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Restrictions is the third studio album by American hard rock band Cactus and was released in 1971. The band featured members from Vanilla Fudge, Mitch Ryder and the Detroit Wheels, and the Amboy Dukes.

As expected of these kinds of musicians; the record is packed with big guitars, big sing-alongs, and a bass-and- drum combo that could knock out windows. The album tracks “Token Chokin’”, “Evil”, “Alaska” and “Sweet 16” were all released as singles. It also features some heavy blues-rock originals, with a cover of the Howlin’ Wolf blues standard “Evil”.

Restrictions is available as a limited edition of 1000 individually numbered copies on green coloured vinyl.

Joris Feiertag is a Dutch producer and drummer from Utrecht in the Netherlands who makes music that is a finely balanced blend of organic and synthesized elements, often using ingenious syncopated rhythms combined with instruments such as the harp and kalimba. Roots is his third album on revered German imprint Sonar Kollektiv. The LP features not only a plethora of vocalists from across the globe, but also sees the producer playing with obscure samples and sounds, as he attempts to discover a new direction and find that sweet spot between dark and light; major and minor; new and old; uplifting electronica and soul

It's all aboard for Stasis' second 12" on De:tuned. Steve Pickton is widely regarded as one of the pioneers of the early UK techno scene. Here he returns with a new 3 track EP of carefully selected and previously unreleased DAT tape tracks from the heyday of 90s electronic music. On offer a uniquely lush and sentimental style that resonates with the 313 Motor City sound. Sweet memories are the greatest kind of nostalgia!

Kevin Foakes (Openmind, DJ Food, Ninja Tune) created all the graphic work. Mastered by Matt Colton at Metropolis and pressed on 180 gr vinyl. A separate digital release will also be available at the usual digital shops. Stay tuned!

Nachfolger des von der Kritik gefeierten, selbstbetitelten Debütalbum, Vambo mit ihrem 2. Studioalbum. Zwölf Tracks dienen als Schaufenster für das beeindruckende musikalische Talent und die energiegeladenen Auftritte der Band. Die Songs bieten eine Mischung aus melodischen Refrains, knallharten Riffs und dynamischen Gitarrensoli und versprechen ein aufregendes Hörerlebnis. Das Album lässt sich sowohl von "klassischen" Rock-Sensibilitäten als auch von zeitgenössischen Einflüssen inspirieren und präsentiert eine frische und innovative Herangehensweise an das Genre. Produziert von Ray Stiles, ehemaliges Mitglied der 70er-Jahre-Glam-Rocker Mud und langjähriges Mitglied von The Hollies. Jack Stiles Gesang, mit seiner fesselnden Präsenz und kraftvollen Stimme, ist eine magnetische Kraft, an der Gitarre entfesselt Pete Lance eine donnernde Energie, die die Aufmerksamkeit des Publikums vom ersten Powerchord an auf sich zieht, David Flitt, ein dynamischer Schlagzeuger, der die treibende Kraft hinter Vambo ist, der Kraft und Subtilität verbindet. Schließlich noch James Scotts provokante Basslinien verleihen Vambos Musik Tiefe und Kraft. Wie in der "High Hopes"-Strecke des Classic Rock Magazine zu sehen ist, haben sich Vambo als aufstrebende Kraft in der Rockszene etabliert, die nicht zu übersehen ist. Als Live Band ausgiebig auf großen Festivals unterwegs, z.B. das Download Festival, das Isle of Wight Festival und das Stone Free Festival und als Support für Acts wie Jared James Nichols, Y&T, Praying Mantis, Stray und Cats in Space.

Over the course of 20 years, German artist Black To Comm (Marc Richter) has pushed the limits of / and merged the aesthetics of art, conceptual installations, and music, coming in a wave of innovation alongside his peers Pita, Fennesz, and later Sarah Davachi to name a few. Through it all Richter as Black to Comm has challenged assumptions, explored identity, and confronted the concept of authorship itself. At Zeenath Parallel Heavens finds Black to Comm contemplating the hybridity within each and every one of us, be it sexual, racial, cultural, or linguistic. Richter mirrors personal dualities musically with a combination of sounds he created and manipulated samples, blurring their boundaries. "I always try to blur the line between sampling and my own recordings, also between "real" instruments,MIDI, electronics, editing, between authenticity and theatrics/artificiality," says Richter. When recording he became aware of how AI text programs processing resembles his own methods. "I had the realization recently that the way I compose is not too dissimilar to what AI software is doing nowadays - especially when the AI is hallucinating (this is the term used when the AI is overloaded/overcharged/inundated and comes up with made-up results)." Human behavior reflected in a computer facsimile of human intelligence appealed to the ethos of Black to Comm, whose titles and concepts are often oblique and tongue-in-cheek.

It’s been a hot moment, so we can’t wait to finally announce the next EP on our Awkwardly label, “a hack is a foul“ by dadan karambolo.

Safe to say he’s been on our radar for a while, so we’re mighty excited to welcome the Wroclaw-based producer on AWK005. After a strong debut release on his co-owned SPLOT imprint, an equally solid LP on Regime Brigade as well as contributions to various compilations, dadan is back with his signature moody, bass-bin shaking sound.

