Cerca:jelly

2023 Repress

P: Limited Edition 3D Lenticular Gatefold sleeve, 2 x 180g heavy weight vinyl
After four years of touring, Shpongle return with a new album, though much has changed. Music production isn't something for just enthusiasts anymore, and the tools needed to make an entire album in your bedroom are becoming increasingly available and affordable... yet this just makes Shpongle's return all the more welcome. In a time where more and more focus is put on commercialization and churning out quick hits Simon and Raja's latest work is a welcome breathe of fresh air wedded to nostalgia, and proves that the group isn't ready to become stagnant anytime soon.

“This is me at my most imaginative, freakiest, and yet still most grounded and introspective,” says Japanese American rapper/actor Lyrics Born not only about his new album Vision Board, but also his “self” and his existence. “I feel like a new man! I’m healthier physically, spiritually, mentally, and emotionally.” The lead single and video “Diamond Door” is a pop/rap banger that lands you with an infectious barb and keeps you hooked for days, and is a thinly-veiled tribute to a particular style of female appreciation, but it can also be taken as a welcome mat to the new era of Lyrics Born. The accompanying video which shows Lyrics Born in his current physical form - svelte, stylish and with a confident swagger - reinforces this next chapter in his life. 60 pounds lighter, he lost the weight during the pandemic when he knew he needed to make a change. “Touring was becoming harder, and I was having all these weird health problems, but nothing that anybody could put their finger on,” he explains “My anxiety was high. I was not sleeping well. I was on the verge of really bad health.” And this improvement brought more confidence which shows in his new album. Vision Board is a focused affair that found him stretching his creativity farther and challenging himself to write in a way he’s never written before. Recorded primarily in New Orleans and produced by Rob Mercurio of Galactic (who also produced 2015’s Real People and 2018’s Quite a Life), it posited him in a new environment that helped his creative juices flow even more fluidly. “There’s nothing like recording in the Crescent City. It just gets in your blood, and the results are always funky and wild.” “This is about as psychedelic as I’ve ever been,” LB says. “I’m so proud of this album. I’m in a different space. The world is in a different space, and I wanted to celebrate that, loosen up and really create some imagery and share some emotion that I never have. I was listening to a lot of Shuggie Otis; a lot of obscure psychedelic soul and later Temptations,” he explained. “This is like if Alice in Wonderland was Japanese.” Vision Board was also inspired by another Bay Area rap luminary, although one who’s no longer with us - Gift of Gab. The dexterous Blackalicious MC and fellow Quannum Projects alum had a profound effect on Lyrics Born’s life, both creatively and philosophically. “I asked myself on some of these songs: ‘How would Gab approach them?’” he said. “I’d play with certain cadences, certain styles; I tried to stretch stylistically, lyrically and vocally on every single song. None of the patterns are the same.” Lyrics Born’s vulnerability shines through on the nine-track effort, something he’s not ashamed to admit (nor should he be). At one point during the pandemic, he was losing one friend, peer or family member every other week - from Zumbi of Zion I to Gift of Gab to Digital Underground’s Shock G. While many of the songs are deeply introspective, he had to “write some fun shit,” too. Celebratory horns, uptempo rhythms and fiery bars pepper the project from start to finish, and truly encapsulate Lyrics Born’s evolution of not just a groundbreaking Asian-American MC but also a human being. As the only Asian-American MC to release 10 studio albums, the first Asian-American to play major music festivals like Coachella and Lollapalooza and the first Asian-American to release a greatest hits compilation, Lyrics Born has been breaking barriers his entire life - and he’s not going to stop anytime soon. From the bombastic and tribal “I’m the Best Rapper in the World” with its self-winking boastfulness to the playful scat of “Bang Bang Bang” that slinks like an outtake from West Side Story, to the smooth and seductive “Who's The Best? (Dear Young LB)," to the psychedelic and swoony ”Alligator Boots” with it dreamy “Walk on the Wildside”-esque reverby sway, Vision Board sees Lyrics Born tackling different tones, textures and genres without fear and making them completely his own. It's an eclectic body of work that boasts more synths, more psychedelia and is generally more abstract.

This 80's 12 Inch Remixes Collected edition is from the decade when the extended remix was an artform. A remix is usually an alternative, and sometimes longer, version of a previous recorded song.

