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Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

*TIP!*
A compilation of old cassette demos from the beginning of 80's plus few new tracks.

All very exclusive and maximally random. Compiled by a 80-90-2000-influencer, punk zine maker and record collector Piitu Lintunen.

'I Don't Know Why' is Kraak & Smaak's debut single from their legendary album 'Juicy Fruit', and it's an outstanding collaboration with Grammy-nominated soul royalty - Mayer Hawthorne.

It's a true meeting of minds which is exactly what you'd expect from these two class acts. Kraak & Smaak throw down the gauntlet in a popping boogie track with the Tuxedo frontman delivering his signature sweet and catchy soul melodies over the top. Sublime!

The flip sees another jewel in the K&S arsenal. The album version of their hit single 'My Mind's Made Up', which features live band member and regular collaborator Berenice van Leer, is a more funked up spin on the original. Nonetheless it brings more fire to play with on this one-off 7" release.


b B: My Mind's Made Up (Album Version) feat. Berenice van Leer

RED APPLE MARBLE VINYL REPRESS.

Everything changed for The Beths when they released their debut album, Future Me Hates Me, in 2018. The indie rock band had long been nurtured within Auckland, New Zealand’s tight-knit music scene, working full-time during the day and playing music with friends after hours. Full of uptempo pop rock songs with bright, indelible hooks, the LP garnered them critical acclaim from outlets like Pitchfork and Rolling Stone, and they set out for their first string of shows overseas. They quit their jobs, said goodbye to their home town, and devoted themselves entirely to performing across North America and Europe. They found themselves playing to crowds of devoted fans and opening for acts like Pixies and Death Cab for Cutie. Almost instantly, The Beths turned from a passion project into a full-time career in music.

Songwriter and lead vocalist Elizabeth Stokes worked on what would become The Beths’ second LP, Jump Rope Gazers, in between these intense periods of touring. Like the group’s earlier music, the album tackles themes of anxiety and self-doubt with effervescent power pop choruses and rousing backup vocals, zeroing in on the communality and catharsis that can come from sharing stressful situations with some of your best friends. Stokes’s writing on Jump Rope Gazers grapples with the uneasy proposition of leaving everything and everyone you know behind on another continent, chasing your dreams while struggling to stay close with loved ones back home.

"If you're at a certain age, all your friends scatter to the four winds,” Stokes says. “We did the same thing. When you're home, you miss everybody, and when you're away, you miss everybody. We were just missing people all the time.”

With songs like the rambunctious “Dying To Believe” and the tender, shoegazey “Out of Sight,” The Beths reckon with the distance that life necessarily drives between people over time. People who love each other inevitably fail each other. “I’m sorry for the way that I can’t hold conversations/They’re such a fragile thing to try to support the weight of,” Stokes sings on “Dying to Believe.” The best way to repair that failure, in The Beths’ view, is with abundant and unconditional love, no matter how far it has to travel. On “Out of Sight,” she pledges devotion to a dearly missed friend: “If your world collapses/I’ll be down in the rubble/I’d build you another,” she sings.

“It was a rough year in general, and I found myself saying the words, 'wish you were here, wish I was there,’ over and over again,” she says of the time period in which the album was written. Touring far from home, The Beths committed themselves to taking care of each other as they were trying at the same time to take care of friends living thousands of miles away. They encouraged each other to communicate whenever things got hard, and to pay forward acts of kindness whenever they could. That care and attention shines through on Jump Rope Gazers, where the quartet sounds more locked in than ever. Their most emotive and heartfelt work to date, Jump Rope Gazers stares down all the hard parts of living in communion with other people, even at a distance, while celebrating the ferocious joy that makes it all worth it -- a sentiment we need now more than ever.