Hitting the sweet spot somewhere between dubstep, grime, breaks and ambient techno, these 4 tracks provide a somber yet seductive quality that invite the listener to get lost in a hazy amalgamation of stylistic elements. Rest assured, this combination of low end and rhythm heavy explorations contains the right formula to cause some damage on the dance floor.

DJ picks ups and plays by: DJ Voices, EMA, Ehua, Kassian, HAAi, Ila Brugal, Jaye Ward, Mani Festo, mi-el, Nala Brown, Om Unit, Peder Mannerfelt, Pinch, Stenny, Sybil, Tom Ravenscroft, Toumba et al.

Over the course of 20 years, German artist Black To Comm (Marc Richter) has pushed the limits of / and merged the aesthetics of art, conceptual installations, and music, coming in a wave of innovation alongside his peers Pita, Fennesz, and later Sarah Davachi to name a few. Through it all Richter as Black to Comm has challenged assumptions, explored identity, and confronted the concept of authorship itself. At Zeenath Parallel Heavens finds Black to Comm contemplating the hybridity within each and every one of us, be it sexual, racial, cultural, or linguistic. Richter mirrors personal dualities musically with a combination of sounds he created and manipulated samples, blurring their boundaries. "I always try to blur the line between sampling and my own recordings, also between "real" instruments,MIDI, electronics, editing, between authenticity and theatrics/artificiality," says Richter. When recording he became aware of how AI text programs processing resembles his own methods. "I had the realization recently that the way I compose is not too dissimilar to what AI software is doing nowadays - especially when the AI is hallucinating (this is the term used when the AI is overloaded/overcharged/inundated and comes up with made-up results)." Human behavior reflected in a computer facsimile of human intelligence appealed to the ethos of Black to Comm, whose titles and concepts are often oblique and tongue-in-cheek.

Mit “Twentysomething” gelang Jamie Cullum der internationale Durchbruch. Zum 20-jährigen Jubiläum erscheint das Album jetzt erstmals auf Vinyl!

“Twentysomething” machte den Engländer 2003 noch nicht ganz zum Popstar, aber immerhin zum bestverkaufenden britischen Jazzkünstler in der Geschichte der UK-Charts. Das Album, auf dem der Sänger und Pianist eine peppige Mischung aus Jazzstandards, Pop-Covern und eigenen Songs bot, verkaufte sich weltweit über 2,5 Millionen Mal und brachte Jamie 11 x Platin, 11 x Gold und 2 x Silber ein.

Zum Jubiläum erscheint “Twentysomething” als ”20th Anniversary Edition” auf Doppel-LP mit fünf BonusTracks, darunter die Single Version des Ohrwurms “Everlasting Love”, die Jamie 2004 für den Soundtrack des Blockbusters “Bridget Jones: The Edge of Reason” aufgenommen hatte.

Repress on green vinyl of GGGOLDDD's fourth album, Why Aren't You Laughing'. The Dutch ensemble marry hypnotic gothic vibes with soulful heavy rock, overlaid with atmospheric, often dream-like vocals. The multi-faceted album is complex in its construction, but by enlisting producer Jaime Gomez Arellano (Paradise Lost), each element is given ample room to breathe and indeed shine. GOLD's fourth album, Why Aren't You Laughing?, produced by Jaime Gomez Arellano (Paradise Lost, Grave Pleasures). The Dutch ensemble marry hypnotic gothic vibes with soulful heavy rock, overlaid with atmospheric, often dream-like vocals. Available on CD & LP. Recalling the experimentalism of Godspeed You! Black Emperor, the dark and sweet beauty of Kristin Hersh and Throwing Muses, but firmly rooted in a powerful, yet artsy rock vibe, GOLD have tapped into something truly unique.

It's the one you've been searching for....new white label action from Klasse Wrecks in the form of BOY1. The boy-wonder behind the music is none other than Seoul's favourite soulful son, Mogwaa. It's dubbed out pianos, forget-me-not vocal hooks and classic breaky House with a sprinkle of acid to sweeten the pot.

As we get ready to say goodbye to the Telomere Plastic series, we are excited to present Telomere 020.1, aka the first part out of 5.
Each release will have four different artists, making it a compilation of twenty different artists who will deliver unique, juicy and eclectic frequencies that will keep your telomeres bopping for the rest of time!

This first VA, features producers, ESB, Synaptic Voyager, Vinaya and Vonsuck.

A1, Fancy Organ from Vinaya, is a sexy deep and house cut that is guaranteed to bring smiles all around the dance floor. Arpeggios and groovy bass lines galore. Prepare your piano hands because you will find yourself playing that sweet air organ on this one!

A2, Self Destruct Sequence from Synaptic Voyager (aka Telomere 014’s Illuminators), is a very emotional cut. Originally released digitally on Frame Of Mind, we were overjoyed to be given the green light to put this beauty on wax. Deep pads, tommy drums, hints of IDM and techno, and soul striking arpeggios pave the way for a special sonic journey. Close your eyes and melt away with this one!

B1, Keio Acid from ESB. We are always delighted to share more ESB with you. Elan’s love for analog and tape give off a raw and authentic energy that is hard to come by. This deep, jazzy and loopy cut will keep you on your toes from start to finish. We can only dream of being on the dance floor as this one plays out!