Red Vinyl

Nachdem Meg Remy, alias U.S. Girls, zuletzt schon in Form der Singles "So Typically Now" und "Bless This Mess" nach zweijähriger Abwesenheit neue Lebenszeichen aussendete, kündigt die kanadische multi-disziplinäre und experimentelle Pop-Künstlerin nun auch ihr neues Album an! "Bless This Mess" erscheint am 24. Februar 2023 bei 4AD und zeugt von der langen künstlerischen Evolution, die Remy unter ihrem musikalischen Alter Ego vollzogen hat: Eigentlich geboren in Illinois, hat sich Remy in den letzten Jahren zu einer der Stimmen und Performer*innen der Torontoer Szene entwickelt. Von den ersten Anfängen in Kellern in Philadelphia und Chicago, als sie durch Delay-Pedals über rohe Loops summte, hin zur selbstbewussten Frontfrau eines achtköpfigen Art-Soul-Orchesters, das die Welt bereist, hat die Vision, sowie das Talent Remys das Projekt über die letzten 15 Jahre zusammengehalten und geprägt. Mit "Half Free" (2015), "In A Poem Unlimited" (2018) und "Heavy Light" (2020) veröffentlichte sie drei Juno Award nominierte Alben (in der Kategorie "Best Alternative Album"), die auch jeweils auf der Shortlist für den Polaris Prize standen. Und das neuste U.S. Girls Album fügt der eh schon ausufernden Palette an Einflüssen, Themen und Sounds noch Bausteine wie Funk, ihre Mutterschaft, griechische Mythologie, langsame Jams, Erwachen und Schmerzen in das lebhafte Hymnen-Treiben hinzu! "Bless This Mess" entstand dabei, während in Remy ihre beiden Zwillings-Jungs heranwuchsen, in Kooperation mit einer ganzen Reihe an Musikern (Alex Frankel von Holy Ghost!, Marker Starling, Ryland Blackinton von Cobra Starship, Basia Bulat, Roger Manning Jr. von Jellyfish und Beck), sowie mithilfe einiger Tontechniker (Neal H Pogue, Ken Sluiter, Steve Chahley, Maximilian Turnbull). Da es weder eine feste Band noch immer gleiches Aufnahme-Personal während der Produktion gab, fühlt sich das neue Album vielmehr wie ein Mixtape an, gleichzeitig befindet sich Remy darauf selbst im stetigen Wandel. Denn während sich ihr Körper der Schwangerschaft anpasst, verändert sich auch ihre Stimme, verlor etwas Raum zum Atmen, bei einigen Gesangsaufnahmen waren ihre Neugeborenen sogar auf ihrem Arm. Keine Überraschung, dass Remy sogar ihre Milchpumpe auf "Pump" sampelte. Und doch beinhaltet das neue Album so viel mehr - mehr Blut, mehr Gefühle, die miteinander verflochtenen Wunder und Wunden des Lebens. Dementsprechend variieren auch die Songs in Tempo, Instrumentierung und geben sich zwischen experimenteller Hingabe, Entdeckungen und Delirium der aktuellen Gefühlslage der Künstlerin hin.

Nachdem Meg Remy, alias U.S. Girls, zuletzt schon in Form der Singles "So Typically Now" und "Bless This Mess" nach zweijähriger Abwesenheit neue Lebenszeichen aussendete, kündigt die kanadische multi-disziplinäre und experimentelle Pop-Künstlerin nun auch ihr neues Album an! "Bless This Mess" erscheint am 24. Februar 2023 bei 4AD und zeugt von der langen künstlerischen Evolution, die Remy unter ihrem musikalischen Alter Ego vollzogen hat: Eigentlich geboren in Illinois, hat sich Remy in den letzten Jahren zu einer der Stimmen und Performer*innen der Torontoer Szene entwickelt. Von den ersten Anfängen in Kellern in Philadelphia und Chicago, als sie durch Delay-Pedals über rohe Loops summte, hin zur selbstbewussten Frontfrau eines achtköpfigen Art-Soul-Orchesters, das die Welt bereist, hat die Vision, sowie das Talent Remys das Projekt über die letzten 15 Jahre zusammengehalten und geprägt. Mit "Half Free" (2015), "In A Poem Unlimited" (2018) und "Heavy Light" (2020) veröffentlichte sie drei Juno Award nominierte Alben (in der Kategorie "Best Alternative Album"), die auch jeweils auf der Shortlist für den Polaris Prize standen. Und das neuste U.S. Girls Album fügt der eh schon ausufernden Palette an Einflüssen, Themen und Sounds noch Bausteine wie Funk, ihre Mutterschaft, griechische Mythologie, langsame Jams, Erwachen und Schmerzen in das lebhafte Hymnen-Treiben hinzu! "Bless This Mess" entstand dabei, während in Remy ihre beiden Zwillings-Jungs heranwuchsen, in Kooperation mit einer ganzen Reihe an Musikern (Alex Frankel von Holy Ghost!, Marker Starling, Ryland Blackinton von Cobra Starship, Basia Bulat, Roger Manning Jr. von Jellyfish und Beck), sowie mithilfe einiger Tontechniker (Neal H Pogue, Ken Sluiter, Steve Chahley, Maximilian Turnbull). Da es weder eine feste Band noch immer gleiches Aufnahme-Personal während der Produktion gab, fühlt sich das neue Album vielmehr wie ein Mixtape an, gleichzeitig befindet sich Remy darauf selbst im stetigen Wandel. Denn während sich ihr Körper der Schwangerschaft anpasst, verändert sich auch ihre Stimme, verlor etwas Raum zum Atmen, bei einigen Gesangsaufnahmen waren ihre Neugeborenen sogar auf ihrem Arm. Keine Überraschung, dass Remy sogar ihre Milchpumpe auf "Pump" sampelte. Und doch beinhaltet das neue Album so viel mehr - mehr Blut, mehr Gefühle, die miteinander verflochtenen Wunder und Wunden des Lebens. Dementsprechend variieren auch die Songs in Tempo, Instrumentierung und geben sich zwischen experimenteller Hingabe, Entdeckungen und Delirium der aktuellen Gefühlslage der Künstlerin hin.