Dubmatix has taken his time working on his new album. Sly & Robbie meet Dubmatix "Overdubbed" was released in 2018. It scooped the Juno Award for "Reggae Recording Of The Year 2019", marking the second time the Canadian producer and multi-instrumentalist from Toronto had received this coveted award. "ReWired" is his first studio album in years and it"s already abundantly clear that the wait has been more than worth it. The album offers a dazzling, masterful kaleidoscope of modern sounds of dub-oriented bass music that is enormous fun. The Canadian could be in with a great chance of winning another Juno Award.

Ever dream you're in a spaceship on a never-ending journey to an unknowable destination? That's how Nyles Lannon often thought of life in the early part of the pandemic, when time seemed to stand still, before the vaccines or even knowing when there might be any. But whether that spaceship is a desolate prison or a vessel for escaping to a better world depends on how you use it. With literally nowhere to go, the Film School guitarist and his then-12-year-old son Skye, on drums and modular synths, would jam most evenings in Nyles's home studio, just to have something to focus their minds on and counter the tedium of "remote learning." What started out as a way to keep his talented kid busy became a means to process the anxiety and disorientation of that strange, scary stretch of time. The result is Vanishing, a ten-song album of moody melodies, new wave beats, droney rock, and even an electrogroove instrumental interlude, by the father-son project they named Nyte Skye.

The emotional toll of lockdown, our collective grief, the literal darkness that engulfed the sky thanks to devastating wildfires brought on by climate crisis—these are heavy subjects, but the songs also convey how we managed to keep each other sane, and inspired, through it all. Film School devotees will find plenty to love; so will fans of the Police (Stewart Copeland being one of Skye's major

influences), the Cure, Spiritualized, and Elliott Smith. The album's opener, "Dream State (I'm Vanishing)," is a wistful synth-driven indie gem about disappearing into an alternate universe where worries don't exist. "Doing Time," with its massive washes of 12-string guitar and sophisticated syncopated beat, is a shoegazey meditation on holding onto a child's sanguine outlook in the face of adversity. If dream pop track "Take Me Up Again" is the album's bounciest, its counterpoint is "Faded," whose bittersweet melody and gentle rhythm bely themes of physical and emotional frailty.

Ultimately, not only did working on Vanishing help the duo cope with a uniquely challenging situation, but just being stuck at home helped stoke their creativity. "Music was the only thing I did during the pandemic, besides online school," Skye says. "It gave us all this time we didn't have before to make the album." For Nyles—knowing they might never have that kind of time again—to be able to put out a record with his son is, simply, "a dream come true."

Vanishing was written, recorded, and produced by Nyles Lannon and Skye Lannon and mixed by Dan Long, with additional contributions from Zach Rogue (Rogue Wave), Nichole Kreglow (backup vocals), lyricist Neil Rodenmeyer (Lupa Rosa), and Ian McDonald (FUTRVST).