B2, Unemati from Vonsuck, is a deep and dubby cut that beautifully blends the three genres dub techno, house and techno. Dark rooms and dark skies are recommend for this one here, even though we could see these frequencies accompanied by a pink and red sunrise bringing waves of energy and nostalgia to your soul. Its a real treat to have Vonsuck aka Galaktlan on the Telomere series!

Very limited black copies as always with a few colored copies available via the Wex bandcamp, be quick!

The Athenian producer Aggelos Baltas alias Anatolian Weapons captures on the album Earth the feeling of an optimistic future that grows on the soil of the sweet bitterness of the present and the past.

Under his pseudonym Anatolian Weapons, Baltas combines polyrhythmic percussion and wailing tones of Greek folk music with a thrilling and open Krautrock attitude. The album Earth takes us on a mystical journey through the northern Greek highlands, backed by Baltas’ unique machine-assisted folk, infused with psychedelic drones and exuding an aura that is neither then nor now, neither there nor here. Instead, it exists in a small pocket of its own cosmos. A crossroads of dimensions. A mystical offering to nature and the divinities.

Baltas has explored and reframed various Greek scenes of yesteryear in the past, such as with his Fantastikoi Hxoi project, which created Krautrock mutations from 60s and 70s pop, but Earth is an even more far-reaching expedition. It is a folk reckoning with ancient Greek musical traditions with a modern upgrade. The album reconstructs a sonic narrative of ancient traditions, enhanced with psychedelic and space-rock elements. In the reverb cycle, one hears a certain agrarian reinterpretation of the world, filled with harvest rituals and celestial incantations.

It is with great pleasure to welcome Anatolian Weapons to the label. During a longer stay in Athens, a friendship developed that led to a variety of musical projects and ideas. One of them is the release of the album Earth.

Always & Forever is the debut studio album by British girl group Eternal. The album achieved six top 20 singles, two of which reached top 5 - "Stay" and "Oh Baby I...". Always & Forever was a huge success, peaking at number 2 on the UK Albums Chart, and was later certified 4× Platinum by the BPI for sales of over 1.2 million copies. The album spent over 76 weeks in the charts.

Limited Grey Vinyl 2xLP. 18 klassische Songs aus dem Katalog von Velvet Underground, gespielt von The Feelies in der White Eagle Hall/ Jersey City, NJ - 13. Oktober 2018. Enthalten sind die VU-Standards "Sweet Jane", "Rock & Roll" und "I'm Waiting for the Man" sowie selten gecovertes Material wie "I Heard Her Call My Name" und "That's the Story of My Life".

BMG are delighted to announce the Double LP release of Uriah Heep's, Your Turn To Remember: The Definitive Anthology 1970-1990 pressed on limited edition yellow vinyl. Evoking an era when prog, hard rock and heavy metal co-existed in an era of glorious, boundary-breaking music, the songs trace the evolution of Heep from inexperienced studio musicians with everything to prove to bona fide, limo inhabiting rock stars. The Anthology cherry picks tracks from some of Heep's most celebrated albums including Demons and Wizards, Look At Yourself, Return To Fantasy, Equator, Conquest and The Magician's Birthday.

BMG freut sich, die Veröffentlichung der Doppel-LP von Uriah Heep's Your Turn To Remember: The Definitive Anthology 1970-1990 auf gelbem Vinyl in limitierter Auflage zu veröffentlichen. Die Songs erinnern an eine Ära, in der Prog, Hard Rock und Heavy Metal nebeneinander existierten, und zeigen die Entwicklung von Heep von unerfahrenen Studiomusikern, die noch alles zu beweisen hatten, bis hin zu echten, in Limousinen lebenden Rockstars. Die Anthology enthält eine Auswahl von Titeln aus einigen der berühmtesten Alben von Heep, darunter Demons and Wizards, Look At Yourself, Return To Fantasy, Equator, Conquest und The Magician's Birthday.

Since 2011, Mike"s been a Drag City stalwart, first with Sic Alps, then as a solo and with The Peacers - but Mike "The Mighty Flashlight" Fellows has been a behind-the-scenes figure at Drag City since the early early days, playing live and on record with Royal Trux, Silver Jews and Will Oldham. Mike D"s music, in all phases, takes the form of a next-phase roots-pop: soaked in the traditional waters of rock and roll and passed through a variety of after-punk sonic sieves, highlighted with DIY and lo-fi values, and making a jolly hallucinatory racket, at that! He prefers a particular density of obtuse angles colliding sweet and hot noise, an arrangement he has perfected over all his Sic Alps/solo/The Peacers years; his innate understanding of the mechanics of a pop song wends purposefully through the junk-strewn landscape, sharing secrets with cipher in hand. Playing in this cracked kingdom of sound/garden of verse, Mighty Flashlight alternately accents and balances Mike"s eccentricities with his playing and knob-spinning - and with the Flashlight shining bright upon him, Donovan"s serpentine path becomes ever so much more elastic, heightened from line to line, change to change, its motility creating different shapes in our ears. Mighty"s own kind of stereo imagining informs Donovan"s smoky subterranea with additional depth of field, while still allowing all the wayward details within the arrangement to diverge as one. Mike and Mighty wind it all together: art punk utterance and top 40 radio junk of yore, the primitivity that formed recorded music in its youth, honkytonk romanticism, liminal chamber-folk and ever-present disassociated psychedelia, transformed via self-medication into a gleeful, extramusical ennui while giving the listener impetus to sing along with Mike"s patented unlikely combos of melody and lyric.