Remixes by Moodymann, Potatohead People, Moodorama.

Kenny Dixon Jr. acuminates it deep and groovy, well, it’s his holy trademark sound. Potatohead People from Vancouver have been championed by Soulection, Nightmares on Wax, Questlove, Big Boi a.o. and have releases on Jellyfish Recordings, or NY label Bastard Jazz. The duo has worked with artists such as Moka Only, Kaytranada, Pomo, Phife Dawg a.o.

On top Moodorama’s remixes are trippy dubby jams. Moodorama have a long recording history, starting in the 90s on Stereo Deluxe, but even before that Martin Sennebogen was the DJ and co-producer of Knowtoryus, the legendary first hip hop outfit on Compost.

Inkswel & Colonel Red started out writing together more than decade ago & over the time have developed quite a unique sound when recording together,..a chemistry that blends music melody & lyric into every verse chorus & hook. So when Inkswel approached Colonel Red to create the 'Holders of the Sun' album, Redz response was to move his hectic schedule around & start immediately. Inkswel dropped the beats Colonel Red dropped the vocals & some fine musical tuning & 'Holders Of The Sun' Vol1 was born….while they promise a Vol. 2.
The fantastic artwork comes from Our Machine, Netherlands, who designed a lot of sleeves for Kindred Spirit, Tom Trago, Versatile, Build An Arc and m.o.

Colonel Red is a groundbreaking soul singer, musician, producer and performer, often referred to as one of the most powerful voices in the UK soul music community, a champion in equal parts of the original Broken Beat scene, as well as the UK soul scene. Working with and writing for the likes of Teddy Pendergrass, Amp Fiddler, Maurice White, Bugz In The Attic, Tony Allen and countless others. His track 'Belive In Me' was awarded the WORLDWIDE award from Gilles Peterson in 2014.
Colonel Red’s foray into the music industry began when Epic Record company giant Sylvia Rhone signed the then lead singer, Nikki Romillie, of Pride n’ Politix, to Atlantic Records. An accompanying publishing deal with Warner Bros. established the artiste, now known as Colonel Red, as one of the UK’s top cutting edge singer/songwriters.

Inkswel has been heralded as one of the busiest and most prolific beat based producers from Australia, a true master of his craft he has worked with the likes of Talib Kweli, Lee Scratch Perry, Andrew Ashong, Dwight Trible, Amp Fiddler and countless others as well as putting out timeless musical projects on labels such as BBE, Sonar Kollekiv, Rush Hour, Warner Music, Boogie Angst and others. He hovers evenly between Hip Hop and Club sensibilities, blending new age approaches with nostalgic leans. 'Holders of The Sun' is the audio melting pot of two musical aliens, future directive soul music drenched in the nostalgia of what once was.

On Seeds, Georgia Muldrow takes a step back and leaves the beatmaking to Otis Jackson Jr., aka Madlib. As producers, Muldrow and Jackson are not worlds apart, so the switch requires no adjustment on the part of the listener. That said, this is one dense and tight set, barely over half-an-hour in length, and it's definitely in contention for Muldrow's most focused, funkiest, and (somewhat ironically) personal release to date. Throughout the record, the emphasis remains heavily fixated on her family as a unit of salvation and purpose. The most direct track of the lot is "Husfriend," where she honors her relationship with Dudley Perkins (a/k/a Declaime, who appears on “The Few”). Muldrow can't quite divorce the planetary and personal issues, heard vividly on "Best Love," which sounds just like a simple, sweet, straight-ahead love song until she starts asking her other half for money to build water wells on three continents ("We can make a difference if we try now"). Overall, Seeds is another left-field deviation in Muldrow's career: it's one of her most captivating and immediate front-to-back statements of purpose as a singer, but it's also the first album where she's handed over all the production duties to somebody else. In celebration of this album’s decenary run, Someothaship Connect is pleased to reintroduce an anniversary edition repress of this captivating release in partnership with Fat Beats. "Seeds strikes the perfect balance, as Madlib's thickly layered funk and soul samples and cabinet rocking beats pair with Muldrow's gloriously off-kilter vocals and free-form song structures to make this her most satisfying release to date." – Exclaim!