AMBER ARCADES ist das Pseudonym von Annelotte de Graaf, der niederländischen Singer/Songwriterin, die zwei EPs und einige von der Kritik gefeierte Alben aufgenommen hat, von denen das zweite, "European Heartbreak", durch "hints of Lindi Ortega and early Saint Etienne, breezy, dreamy pop more personal than political" (The Guardian) glänzt. AMBER ARCADES verlor kürzlich für einen Moment den Glauben an die Musik, gewann ihn dann aber wieder zurück und liefert nun ihr bisher atemberaubendstes Album ab: "Barefoot On Diamond Road", das am 10. Februar 2023 erscheinen wird - ihre erste Veröffentlichung auf Fire Records. Die erste Single "Just Like Me" ist ein offenkundig tanzbarer und triumphaler Song, der durch seine Stop/Start-Struktur eine beunruhigende und unvorhersehbare Schärfe in das Geschehen bringt. "There's a clear distinction from my last record ,European Heartbreak', which had a complete narrative. This record is completely the opposite" erklärt die Niederländerin in einem Statement zum neuen Album. Eingetaucht in eine alles verzehrende Wall of Sound ist "Barefoot On Diamond Road" wie MY BLOODY VALENTINE in akustischer Form; es sollte eigentlich nicht funktionieren, aber tut es trotzdem. Es ist eine Gegenüberstellung von Texturen, von sprunghaften, unruhigen Dancefloor-Beats bis hin zu symphonischer Kosmik, ein barocker Pop-Teppich, der mit Celli und Harfen bestückt ist, mit einer klagenden Steelguitar, die in der Ferne widerhallt. Die Schlagzeug- und Perkussions-Arrangements von Matt Chamberlain (PEARL JAM, BOWIE, DYLAN, ADELE, LORDE, SPRINGSTEEN, COHEN...) verleihen dem Ganzen zusätzliche Textur. Es ist ein Album von einnehmender Reife, gefüllt mit Zeitlupen und epischen Steigerungen, die es mit all der Dramatik in schwindelerregende Höhen heben - man denke an THE GUN CLUB, die sich mit PORTISHEAD zurücklehnen, alles könnte passieren, es ist ein imaginärer Film... und PJ HARVEY lauert im Schatten. AMBER ARCADES neues Album "Barefoot On Diamond Road" markiert eindeutig eine neue Phase im Schaffen der hochangesehenen Musikerin. "Wistful, glowing dream pop" The Guardian

Kelman Duran introduces LA’s Holodec to his Scorpio Red label with a debut album of flickering R&B torchsongs and ambient trap-soul that aches in a very special way. RIYL Dawuna, Burial, Junior Boys, MssingNo, claire rousay, Joy O, Triad God, Sampha…

The smouldering ’All Dogs Come From Wolves’ is a definitive statement by a quietly gifted artist who operates inside the long shadow of late ‘90s US R&B and the space where it intersects ambient, neo-classical, and the weightless bass interzones of contemporary UK club music. Bare boned and bathed in a dusky Californian half-light, the album’s 11 songs feel unnervingly stark yet full of tongue-tip sensuality, making a virtue of negative space and atmosphere with a lo-fi soundtrack-like quality that evokes the idea of nostalgic reflection as the route to the future; “a reminder to look to the past to remember where you’re from, to see where you’re going.”

Holodec's been assembling rugged dancefloor constructions for years now, teetering between 2-step, jungle, nu-rnb, and vaporous ambient forms, but rarely has he been as pointed or full-bodied as he is on ‘All Dogs Come From Wolves’. It's an album that can't possibly be cleaved from the place where it comes from, documenting LA's immigrant experience (Holodec is Asian-American), and finding thematic common ground with Space Afrika's "Honest Labour", absorbing prismatic reflections of footwork, rnb and hip-hop instead of trip-hop and dub techno.

Holodec croons soulfully over muted piano motifs on 'Tiles', evoking the spirit of Sampha or Dawuna, but with a gaseous glamor that's unmistakably Californian. The mood carries into 'The Wild', utilising wistful pads and saturated noise but refusing to let his music sink into the background. If you feel yourself drifting, there's inevitably a voice, a womp, or a stifled drum sound to drag you back into its presence. 'Bounce' is rhythmically heavy, but still somehow smudged around the edges; beats don't so much pump as fray, the closer you listen the more you hear it falling out of time and just out of space. It's more like a memory of neon-hued dance forms than a replication of the thing itself.

Even at the album’s rudest, the flinty jungle drums of ‘Black Market’ still remain desiccated, just out-of-reach, suggesting not telling, in a way that makes the album’s other highlights such as the vaporous R&B voice note of ‘And My Angel Dies Too’ or the shivering baroque figures of ‘Spirit’ so unusually seductive with their nuanced grasp of inference and a reserve of humility.

The first legendary Pink fairies album: a real must for all psychedelia and garage fans. Contains 'Do It', 'Heavenly Man' and the manifest-track of the band: 'Uncle Harry's Last Freakout", 10 long minutes of anarchist rock, rich of feedback and acid guitars.