Kompakt unveils the third volume of Jörg Burger’s Velvet Desert Music compilation series, dedicated to music that hits the sweet spot between the cinematic, the (pop) ambient, and the psychedelic. With Velvet Desert Music Vol. 3, Burger and his friends wander afar, taking trips away from, or adjacent to, the dancefloor that’s acted so long as the crucible for the Kompakt aesthetic. Like its predecessors, it’s a gorgeous, lambent collection of late-night mood music.

Because it’s such a broad church, Velvet Desert Music admits all kinds of new experiences, as well, with Burger looking for music that "leads out of the desert into the velvet universe". Indeed, of all the volumes in the series, this third instalment feels closest to an album made by a true collective. The roster has changed, with new contributors Flug 8 and Seb Martel, both with his trio Las Ondas Marteles and with Chocolate Genius and Zsela as La Finca, joining regulars The Novotones, Mount Obsidian, The Golden Bug, Paulor and Sascha Funke.

Burger himself reappears, too, alongside Fritz Ackermann (of The Novotones), Max Würden and Thore Pfeiffer, in The Velvet Circle. Their contributions are pure lush life electronica: “Our Tribe” hitches a ride with a low-slung groove, flickering psychedelic reels of acoustic guitar traipsing across moody bass and taffeta layers of drone; their opening remix of Flug 8’s “Puerto Rico” gently introduces the album with softly tangling electronic tones, while guitars, drenched in reverb, pirouette in the background. A Mount Obsidian remix of “Sacrosanct” by Burger’s The Black Frame -project is a swirling treat for the ears.

La Finca’s electronics and voice miniature, “What Clouds Say”, is a masterclass in poetic restraint; Martel’s “Dark Mambo”, remixed by Burger, is one of the collection’s big surprises, for it indeed does what the title says, a drifting, surrealist take on the mambo form, full of pensive chords, rich with unrequited longing, a breathy saxophone whispering under the song’s sly rhythmic carriage.

Elsewhere, The Novotones chime in with a slyly propulsive, Krautrock-esque charmer, “Liberty Bell”, and the guitar-led tone-drift of “Valley of Oblivion”; Paulor’s “The Last Coke in the Desert” is a chiming, lilting dreamscape; Mount Obsidian are joined by vocalist Charlotte Jestaedt for two modern takes on early-hours art song, “Marole” and “Fade”; Sascha Funke’s “Mathias Rust” is a lavish dancefloor dream, vocal samples drifting through the song as it slowly envelops the listener in its opulent radiance.

This is just a taste of the rich pleasures of Velvet Desert Music Vol. 3, a triumph of a compilation that takes the psychedelic visions of its predecessors and looks for the desert within, a dusty kiss, a road-movie hallucination flickering on the listener’s eyelids, a cinematic projection from deep inside the mind.

What do Elvis Presley, the Beatles and all the other rockers have in common? They all performed songs by Chuck Berry. Rhythm, musicality, intelligent lyrics, sensuality, insolence, humor, style... It's all there! His records are the perfect rock'n'roll vade mecum.

Als 2017 Ilgen-Nurs Solo-EP No Emotions erschien, war die junge Songwriterin schnell in aller Munde. Ihr damaliger Slacker-Sound wurde als die neue Coolness im deutschen Indie-Pop gefeiert, es folgte eine Europa-Tour und Supports für Bloc Partys Kele Okereke und Tocotronic. Für Ilgen wurde ein Traum wahr, den sie von Kindheitstagen an geträumt hatte: Mit ihren eigenen Songs auf die Bühne!

Sie gewann Musikpreise, wurde zu Features eingeladen, ihre Songs wurden für erfolgreiche Netflix-Produktionen genutzt. Ilgen brach zwei Studiengänge ab, ging von Hamburg nach Berlin. 2019 kam dann ihr Debut Power Nap raus, das sie gleich auf dem eigens dafür gegründeten gleichnamigen Label selbst veröffentlichte. Die Kritik reagierte begeistert.

2022 dann also: Mit einer Handvoll Songs im Gepäck ging Ilgen schließlich mit ihrem Wahlproduzenten Jon Joseph in dessen Studio in San Pedro. Maximilian Barth, ihr neuer Gitarrist, flog über den großen Teich, Sessionmusiker wurden eingeladen. IT‘S ALL HAPPENING nun, das Resultat dieser Zeit, zeigt eine neue Ilgen-Nur, die herausgefunden hat, wer sie sein will, wer sie ist. Es klingt warm und melancholisch, gibt ihrem dunklen Timbre genau die Fläche, die
es verlangt. Und zeugt von gewonnener, hörbarer Reife.

Their notoriously fierce live performances are only going from strength to strength, with Wolf Alice inviting her on their extensive 2021 UK tour having witnessed the energy of their show.

Her stagecraft also caught the eyes of legendary fashion house Alexander McQueen, becoming creative director Sarah Burton's recent muse. Having recently closed their flagship runway show at London Fashion Week, the band also partnered with McQueen for a campaign this summer which captured them taking to the stage in Glasgow's legendary and glitzy Barrowland Ballroom.