tobi lou cements a connection to countless listeners through his creativity. The Nigeria-born, Chicago-raised, and Los Angeles-based rapper and producer builds music meant to last with unpredictable flare and inimitable spirit. As the story goes, tobi lou flourished as a football player and baseball player until undergoing a dream-ending injury and jumping from a semi-pro career to the mic. A series of buzzing EPs—tobi lou and the Moon, tobi lou and The Loop, and tobi lou and The Juice—paved the way for his 2019 mixtape, Live on Ice. The latter included “I Was Sad Last Night I’m OK Now,” which racked up 42.9 million Spotify streams. Earning widespread acclaim, Pitchfork hailed 2020’s “Student Loans” as “a refreshing dose of joy.” Meanwhile, Lyrical Lemonade christened him, “Chicago’s Rising Superhero.” Along the way, he headlined shows coast-to-coast and shut down festival stages at Lollapalooza and beyond. He also collaborated with everyone from Smino to Dreezy. Throughout 2021, he assembled Non-Perishable out of his East Los Angeles apartment. He notably produced on every track, lending his touch to the entirety of the project. After amassing hundreds of millions of streams, packing shows, and receiving acclaim from GQ, W Magazine, and more, he architects an immersive experience on his second full-length project and the first installment of a 2022 trilogy, Non-Perishable.

Forte is proud to present these fantastic reissues on the Aarght label from one of Australia's greatest rock & roll bands, the Cosmic Psychos.

The band debuted on wax almost 30 years ago and since then have become an Aussie punk/pub rock institution, touring the globe and influencing a generation of Seattle musicians (Mudhoney, the Melvins and Pearl Jam among them) in the process. On top of that there's the recently released full-length documentary on the band, Blokes You Can Trust, which is doing the rounds in cinemas around Australia and the US, a US tour in September and now these! 2013 is the Year Of The Cosmic Psycho.

Let's start with 1985's Down On The Farm mini-LP. This is the record which made the original splash back in the day and hasn't been in print on vinyl anywhere since that time. Featuring original guitarist Peter 'Dirty' Jones on wah-wah guitar, it's an absolute classic of heavy-duty punk/grunge. The vinyl edition comes with a download card.

The self-titled LP from 1987 is another classic with the original line-up. The download card for the vinyl edition comes with two bonus tracks - outtakes from the same recording session - and the CD also contains the two bonus tracks PLUS the entire Down On The Farm mini-LP. 19 songs in total.

1989's Go The Hack was Dirty's last foray with the band and featured the killer single, 'Lost Cause'. The LP edition comes with a download card.

All of these classic '80s recordings by the Psychos have been out of print since the 20th century. With the band's fortunes and notoriety in the upswing this year, expect some big interest in these long-unavailable quality reissues. Blokes you can trust, indeed.

Bladder by the Light is a conceptional compilation between Obsolete Future and the Parisian painter Marion Guillet. It was compiled by Marion Guillet & Conor Walker.

Thomas Newman became the ninth composer in the James Bond series history. His score for Skyfall won the BAFTA Award for Best Film Music. In 2013, it became one of two Bond scores to be nominated for the Academy Award for Best Original Score. The other to be nominated was the score from The Spy Who Loved Me. Skyfall does not contain the title song performed by Adele.

Skyfall (2012) is the twenty-third spy film in the James Bond film series. It features Daniel Craig in his third performance as James Bond, and Javier Bardem as Raoul Silva, the film's villain. The movie was directed by Sam Mendes. The story centres on Bond investigating an attack on MI6. The attack is part of a plot by former MI6 agent Raoul Silva to humiliate, discredit and kill M as revenge against her for betraying him. The film sees the return of two recurring characters to the series after an absence of two films: Q, played by Ben Whishaw, and Moneypenny, played by Naomie Harris. Skyfall is the last film of the series for Judi Dench, who played M, a role that she had played in the previous six films.