This really was 'proto-punk'!

The packaging is just like the original one, with an external artwork on plastic sleeve.

2023 Repress On Vertigo Days, the first album in seven years for The Notwist, one of Germany’s most iconic independent groups are alive to the possibilities of the moment. Their music has long been open-minded and exploratory, but from its engrossing structure, through its combination of melancholy pop, clangorous electronics, hypnotic Krautrock and driftwork ballads, to its international musical guests, Vertigo Days is both a new step for The Notwist, and a reminder of just how singular they’ve always been. Most importantly, the core trio of Markus and Micha Acher and Cico Beck are reaching out: as Markus reflects, “we wanted to question the concept of a band by adding other voices and ideas, other languages, and also question or blur the idea of national identity.”

It’s been seven years since The Notwist’s last album, Close To The Glass, and in that time the various members of the group have been busy with side projects (Spirit Fest, Hochzeitskapelle, Alien Ensemble, Joasihno), guest appearances, a record label (Alien Transistor), movie scoring, helping organise the Minna Miteru compilation of Japanese indie pop & running a festival (Alien Disko). Those divergent paths feed back into Vertigo Days in surprising ways, from its structure, built from group improvisations, with songs flowing and melting into one another in a collective haze, to its spirit, which feels refreshed and alive. There’s something cinematic about Vertigo Days too, reflective of the group’s time working on soundtracks, and reflected in the rich, moody photographic artwork by Lieko Shiga that adorns the cover.

The first sign of this newfound openness was the album’s lead single, “Ship”, where the group were joined by Saya of Japanese pop duo Tenniscoats, her disarmingly hymnal voice sighing over a propulsive, Krautrocking beat. Elsewhere, American multi-instrumentalist Ben LaMar Gay sings on “Oh Sweet Fire”, also contributing “a love lyric for these times, imagining two lovers in an uprising hand in hand.” American jazz clarinettist and composer Angel Bat Dawid adds clarinet to the spaced-out dream-pop of “Into The Ice Age”, while Argentinian electronica songwriter Juana Molina gifts some gorgeous singing and electronics to “Al Sur”. Saya also reappears as a member of Japanese brass band Zayaendo, who guest on the album. Throughout, The Notwist also capture the openness of their live performances, too, where they mix and link their songs in unexpected ways.

Indeed, what’s most impressive about Vertigo Days is the way it sits together as one long, flowing suite, the album conceptualised as a whole entity – it’s perfect for the long-distance, dedicated listening experience. This is also captured by the album’s lyrics, which Markus states, “feel more like one long poem.” The dimensions of that poem are multi-faceted, something intensified by the geopolitical weirdness of its times: “As the situation changed so dramatically, while we were working on the record, the theme of ‘the impossible can happen anytime,’ more about personal relationships in the beginning, became a global and political story.” But it also works at a level of poetic abstraction, such that each song gestures in multiple directions – the deeply private pans out to the global. The one certainty is that there is no certainty. “It’s maybe mostly about learning and how you never arrive anywhere,” Markus concurs. To sit within uncertainty is brave, but it’s also where we feel most alive, and Vertigo Days is an album that is brimming with life, with enthusiasm and love for music and for community, all wide-eyed and dreaming.

Nosaj Thing meldet sich mit seinem fünften Album 'Continua' samt hochkarätigem Ensemble zurück. Nach privaten Schicksalsschlägen in den letzten 5 Jahren schaut Jason W. Chung mit gleichgesinnten Künstlern aus Hip-Hop, Jazz, Soul und Avantgarde (u.a. HYUKOH, Toro y Moi, Kazu Makino (Blonde Redhead), serpentwithfeet, Malone und Panda Bear) nach vorne und legt eine Platte vor, die ermutigt, weiterzugehen. Nosaj Things Expertise in der Erzeugung einzigartiger, stimmungsgvoller Klanglandschaften führte ihn quer durch seine Heimatstadt L.A.: von Noise/Punk-Shows im DIY-Treffpunkt The Smell über DJ-Sets im Low End Theory bis zu Gigs mit Toro y Moi, The xx und The Weeknd. Seine 16-jährige Diskografie macht ihn zu einem Kultkünstler, der mit dem neuen Album nun alle Erwartungen an ihn als Komponist, Produzent und Arrangeur übertrifft.