Oozing confidence and ready for what lies ahead, 2023 feels like a defining year for Lucia & The Best Boys.

Black Sabbath wurde 1968 in Birmingham von Ozzy Osbourne (Leadsänger), Tony Iommi (Gitarre), Geezer Butler (Bass) und Bill Ward (Schlagzeug und Percussion) gegründet. Ursprünglich als Heavy-Blues-Rock-Band namens Earth gegründet, begann die Band, okkulte und Horror-inspirierte Texte mit heruntergestimmten Gitarren einzubauen, änderte ihren Namen in Black Sabbath und veröffentlichte in den 1970er Jahren mehrere Gold- und Platinplatten.

Die Ultimate Collection wurde von den Bandmitgliedern zusammengestellt. Das Ergebnis ist eine 17-Track-Sammlung mit den Klassikern der Band wie "Paranoid", "Iron Man", "War Pigs", "N.I.B." und "The Wizard" sowie ausgewählten Ausschnitten aus ihren klassischen Alben. Remastered von dem renommierten Toningenieur Andy Pearce (Motörhead, Deep Purple, Lou Reed, Iggy & The Stooges) im Jahr 2009.

Die Sammlung ist die ultimative Begleitung für alle Sabbath-Fans und alle, die Hardrock lieben.

Sweet little Tekno-Tribe sound, with more familial selecta of artists... A side tends on Techno Pump while the flip is really reminding the old school first OKUPE kind of sounds... Records comes with stickers.

2023 Repress

Best Record lights up a surefire classic from the annals of Italian dance music, made courtesy of Italo-Disco heavyweights Klein & MBO, who were not a company looking to get rich, but just 2 individuals: Tony Carrasco (USA), Mario Boncaldo (Italy), in one word... LEGENDARIES! with something burning inside to share. Italy certainly had a huge influence on the nascent Chicago house scene which embraced the best jams of Italo-Disco and created a movement of those simple yet complex sounds like those of "The MBO Theme", beautiful song, smooth and sweet, to give you time to think about some amazing dance moves and bring back very beautiful memories. The song was originally a hit created by the likes of Ron Hardy thanks to his punchy synth bass and captivating European vocals. So this was the first house song ever made and it's from the '80s, loved from the beginning by Derrick L. Carter, one of the pioneers of House Electronica in Chicago and Farley "Jackmaster" Funk, who broadcast on WBMX-FM of Chicago as a member of the DJ team Hot Mix 5. Pure Italo-Disco! Simple analog drum machine (sounds like a TR-606) and analog synthesizer, which in the case of Klein & MBO, is most likely a Sequential Circuits Pro-one. Italo's first purely minimal songs from the early 80s. This sought-after dancefloor gem has been given a faithful remastering touch, as is the Best Record method, which also brought out a previously unreleased edit of the track called "Italian Version", which extends the club qualities of the jam to the maximum impact of the party.

After an international tour, the multi-instrumentalist FKJ presents his new 6-tracker jazz EP : Ylang Ylang

Produced in an intimate context, the project, both bright and melancholic, is a real journey within the artist's time capsule.

Its numerous instruments - often accompanied by warm choruses - between apotheosis and rhythmic lull, tell the different parts of his life. Story of musical and familial love, loneliness and passing time, this project spotlights his name, coming from a soothing local flower.

Full of influences, there is Bas - the first rapper signed on Dreamville, label created by J.Cole - on the single "Risk", which deals with similar themes. French Kiwi Juice introduces us to a sweet orchestral ballad. Finally, between gratitude and lightness, he states "I am still the same".

Warm kicking hardfloor rolling tribe

Keita Sano is a prolific Japanese producer who has released on revered labels such as Mister Saturday Night, Lets Play House, Morris Audio and 1080P. His fusion of dark, distorted, acidic textures and crunchy disco beats gives his produc tions a unique sound which works perfectly for Delusions Of Grandeur and the label is proud to welcome him for his debut DOG EP entitled Love Is Emotion.

The title track comes on like a proverbial runaway train with heavy, pounding beats and bassline forging things ahead while the most twisted, tripped out FX rise and fall creating an absolute juggernaut of a track which takes no prisoners. A decept ively simple DJ tool which is loaded with drama for maximum impact on the more left of centre dance floors.

Up next we have Violet which takes a low-slung deep house approach but with the grit and dirt that Keita always brings to the party. The first half of the track teases with tension-building chords and syncopated bassline which bounces around a massive four on the floor kick drum. Things fall away in the middle of the track to reveal a beautiful, heartwarming piano part, setting the scene before things get truly epic with orchestral strings bringing a touch of the film noir to proceedings.

I’m A Man picks up the pace again for an intense acid work out which pushes the sonic boundaries to the limits with seriously warped FX creating mayhem around a simple, percussive disco groove. As secret weapon DJ tools go, this is right up there.

Closing out this mind-bending release Keita remains in experimental mode on Love Is Emotion offsetting melodic arpeggios and sweet chords with off-kilter sonic madness ensuring things remain dark, dirty and deep.

French label and promoter Much More recordings is proud to present the second vinyl of its collection. This vinyl features 6 tracks ranging from breaks to techno and passing electronica, designed for soundsystem and anchored in their proper original and analogic techno sound.