The limited edition of Skyfall of 1.500 individually numbered copies is pressed on coloured (transparent & black mixed) vinyl. The package includes a big poster, a 4-page insert and 2 printed innersleeves. Both innersleeves have one hole in the middle to show James Bond on the labels. Don't forget to check the secret service inscriptions on the run out grooves.

TELE MUSIC is a label of Éditions Musicales Sforzando now owned by BMG Production Music. It is entirely devoted to the music library, that is to say, music for sound illustration used in audiovisual productions. Created in 1966 by Roger Tokarz,
just before advertising was allowed on French television, Editions Sforzando specialized from the outset in sound illustration for radio and television.
This collection, soberly entitled “Volume 2”, is the sequel to “Volume 1”, produced with equal care, passion and fervour by Lord Funk & DJ L.C. In the mid-90s, Tele Music vinyl was sold at ridiculously low prices. Often disparaged by collectors and record shops, considered by some as lift music or vulgarly called “music by the meter”, the music store was only of interest to fans of instrumental music! But in the 2000's, it had a second life and saw its prices soar on Discogs, thanks to sampling and digging in Hip-Hop mainly. This advent of the library is an era that Lord Funk, curator of this compilation, experienced when he brought several music library collections to New York City (NYC) to his A1 Records stronghold in 1997.
In this 2nd volume, Lord Funk & DJ L.C. have chosen a range of music from 1969 to 1983, from psychedelic jazz to electro funk via rnb, soul and jazz-funk. Most of the titles in this collection were recorded in the magic place that was the famous CBE recording studio set up by Georges Chatelain, Janine Bisson and Bernard Estardy. Bernard, nicknamed the giant, was a sound genius and a mixing perfectionist. Georges Chatelain was an electronic engineer. Together, they brought a sound,
a colour, a trademark. Bernard Estardy was also considered as one of the greatest French sound engineers and an energetic organist for Nino Ferrer or Nancy Holloway. We warmly thank Julie Estardy for her total and unreserved involvement in these reissue and compilation projects.
The combination of all these prodigies has given TELE MUSIC a phenomenal and unique sound colour in the service of a sound repertoire that is now part of the French heritage.

experiment in markmarking and sound, as a kind of writing by ear - metallic, brushed, wooden - lines imprinted and pressed circular. The record takes its name from the discarded title of the several-hundred-page draft of Clarice Lispector’s eventual 96-page novel Água Viva. Devoid of characters or plot, Água Viva appears always in suspension between the interior and exterior and impression and expression. Weird and formless (like the jellyfish ‘agua viva’ translates to in Portuguese) Lispector’s text deals less in the cerebral or the knowable realms of words and more in the unknowable moment of experience. Its joy is found in its looseness, its meaning found in its lack of definition. Loud Object began as six sides of violin improvisations, four of them abandoned and the last of them added to or processed using samplers in moments Steiger calls ‘wells’ - gaps or dips in the recording which could be filled or poured into. The process of filling up and taking away, of repeating and multiplying, of building tension between the finite and the lost - all wrestle with actualisation. Which line will be drawn? In the liner notes for the LP, Evie Scarlett Ward writes, “The record holds loss.” Though the lines are fixed, its contents are fluid - forty minutes filled in and manipulated, before time moves on. Steiger’s relentless rearranging of convention means no two of his live shows are the same, and his decade-plus involvement in London’s free improvisation scene constantly surprises. Loud Object is no exception. Recorded on the 12th, 13th and 14th February 2021 by Daniel Blumberg. Produced by Billy Steiger. Mixed by Billy Steiger and Shaun Crook. Mastered by Giuseppe Ielasi. Artwork by Billy Steiger. Layout by Oli Barrett. Liner notes by Evie Scarlett Ward.

The Perth-based psychedelic rock n roll machine rip through a full platter of their high-speed tunes, shot in two locations and heralding their new LP, Night Gnomes. Crunchy riffage, addictive melodies and no-holds barred psychedelia is on tap. Get it at the link below! "Thank you Levitation for getting us out the house! Absolute pleasure to be asked to collaborate on something together. There’s a brilliant story involving an angry local and a bulldozer if you’re won-dering why the location changes, but for the minutes we were filming it was magical. Gnomes till we die! Thanks to Jelly, Tay, Jared, Dima, & the McEwan crew for helping us put this together, love you all." – PPC

The remarkable nine track debut from USELESS USERS is a lesson in style and eloquence. The band is comprised of former Sarah Records alumni, (members of Action Painting! and Secret Shine, and featuring Even As We Speak). This is sonically adventurous Pop Music, packed with melody, dreamscape swashes and élan. Bold and opulent, and brilliantly constructed, Useless Users are pushing the boundaries of preconception, poised to grasp attention and reward the listener. "Reminiscent of Pulp's Fire Records Years, in both chord choice and vocal delivery" The Quietus "..the odd twist or two along the way." Whispering and Hollering "... a real gem, a moody piece with debts owed to late Sixties psych" A Pessimist Is Never Disappointed RIYL - The Associates, Bowie, Dreampop...