The RED GREEN BLUE album will be released via 3CG Records on May 1320 The new Red Green Blue album brings together the band's three unique creative voices like never before with a third of the album written and produced by each brother (Taylor’s Red, Isaac’s Green and Zac’s Blue). The project brings together a team of collaborators, with the album co-produced by Grammy Award-winning Producer, Engineer and Mixer Jim Scott (Tom Petty, Red Hot Chili Peppers, Wilco), and Grammy Award-winning Artist and Producer David Garza (Fiona Apple, Midland, Sharon Van Etten). Beginning in June in Europe, the RED GREEN BLUE WORLD TOUR will bring HANSON to the US and Canada from July-September, Latin America in September and Australia & New Zealand in November. The band’s first major tour since their String Theory album & tour in 2018/2019, fans will be in store for a tour which not only features the premiere of 15 songs from the new project but will also be the first tour to include live performances of 2020’s Against The World as well as career spanning set lists of fan favorites. Fresh off of the release of Against The World, featuring seven songs released consecutively each month, the prolific band of brothers are reinforcing their deep musicality and credibility as writers, performers and producers with the new project. Leading up to May’s full album release of RED GREEN BLUE, fans will get a taste of the trifecta of sound, with a single featuring each of the brothers. Coming February 11 Taylor’s earnest and dynamic “Child At Heart”, March 11 will see the release of Isaac's organic and heartwarming “Write You A Song” and April 15 will feature the rock infused pop of Zac’s “Don’t Let Me Down”.

Hollie Kenniff's second LP for Western Vinyl, We All Have Places That We Miss, is a gallery of cloudlike synths, seraphic strings, and humming guitars, all coaxed into cohesion by Hollie's own wordless singing. The album's 2021 precursor, The Quiet Drift, landed on Bandcamp's Best Ambient list alongside the description "Drawing on the deep tones of drone, dream pop harmonies, and new age's bright tranquility, Kenniff evokes the forests, lakes and rivers of her past and present surroundings with a zen patience." Here on Places_ she strides even further into reminiscence, seeking and commemorating the fondly tragic ache of half-remembered locales lost to time: A grandparent's dim living room from an ambiguous decade; a lonely clearing beside a trail we can't remember if we walked or just dreamt; the calming light of a movie that aired years before we were born though our feelings insist we were there with the characters. We All Have Places That We Miss transmutes such glimmers into a palpable sonic kingdom that can be revisited at will, recalling the pedal-board ambience of Windy & Carl, Adam Wiltzie, and Liz Harris.

Blue Vinyl
After Psychiatre's previous electro-focused Lost Palms release proved his artistic malleability, his latest sees him return to his signature sound. NMAV EP radiates warmth; music that sits back into itself, and invites its listener to do just the same.

It begins with three deep house soothers, the first taking disco as its springboard, and the rest stripping it right back to a minimal, soul-caressing effect.

On the B-side the sun doesn't stop shining, except this time Psychiatre injects a healthy dose of acid and the groove of a breakbeat. But far from the rave connotations of each style, Psychiatre teases out the most gentle facets of each, bringing the EP to a suitably laid-back close.