- In the cosmos of techno, a pear takes height,
As Hawking once mused, our past's pear-shaped light.
Evoking the essence of techno's design.
From acid's lemon embrace to bitter-sweet's delight,
Techno's past and future, in pear-shaped swirl.
Upon the tree stump, a glimpse of starlight,
A timeless journey, through cosmic embrace.
Techno's essence, expanding through space,
Techno's soulful evolution, a work of art. -

AudioKast joins, promoting sheer delight. Intelligent, smooth, with a touch of piano, A break-infused track, atmospheric glow. Falling Echoes, from France's southern land, Techno that lingers, both fresh and grand. Straight, mental, efficient, it ensnares, A captivating sound, with eternal affairs. Ricardo Garduno, Mexico's pride, Illegal Alien's head, his track provides heavy, straightforward, 4-to-the-floor, A dancefloor bomb, demanding much more. Johannes Astrup,
from Copenhagen's embrace, Smart-stepping techno, a timeless grace. Killing beats that reverberate and flow, Infinite rhythms, an everlasting show. Joton and Aicrag, a powerful duo, Break smart-stepping techno, boomy and true. Their collaboration, a vibrating spell, Moving bodies, a dancefloor's sweet swell. The Blackmailer, a friend tried and true, Driving, big room, a relentless beat, Techno's love, a symphony complete. Dear friends, in this cosmic dance we partake, Love and techno, our souls awake.We are back to the essence, and yet, much more.

Limited Loser Edition on Mustard Yellow vinyl. In 1988 Mudhoney released their debut 7" single, "Touch Me I'm Sick," and it rapidly became the defining anthem of the Seattle scene that, shortly thereafter, took the world by storm. Punk? Garage? G****e? Who cares when it rips this much! The B side, "Sweet Young Thing Ain't Sweet No More," ain't no slouch, either. Later in 1988, the band followed up with Superfuzz Bigmuff, a six-song EP so overflowing with chaotic rock energy it warped thousands of minds, and inspired countless guitarists to immediately search for the titular fuzz pedals. In the words of Dynamite Hemmorage's Jay Hinman: "My feeling - and I know I'm not alone in this one - is that for all the play and worldwide attention several Seattle-area bands got during the 1988-92 period, at the end of the day (and even at the time), there was Mudhoney - and then there was everybody else. To me, you, and most everyone who was paying close attention to underground rock music during those years, Mudhoney still sound like the undisputed kingpins of roaring, surging, fuzzed-out, punk rock music. These first recordings were so life-affirming upon their release, connecting everything great about the sixties (biker movies, fuzzboxes, old guitars, three-minute songs) with the frothing, punk rock of the early 80s, that a whole new style of music was born. They called it grunge, but to me it was amped-up, clear-the-room, ramalama rock that exploded like Nagasaki live, and it was about as joyous and as fun a noise as anyone'd heard in years." These 2023 colored-vinyl editions of the two releases celebrate the 35th anniversary of Mudhoney's opening salvos, and we couldn't be more excited to have them back in print.

Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) is the latest entry in Rhino’s ongoing, GRAMMY-winning series exploring the vast untapped archives of rare Joni Mitchell recordings — a project guided inti-mately by Mitchell’s own vision and personal touch. Joni Mitchell Archives, Vol. 3: The Asylum Years (1972-1975) will be available as a 4 LP with an accompanying book featuring photos and a conversation about this period between Joni Mitchell and longtime friend Cameron Crowe.

The collection begins with an early cut of “Cold Blue Steel And Sweet Fire,” one of two songs (along with “For The Roses”) test-driven during a visit to a Graham Nash David Crosby recording session at Wally Heider’s in Hol-lywood.

From there, listeners are treated to early demos and alternate versions from sessions from For The Roses, Court & Spark, and The Hissing Of Summer Lawns; historic live show recordings, including the entirety of Mitch-ell’s triumphant 1972 return to Carnegie Hall and a definitive gig with her Court And Spark backing band Tom Scott & the L.A. Express; and tracks from sessions cut alongside James Taylor, Graham Nash, and Neil Young.


















q 5. Sunrise Raga [3:41]

New Digital Fidelity has been making sweet moves recently with a debut on the lauded Moods & Grovers label out of Detroit followed up by a single on his own Scopic Records. Now he brings his class to Beachside and again shows off his love of Detroit house vibes. Opener 'Crush On The Beachside' is raw and intense with humid chords and jacked-up drums, then 'Shattered' brings more loose and jumbled beatdown grooves and 'Crush On The Beachside' (K15 remix) is then bubbly, jazzy and cuddly. 'Cracking' rounds out with more rich chord work and bristling drum funk.

Chicago"s Axis: Sova hit the beaches of southern California with Ty Segall to make a total hi-fi classic. Often feral and consistently catchy, Blinded By Oblivion is lit up with interlocking drum kit + drum machine, adventuresome guitar, bass, and harmonic vocals on every song. Icy lyrical perspectives, rendered in a sunshiny natural paradise, transmit the fun and fraud of human polarities with urgency and an occasional eye roll. Making for an undeniably good/bad time, streamlined and more reflexibly physical than previously known, Blinded By Oblivion begs the universe to bring back rock and roll radio. All the elements are there: compassion for our collective fallibility, rebuke on the tip of the tongue, all rolled tight with hook-laden, high-energy construction. "Bout halfway through Blinded By Oblivion, we hear Sova say, "I think my heart is made of metal." Yuuuup. But we"d argue there"s at least a ventricle or two made of post punk! And with vena cavae split between psych and southern boogie. And cardiac veins of glam, power pop, and punk Sometimes the heart is simply filled with sweet melody - so man, the beats of this metallic muscle are insane!

