeur. This is psychedelic guitar music at its most paced and considered, yet given to flights of inspiration, and in this respect, Zushi sits within a lineage of guitarists who’ve used their instrument both as textural anchor and improvisatory tool – think of figures like Phil Manzanera and Robert Fripp, but also Roy Montgomery, Liz Harris of Grouper, even Tom Verlaine on his instrumental solo albums. Like those artists, Zushi locates moments of deep emotional resonance amidst luxuriant textural and melodic exploration. Zushi’s history stretches back to the mid 1970s. While for many, he first appeared on the scene as a founding member of noise legends Hijokaidan, alongside Jojo Hiroshige, his musical contributions predate that encounter. He started out playing progressive rock and improvised music, making home recordings of when he was in high school. He was a member of Rasenkaidan (Spiral Staircase) alongside Hiroshige and Idiot (Kenichi Takayama), the group that soon mutated into Hijokaidan (Emergency Staircase). Zushi and Takayama would soon form Idiot O’Clock, in 1982; Zushi also led his own Naoki Zushi Unit, starting in 1983. But for many, Zushi’s first significant appearance on record was as a member of Shinji Shibayama’s mid-eighties psych-pop group, Hallelujahs, whose sole album was recently reissued on vinyl. That group mutated into Nagisa Ni Te, and Zushi has played a significant role as their lead guitarist for several decades. His own solo music has appeared sporadically – Paradise (1987), Phenomenal Luciferin (1998), III (2005) and IV, with a few recent, meditative offerings, For My Friends’ Sleep (2021) and Nocturnes (2022). With IV, though, Zushi achieved something remarkable, a kind of extended exploration of the time-altering properties of echoplexed, hypnotically spiralling guitar interplay. The opening ‘Mirror’, “a song about the mirror inside me,” Zushi explains, starts out as a lush psych-folk song, slow and gentle, but soon takes to the skies with a cat’s cradle of Fripp-esque guitars, before thick, droning chords sweep the song to a drowsy coda. ‘Nocturne’ weaves silver skeins of guitar melody around a cyclical chord pattern; it gathers energy and quiet intensity through insistent repetition. The rest of the album explores the nuance Zushi can draw out of simple elements, building on what ‘Mirror’ and ‘Nocturne’ offer – the profundity of a chord change; the melancholy of a few quietly sighed words; the exhilaration of a guitar solo bursting out of the speakers; the subtle shifts in emotional register offered by tone and touch. Throughout, there’s something quiet, yet ineffable, shading the contours of the songs, such that it makes perfect sense when Zushi says, “What I want to express through music may be ‘sense of mystery’.” A few of the songs had their basic parts recorded at LM Studio and Studio Nemu with Shibayama and Masako Takeda joining on bass and drums, respectively; much of the album, however, was tracked at Zushi’s home studio. That seems appropriate for a collection of songs that are expansive in their intimacy. Asked what drove the sessions, Zushi answers, “I thought I’d make IV an album that particularly focuses on the guitar play.” And focus it does, as Zushi’s sky-scraping, soaring, elemental tone is front and centre throughout. But these are no guitar heroics; rather, Zushi uses the guitar as conduit and diviner, a tool for spirit location, and IV is his most eloquent expression yet of such singular magic.