At last! The Wedding Present single series comes to an end. Sad for fans of the Weddoes but a good day for those of us who have to find all these damn things in the stock room. They round the year off with 'The Loneliest Time Of The Year' which might be a cover of the Mabel Christmas tune or just another song about the time Dave Gedge's girlfriend left him. The release of this monthly series, in 2022 The Wedding Present is releasing a new 7" single every month, the final this year's Christmas available for indie record stores only in December. This fascinating project - which goes under the name of 24 Songs - comes thirty years after the band's similar Hit Parade series of 7"s in 1992 and features two brandnew recordings of the current WP incarnation. Each of the records comes in a beautifully designed sleeve featuring brutalist photography by Jessica McMillan. Each single will be limited to 2,400 copies ww.

Gold/ Bone Vinyl

Das Duo Tribunal aus Vancouver mag der breiten Welt noch unbekannt sein, aber das fesselnde Debütalbum "The Weight Of Remembrance" ist angeteten, das zu ändern. Im schwarzen Samtgewand des Gothic Doom Metal weben Tribunal düstere Geschichten von ultimativer Verurteilung, nicht enden wollendem Regen und einsamer Verzweiflung.

Mit dem klassisch ausgebildeten Cellisten/Bassisten/Sänger Soren Mourne und dem Gitarristen/Sänger Etienne Flinn bedient sich das Duo mit seinen ziegelsteinschweren, klassischen Doom-Riffs am klassischen Death Metal-Schwere wie z.B. My Dying Bride, allerdings gefiltert durch ein modernes Kaleidoskop. Der Sound ist mit Anspielungen auf die 80er und 90er Jahre sofort vertraut, klingt aber nie retro oder wie eine bloße Hommage. "The Weight of Remembrance" erweckt vielmehr das Gefühl eines sorgfältig komponierten Orchestersatzes, der zu einer bröckelnden, mit Moos bewachsenen Kathedrale passt. Die Vocals des Duos wechseln häufig zwischen geisterhaftem, klagendem Cleangesang, beißendem Kreischen im Black-Metal-Stil und furchteinflößenden Todesrufen.

Das Debüt von Tribunal ist eine unverzichtbare Ergänzung des modernen Doom-Kanons, der sich ausgehend von einer Basis aus erdrückender, tragischer Schwere und Verlorenheit in unendlich viele musikalische Richtungen entwickeln kann. In diesem Sinne hat "The Weight Of Remembrance" die vollendete Atmosphäre einer Band, die in Umfang und Ausführung ihrer Vision weit über ihr junges Alter hinaus ist.

Blue Vinyl

Das Werk einer der meistausgezeichneten Künstlerinnen aller Zeiten lebt in dieser 1-LP-Vinyl, Whitney, weiter.Das GRAMMY-nominierte zweite Studioalbum der Künstlerin erreichte 10-fachen Platin-Status und wurde mit einem Diamanten ausgezeichnet, was der Künstlerin zu ihrem Superstarstatus verhalf, da sie die erste schwarze Künstlerin war, die drei Diamanten-Albumzertifizierungen erhielt. "I Wanna Dance with Somebody (Who Loves Me)", "Didn't We Almost Have it All", "So Emotional" und "Where Do Broken Hearts Go" wurden allesamt zu Billboard Top 10 Singles und bescherten ihr - zusammen mit den früheren Erfolgshits - sieben aufeinanderfolgende #1 Singles.

Did you know Micheal "Eyedea" Larsen - one half of the progressive hip hop duo Eyedea & Abilities - once released a solo project under the moniker Oliver Hart? Fresh on the heels of winning three of the most notable MC Battles of the time - Scribble Jam (1999), Rocksteady MC Battle (2000) and the nationally televised HBO Blaze Battle (2000) - and the release of his debut album with musical partner DJ Abilities, First Born, Eyedea was inspired, intent, insatiable. He used most of his earnings from those MC battles and the group's rigorous touring schedule to build himself a home studio and teach himself how to record and mix records, and in less than a year's time, he returned to share the fruits of his labor. Originally released in 2002, The Many Faces of Oliver Hart or How Eye One The Write Too Think was written, produced, recorded and engineered by a 20-year old Eyedea (aka Oliver Hart). Featuring the songs "Weird Side", "Here For You", "Step By Step" and "Bottle Dreams", which Complex named as #11 on a list of the best songs ever released on Rhymesayers Entertainment, the album was a diverse body of work that demonstrated Eyedea could not be easily defined, nor should he be.