Chicago"s Axis: Sova hit the beaches of southern California with Ty Segall to make a total hi-fi classic. Often feral and consistently catchy, Blinded By Oblivion is lit up with interlocking drum kit + drum machine, adventuresome guitar, bass, and harmonic vocals on every song. Icy lyrical perspectives, rendered in a sunshiny natural paradise, transmit the fun and fraud of human polarities with urgency and an occasional eye roll. Making for an undeniably good/bad time, streamlined and more reflexibly physical than previously known, Blinded By Oblivion begs the universe to bring back rock and roll radio. All the elements are there: compassion for our collective fallibility, rebuke on the tip of the tongue, all rolled tight with hook-laden, high-energy construction. "Bout halfway through Blinded By Oblivion, we hear Sova say, "I think my heart is made of metal." Yuuuup. But we"d argue there"s at least a ventricle or two made of post punk! And with vena cavae split between psych and southern boogie. And cardiac veins of glam, power pop, and punk Sometimes the heart is simply filled with sweet melody - so man, the beats of this metallic muscle are insane!

The group"s second LP for Epitaph finds HUNNY playing in a brand-new musical sandbox, balancing the haze of hindsight with a sun-soaked SoCal summer. From the meditative track "my own age" and breakbeat-backed, late "90s-leaning "all my luck" to the lo-fi punk standout "ring in your ear" (featuring Motion City Soundtrack"s Justin Courtney Pierre) and made-for-dashboard-drumming "89cc" (complete with a searing sax solo) the album is a testament to the band"s musical fluency and dedication to their craft. HUNNY was born out of the tight-knit North LA indie-rock scene of the mid-2010s, sharing stages and even band members with acts like The Neighbourhood and Bad Suns from an early age. The band is well established in the digital space, having racked up over 300+ Million streams to date on their catalog. By the time the band had secured a record deal with legendary Epitaph Records and released their 2019 debut full-length, Yes. Yes. Yes. Yes. Yes., outlets like Alternative Press were hailing HUNNY - vocalist/guitarist Jason Yarger, guitarist Jake Goldstein, bassist Kevin Grimmett and drummer Joey Anderson - for their spin on "perfunctory electronic and new-wave pop, teeming with love, heartbreak, neuroses and impeccably sweet dancing shoes." Now, on the verge of entering their second decade together, it"s clear HUNNY"s greatest asset is their disinterest in doing anything besides what moves them. It"s afforded them great range as a band, the ability to naturally shapeshift on their own albums as well as win over audiences across the entire rock spectrum. Most importantly, it"s propelled them to be unapologetically themselves and trust what"s gotten them this far.

Another dream coming true! One of Giuliano Sorgini's finest and most sought-after titles is finally available as an official LP reissue – the first ever – remastered from the original tapes.

Originally released in 1971on the small library music imprint FAMA, which operated as a sub-label of RCA Italy, the record contains the original music written for Scappo per cantare, a small, pseudo-psychedelic 'musicarello' (musical comedy film) broadcast on RAI television and starring, among others, Italian singers Gianni Morandi and Mauro Lusini.

The only credited album artist is Sorgini, but it's impossible not to perceive, in this record, the hand of his close friend and colleague Alessandro Alessandroni.

This should not come as a surprise. In the early 70s, the two composers and multi-instrumentalists had a fruitful collaboration that saw them, under the monikers Braen (Alessandroni) and Raskovich (Sorgini), produce an abundance of works together, most of which have now gained the recognition they deserve. These include, among others, two 7" singles from their band The Pawnshop, three records in the series Alle sorgenti delle civiltà (Folkmusic), the crime/noir library albums Quarta pagina (Usignolo) and Inchiesta giudiziaria (Octopus Records), as well as the LP Tempo Libero (Panda Records), which was released shortly after the record presented here and in some ways drew rhythmic inspiration from it.

While their collaboration remained unacknowledged on the original release of Scappo per cantare (this was not uncommon at the time, especially in the field of library music), the record sounds perfectly in line with other works composed by Alessandroni in the early 70s, such as Complesso Gisteri's Mostra Collettiva (co-written with Oronzo De Filippi), or even a landmark album like Spontaneous, where Sorgini contributed to a handful of tracks.

So, yes, the sheer beauty of Scappo per cantare is the result of an incredible synergy between two heavyweights of Italian library music! Airy and sweeping melodies à la Zoo Folle, psychedelia à la Under Pompelmo, and various percussion instruments played by Sorgini seamlessly blend and fuse with elements and touches provided by Alessandroni.

More specifically, we find Alessandroni's signature, melancholy whistle in "Desolazione"; the peaceful and dreamy sound of his 12-string guitar in "Scogliere" and "Con Amore"; the trademark harmonies of his vocal ensemble Cantori Moderni in the last two tracks mentioned and in "Per cantare"; and his ingenious use of distortion on his Fender Stratocaster in the suspenseful transitions "Concentrazione" and "Fantocci", as well as in the frantic/hypnotic hippie numbers "Mordente" and "Fendente" (as a side note, it is worth remembering that Alessandroni experimented extensively with distortion in the rock-infused album Underground, co-written with De Filippi and released in 1971 under the moniker Braen's Machine, probably a reference to British psychedelic band Soft Machine).