Mo Troper is truly one of a kind, and that’s never been more apparent than on his fifth full-length, the winkingly titled MTV. Arriving hot on the heels of his 2021 full-length, Dilettante, the album finds the Portland, OR-based power pop extraordinaire diving further into home-recorded immediacy to make a record that feels like a strikingly direct conduit to the world of Mo–where heartbreak, hilarity, and hooks all go hand-inhand.

MTV hurtles through 15 songs in just 31 minutes, with most of the tracks never even coming close to the three-minute mark. The sequence feels like a combination of a fever dream and a travel diary, intertwining tales of romantic longing with the ups and downs

of cross-country touring. Songs like “Across The USA,” “Royal Jelly,” or “Coke Zero” unravel the headaches and heartbreaks, often alternating between unflinching emotional details and legitimately funny one-liners. “I feel like I’m just in this mode of rebelling against the expectation for artists to be emotionally or aesthetically cohesive,” Troper says. “I think about all my favorite records and songwriters, and they’re often these people who would have really depressing stuff and then insane moments of levity that don’t get talked about as much. I want to make music that’s emotional but also campy or sarcastic or resonates in other ways. I’m like, ‘you know what, it’s all me.’”

BLACK VINYL REPRESS

ITS 25 YEARS Since the first Heads album was released.. .so.. for 2021..Rooster has decided to get the album back in print on vinyl.. but changing the artwork. With some silver foiling and bordering, the single sleeve has been boosted to a sweet gatefold, Rooster also got the Radio 1 sessions from the time remastered, and re-cut along with the huge b-side to their Television 7” “Jellystoned Park”.
So there you have it, a double vinyl silver jubilee reissue of a fantastic debut album!

From the original reissue sales notes:
“The Heads had self-released a couple of 7"', and then Cargo Uk's inhouse label Headhunter UK got to release a further 7", and then the Debut album in 1996. Amidst a world suffocating in Britpop smarm, the Heads cut a timely swathe with their unkempt rock psychedelique. The album contained 10 tracks of guitar driven, amp destroying rock, with cues taken straight from the US underground, Stooges, MC5, Mudhoney, Pussy Galore, early Monster Magnet too but with a disitinctly British stamp, some of the drone and fuzz from Loop / Spacemen 3, some of the attitude of the Fall, Pink Fairies and Walking Seeds and overlaid with the spaced rock of early Hawkwind. It was obvious that the four members of the Heads were music obsessives. The debut album was recorded at Foel studios (owned by Dave Anderson from Hawkwind) and engineered by Corin Dingley, it was mastered by John Dent at LOUD.”


We’ve asked for some new appraisal of the Heads for the Silver Jubilee edition from good friends....

Stewart Lee February 2021
“The Halley's Comet victory orbits of historic heavy artefacts from Detroit, like The Stooges or The MC5, leave grateful onlookers aghast. But, hidden away in Bristol, The Heads are still with us now, our homegrown acid-garage godfathers, an ongoing thirty-two year old concern with a back catalogue arguably more consistent than the super-dense psyche-rock groups that inspired them. The Heads arrived fully formed and have spent three decades becoming more like themselves, a musical black hole that sucks in all surrounding matter. I love The Heads “

Phil Alexander February 2021
“The Heads make music for freaks in the know. If you were there in 1996, you’ll know just what that means…

Back then, they were gloriously out of step with the pop-cheese of the time and geezerly lumpiness of Britpop. Theirs was an altogether different take on music – a take inspired by the glorious burn-out of the ‘60s, the sonic overdrive of the ‘70s and the axis of joy created by the combination of excess volume and repetition.

We could name-check some inspirations and kindred spirits: The Stooges, Hawkwind, Floyd, Loop, Sabbath, Amon Düül II, Spacemen 3, Walking Seeds, Mudhoney, Monster Magnet among them... But in all honesty, The Heads have always existed in a world of their own, surfacing as and when the mood takes them, before returning to their subterranean rehearsal room to jam their way through yet more mind-altering riffs and mood-altering rhythms.

Relaxing With The Heads is their first defining statement. It is also possibly their most straight-forward release, the sound of a band attempting to find structure in their playing rather than abandoning themselves to their wildest impulses. That would come later…

And yet, 25 years on, this album blasts forth like few records from that time, its slacker charm welded to super-fuzzed riffs that propel its 10 tracks ever onwards. Righteous is probably the only word for it…”

Classic 1995 techno-house cuts by Glenn Underground under the moniker of Jellybean.