A Notwist concert is a Notwist concert is a Notwist concert. The band around the core trio of Cico Beck and the Acher brothers Markus and Micha usually takes its studio recordings as a mere starting point for their live performances, considering them to be possibilities that need to be explored further. This is especially true for »Vertigo Days - Live from Alien Research Center,« a live record made under unusual circumstances. The band members rearranged songs from their ambitious 2021 album »Vertigo Days« in their studio in Weilheim to record and film a special performance. The songs took on a new life, becoming more psychedelic and intense when rearranged into a spontaneous, Krautrock-esque collage.

»Vertigo Days« was meant to transcend the conventional notion of a band as well as the creative and geographic boundaries inscribed into that concept. And even though life had other plans, this is precisely what the album did when it was released to both commercial success and critical acclaim in early 2021. Contributions by Tenniscoats singer Saya, Angel Bat Dawid, Ben LaMar Gay, Juana Molina, among others, as well as new member Theresa Loibl on bass clarinet, harmonium, and keyboard, expanded the band’s sonic palette, stylistic range, and even lyrical focus through the addition of different instruments, artistic approaches, and languages.

All of that was missing when the band retreated to their studio—dubbed Alien Research Center in response to, and in spite of, a nearby church called Christian Outreach Center—to further explore the possibilities of the source material. The band members considered this a challenge rather than an insurmountable problem and not only accepted, but fully embraced it. Trying to work as little as possible with the computers and samples—Saya’s voice on »Ship« being a notable exception—the band rearranged six tracks from »Vertigo Days« and a piece from the »One of Those Days« film soundtrack in order to allow themselves to improvise more freely, especially thanks to Loibl, who takes on a key role during these 45 minutes.

The intro sets the tone for what’s to come, contrasting loose jazz drumming with curious synthesizer rhythms in an abstract rendition of the first sounds that greeted the listeners on »Vertigo Days«. While the next four tracks—»Into Love / Stars«, »Exit Strategy To Myself«, »Where You Find Me« and »Ship«—follow the chronology of the album, they use the originals as a blank slate for further experimentation. The first track morphs into a feverish long-form jam that draws on the underlying groove to shift the dynamics from and leave behind the song structure of the studio version. It’s an exemplary piece in a recording that sees each individual musician leaving their mark on the overall sound, all while being perfectly attuned to what everyone else is doing around them. This continues up until the record’s triumphant finale, a whirring rendition of »Loose Ends.«

»Vertigo Days - Live from Alien Research Center« is at once a snapshot of a certain moment in the band’s history and the quintessential Notwist live record: a unique performance that both explores the untapped potential of the »Vertigo Days« studio recordings while also serving as an inspiration for upcoming live shows.

As with the studio album, the artwork for »Vertigo Days - Live from Alien Research Center« features photographs by Japanese artist Lieko Shiga, taken in the '00s.

2023 Repress on Yellow Vinyl

On Vertigo Days, the first album in seven years for The Notwist, one of Germany’s most iconic independent groups are alive to the possibilities of the moment. Their music has long been open-minded and exploratory, but from its engrossing structure, through its combination of melancholy pop, clangorous electronics, hypnotic Krautrock and driftwork ballads, to its international musical guests, Vertigo Days is both a new step for The Notwist, and a reminder of just how singular they’ve always been. Most importantly, the core trio of Markus and Micha Acher and Cico Beck are reaching out: as Markus reflects, “we wanted to question the concept of a band by adding other voices and ideas, other languages, and also question or blur the idea of national identity.”