The creative relationship between Sorgini and Alessandroni was so symbiotic that it would be useless to try to identify in more detail their respective contributions to the sound of Scappo per cantare. The alchemy between these two musical geniuses is the key to the album's exquisitely Italian mixture of cheerful lounge, sweet psychedelia and smooth easy listening.

To do justice to the quality of the music, this remastered reissue is enriched by a new artwork by Eric Adrian Lee, who drew inspiration from the psychedelic visual culture of the period in which the album was written and recorded.

Attentat have been going strong since 1978, but as they were working on this album things came to a
crashing halt when vocalist Jönsson ended up in a coma. The whole experience ended up just
strengthening the band's resolve to plow through. Jönsson recovered in record time, the band
replaced both a few songs and a member and ended up with a banger! Swedish singalong punk rock
reminiscent of classic English bands like Buzzcocks and The Clash as well as later US groups like
Rancid and Social Distortion with a little bit of Slade and Sweet sprinkled on top.

Brutter continue with their deep dives into the endless possibilities of beat music. The duo has a gravitation towards headstrong bass drums and pulsating patterns that contain remnants of everything from dub to disco, from hip-hop to mechanical workshop. On their fourth album 'Outta', Brutter steps out of their good dogmatic rhythm skin and brings strings into the mix. Auto-harp and lap steel guitar contribute twisted sweet tones and floating comments to everything that otherwise thumps and beats. 'Outta' gives a precise sound picture of where Brutter has ended up after 10 years of digging for rare beat metal. Brutter is the duo consisting of Norwegian brothers Christian and Fredrik Wallumrød, founded in 2012. Christian Wallumrød is a well renown pianist and composer, releasing music since 1996 on labels like ECM Records, Jazzland and Hubro. Fredrik Wallumrød was educated at the Trondheim Music Conservatory, same as his brother, with focus on drums and jazz as a genre. He has later changed his course for rock/metal and more pop-oriented music, such as Span / El Caco / Dog Almighty, in addition to his work with singer/songwriter Susanna and soul / r&b artist Jarle Bernhoft. Christian Wallumrød – drum machines, electronics, auto harp Fredrik Wallumrød – drums, drum synth, electronics, lap steel.

It is with great fanfare that we proudly announce the return of the esteemed improvisational chainsaw blues trio Young James Long. Young James Long formed in Dallas in 2003 with a weekly residency at a local (and appropriately named) dive bar called Muddy Waters. PW Long (guitar, vocals) and Kirkland James (guitar) had known each other socially since the 90s when Long was fronting Quarterstick Records’ Mule, and James was playing with Tenderloin. Long would go onto make a series of incredible solo records under his own name and that of PW Long’s Reelfoot and James would play with Alejandro Escovedo (among many others) before their paths finally crossed again. They recruited Taylor Young (Hi-Fi Drowning, Young Heart Attack, The Polyphonic Spree) on drums and a raw, blues-punk-rock-and-roll band emerged fully formed, songs flying out of them with enthusiasm and ease. They recorded the You Ain’t Know The Man EP with their friend (and eventual Grammy winner) Stuart Sikes not long after. The EP came out via Southern Records in 2007, and thanks to the tasteful ears of the people this side of the pond, a European tour followed. If you saw that tour, you’ll agree that it felt like the band were really hitting their stride. However, here we are in 2023, so what happened? Answer: geography - the age-old enemy of creativity. One member left Texas and the others (being the extremely able and skilled musicians that they are) were perpetually wooed away to play in other bands. Everyone’s got bills to pay, right? And with that, things just kind of fizzled out. Long even insists he quit playing music around 2010. One of the most recognisable voices in underground music: out of the game. Incredible. Inconceivable.
Then, last year we at Wrong Speed got an email asking if we’d be interested in some new music Young James Long had been working on. We thought it might be a joke. They sent some mixes through, and it became very quickly apparent that it was anything but. Turns out the trio had started chatting about music again in 2020 (before the world had other plans) and had finally made their first full-length album Orogeny in the summer of 2021. Orogeny sounds live and thrillingly immediate, as though all obstacles between their delivery and your ears have been removed and discarded as irrelevant. There is no filler, no treading of water at any point. Amps buzz, songs teeter on the edge of collapse, you feel like you’re sitting in the middle of the band as they play and it’s a pretty sweet place to be. The album contains a whopping 17 songs, most under 2 minutes long. They don’t want to waste your time, or most importantly (after sixteen years away), theirs. If you’re familiar with Long’s previous bands, you’ll know he has a rare gift for pairing extreme volume with extreme tenderness and it’s thrilling to find that gift present and correct after over a decade away. And that voice – holy shit, that voice. He can go from a Beefheart howl to the sweetest country baritone in the space of a single line. In James and Young he’s found the perfect foils, a power trio of instinctive and soulful musicians able to conjure shining gems of magic out of the grit and the dirt. Young James Long is risen from the ashes – it’s a miracle!