Basically, it's become common knowledge that Saturate is all about some heavy bass music on that hip-hop tip and Zeke Beats' Pay Attention release is easily one of their finest ones yet. Every track has a sinister punch to it and it all ultimately sounds like the most epic video game music ever to come out of the ghetto. Zeke Beats clearly didn't hold back in any way, as this is easily some of the wildest, most high energy bass music we've heard. The low end is hot and heavy, the synthwork is wacky and in your face, and the arrangement is spot on; there's always a lot happening, but not one element ever sounds out of place. The flip side is featuring the one and only Subp Yao.
Deep, dirty, Grimey and glitchy and insane beats, this will take your brain for a spin and turn your legs to jelly it will make your jaw drop, then smash it clean off. The work that's been put into this is second to none!

Like the MIMIKOTO project’s previous albums, also “Blackbird’s Philosophy” can be described as a symbiosis of jazz with electronic music and other styles of groovy stuff.

On this album the electronic elements melt into the acoustic sounds and rhythms on a quite subtle way, while the acoustic patterns partially adopt styles of electronic music reminding of deep house, ambient and Detroit house.

Jazzy Rhodes, bass, drums and sax solos performed by jazz-rooted musicians like Darius Blair, Uli Schiffelholz, Johannes Schwarting and Justin Zitt, play a more important role than on former releases and bring nuances of funk, modal jazz, free jazz and bebop to this album.

With Fabio Kumori’s string orchestral sound created with upright bass, effects and looper in the track “Notes from Kirishima”, even elements reminding of classical music and atmospheres from soundtracks become a part of this album. These elements merge with rhythmic sound arpeggios of analog synths and vibraphone, which create a maybe unknown style of new music.

On the last track of the album, namely on the track “Blackbird’s Philosophy (Part II)”, you hear the soulful and expressive voice of Noomi Mae Coleman, who joined the MIMIKOTO crew in 2020.

The MIMIKOTO project was founded in 2019 as a collective of musicians related to jazz, funk, soul and electronic music, after a certain period of composing and playing as duo, trio and quartet

LIMITED EDITION CLEAR VINYL

LIMITED EDITION CLEAR VINYL

LIMITED EDITION CLEAR VINYL

Philadelphia, US, noisemakers The Mary Veils return with new album Esoteric Hex, their first full-length as a band. Mixed by Jeff Zeigler (Kurt Vile, The War on Drugs etc) and Cory Hanson (Wand, Ty Segall etc), Esoteric Hex is a scintillating ten-track exercise in punk-inflected garage rock rooted deeply in the intersection between riffery and melody, taking its cues the classic punk of New York Dolls, Johnny Thunders and The Dickies, as well as more contemporary influences like Osees and Hot Snakes. The record is out on Sweden's PNKSLM Recordings (ShitKid, Les Big Byrd, Holy etc.)

Pink Vinyl

On vinyl for the first time in the UK as a RSD exclusive on pink vinyl. Uncle Dysfunktional is a fifth and most recent studio album from Happy Mondays. Released in 2007, it was their first album since Yes Please! in 1992. Despite Factory Records having closed 15 years before, Tony Wilson personally assigned Uncle Dysfunktional a FAC number, FAC-500. The artwork has been re-worked by Central Station Design. Limited to 2000 copies world-wide.

To avoid the “Quésaco?” on the sleeve of Piano Dazibao, François Tusques explains everything: A wall mural on which the Red Guard expressed their opinions during the Chinese proletarian cultural revolution. So much for the “Dazibao”, very good; but the piano in all that?

The piano, François Tusques was self-taught and his work was influenced by Jelly Roll Morton and Earl Hines before discovering Thelonious Monk, Bud Powell and then... free jazz. In Paris in 1965, Tusques mixed with Michel Portal, François Jeanneau, Jean-François Jenny-Clark, Aldo Romano or Jacques Thollot. He also met Don Cherry and above all recorded, with other like-minded Frenchmen (Portal and Jeanneau alongside Bernard Vitet, Beb Guérin and Charles Saudrais), the first album of free jazz in France, named... Free Jazz.

In 1967, Tusques again served up Le Nouveau Jazz, this time in the company of Barney Wilen (and Guérin, Jenny-Clark, Romano). Three years later his thirst for freedom led him to isolation; between May and September 1970, the pianist recorded, at his home, the first of two albums that he would release on Futura Records: Piano Dazibao and Dazibao N°2.

Under the influence of Mao and Lewis Carroll, the free spirit roamed and composed seven tracks which are not so much free as libertarian. As an homage to some friends (Don Cherry, Sunny Murray, Archie Shepp, Clifford Thornton but also Colette Magny, Michel Le Bris or the Théâtre du Chêne Noir), the pianist played cascading bouquets of notes, free-form wanderings, blues-ambushed dances, growls, discords, a fatal requiem... A cherished freedom, songs of hope and demands, François Tusques offers the most unrelenting of independent records.

Black Repress !

This one is something unique coming straight from the FullTime Production vaults.

Orlando Johnson steps up to the plate once again with four of his delighting records revisited and completely remastered.
Pure Disco and Soulful House pleasure!

The 1983 special US remix by the iconic and legendary remixer and producer John "Jellybean" Benitex of "Turn The Music On" was Orlando Johnson's greatest hit and opens Side A together with the UK Remix of "If You Come Back" featuring Tony Adam.

On the flip side scalpel maestro Massimo Berardi delivers a new rendition of "Somebody Save Me" together with his remix when in the Harlem Hustlers duo, of "I Got It", taken from Orlando Johnson's "Funky Time" album of 2011.

Back in stock! Repress of RSD20 release. DOUBLE LP HOUSED IN A GATEFOLD JACKET 2ND LP CONTAINS TRACKS NEVER BEFORE RELEASED ON VINYL!

Mingus Ah Um, the artist’s 1959 debut for Columbia is one of the most consequential albums in jazz or any other genre. The release is part of the Library of Congress National Recording Registry and has been inducted into the Grammy Hall of Fame. “Goodbye Pork Pie Hat”, “Boogie Stomp Shuffle”, “Open Letter To The Duke”…the release is packed with classics and is a best-selling release to this day. For Record Store Day 2020 Get On Down presents Ah Um Redux, the full Ah Um record as you know and love it with a second LP featuring alternate takes from the session previously unreleased on vinyl.

Born in 1886 in Columbus (Georgia), Ma Rainey is considered by most the mother of the Blues. She did a lot to popularize this style among younger generations and will be a direct influence for countless artists. Author of the first hits of the genre (See See Rider Blues and Chain Gang Blues in the 1920s), she will take a young girl by the name of Bessie Smith under her wing and will write songs with Louis Armstrong or Coleman Hawkins.

MOMENTS LIKE THESE, THE NEW ALBUM FROM SUBWAY SECT, PRODUCED BY MICK JONES AND FEATURING THE 1981 SUBWAY SECT LINE-UP, VIC GODARD WITH SEAN MCLUSKY, CHRIS BOSTOCK, JOHNNY BRITTON, & DC COLLARD and guest appearances by MICK JONES, PETE WILLIAMS, TERRY EDWARDS and SIMON RIVERS. Sukhdev Sandhu runs a publishing imprint Texte und Töne in New York.

The LP, the imprint's first, is also the first-ever Subway Sect record to come out in the States. (Perhaps unsurprisingly: they did have a song called U.S. Cunts!) It's been produced by Mick Jones of The Clash. (A White Riot '77 reunion of sorts.) ‘There’s a certain element of unspoiltness about the whole thing and that’s what really appealed to me about it.’
Mick Jones MOJO ‘This is Vic reflecting on a lifetime in the music business. It sounds like a record that he had to make and is perfect for now. When I was a kid, I used to make up my fantasy punk band with members from different bands and they almost always
contained Vic Godard and Mick Jones. The songs are as good as it
gets and with Mick Jones producing and playing piano, what more do
you need?’ Jim Reid, Jesus and Mary Chain ‘The Subway Sect story is one of the strangest, and therefore one of the best. Vic Godard indicated ways that pop should go. He dropped hints, left clues. It is all there.’ Kevin Pearce ‘Vic's always walked his own path. He's a model of independence.

No wonder that he's recorded for some of the best UK independents
(Rough Trade, el, Postcard). Years ago, when I was writing a book
about nocturnal London, he took me on a postal round with him, all
the while telling me funny stories about some of the prog rock
aristos whose mail he delivered, and enthusing about the latest hip
hop and bhangra he was listening to.

Asked by Time Out to write an essay about my favourite Londoner, I wrote it about Vic. Now, in summer 2021, I'm very happy to help release Moments Like These. It's about thinking back and thinking forward, about walking your own path. It's got soul, swagger and swing. Vic Godard: always onward!’ Sukhdev Sandhu ‘It was an accident really as Sukhdev wanted to put What's the Matter Boy out until I told him I'd just recorded a new LP. I'd been in discussions with loads of record labels but they all wanted to get my back catalogue digital rights and weren't into the idea of putting out a new LP. I thought it was on course to be my 2nd lost album until the phone calls with Sukhdev.’ Vic