It’s been seven years since The Notwist’s last album, Close To The Glass, and in that time the various members of the group have been busy with side projects (Spirit Fest, Hochzeitskapelle, Alien Ensemble, Joasihno), guest appearances, a record label (Alien Transistor), movie scoring, helping organise the Minna Miteru compilation of Japanese indie pop & running a festival (Alien Disko). Those divergent paths feed back into Vertigo Days in surprising ways, from its structure, built from group improvisations, with songs flowing and melting into one another in a collective haze, to its spirit, which feels refreshed and alive. There’s something cinematic about Vertigo Days too, reflective of the group’s time working on soundtracks, and reflected in the rich, moody photographic artwork by Lieko Shiga that adorns the cover.

The first sign of this newfound openness was the album’s lead single, “Ship”, where the group were joined by Saya of Japanese pop duo Tenniscoats, her disarmingly hymnal voice sighing over a propulsive, Krautrocking beat. Elsewhere, American multi-instrumentalist Ben LaMar Gay sings on “Oh Sweet Fire”, also contributing “a love lyric for these times, imagining two lovers in an uprising hand in hand.” American jazz clarinettist and composer Angel Bat Dawid adds clarinet to the spaced-out dream-pop of “Into The Ice Age”, while Argentinian electronica songwriter Juana Molina gifts some gorgeous singing and electronics to “Al Sur”. Saya also reappears as a member of Japanese brass band Zayaendo, who guest on the album. Throughout, The Notwist also capture the openness of their live performances, too, where they mix and link their songs in unexpected ways.

Indeed, what’s most impressive about Vertigo Days is the way it sits together as one long, flowing suite, the album conceptualised as a whole entity – it’s perfect for the long-distance, dedicated listening experience. This is also captured by the album’s lyrics, which Markus states, “feel more like one long poem.” The dimensions of that poem are multi-faceted, something intensified by the geopolitical weirdness of its times: “As the situation changed so dramatically, while we were working on the record, the theme of ‘the impossible can happen anytime,’ more about personal relationships in the beginning, became a global and political story.” But it also works at a level of poetic abstraction, such that each song gestures in multiple directions – the deeply private pans out to the global. The one certainty is that there is no certainty. “It’s maybe mostly about learning and how you never arrive anywhere,” Markus concurs. To sit within uncertainty is brave, but it’s also where we feel most alive, and Vertigo Days is an album that is brimming with life, with enthusiasm and love for music and for community, all wide-eyed and dreaming.

HALFTONE The future of heavy bass music has always found its portal via SATURATE! Records, and now alongside WAVECRAFT, we have another glimpse into infinity in the form of HALFTONE! From the onset of this compilation, you can feel the ominous bass ballast even before it first hits you…. Swelling up like a tsunami to engulf your brain with grinding terror. The heaviness is abundant across these tracks, with contributions from synth destroyers like Suahn, Kryptt and Low Poly melting your speakers and eardrums alike. Dark atmospherics rule the day here, which effectively sets the tone for the rabid roughness on display when the bass morphology takes hold of each track so mercilessly. Slow knuckle draggers and upbeat head bangers both hold dominion in this realm, leaving no sonic stone unturned. Always at the crest of the future music wave, HALFTONE shows you just how deep this rabbit hole can get.

Samuel Rohrer - drums, percussion, electronics, keys, modular synths Music produced, recorded and mixed by Samuel Rohrer
Samuel Rohrer’s newest solo album, Codes of Nature, shows the artist making yet more refinements and additions to an already rich catalog of musical ideas. Though he has excelled in collaborative projects with Ambiq, Ricardo Villalobos, Max Loderbauer, Tobias Freund, Dark Star Safari, Nils Petter Molvaer, Oren Ambarchi and
many others, it is fascinating to experience him also working in a field completely his own, yet managing to still give the impression of being fully integrated or connected with a larger musical universe.
A strange, intriguing ambiguity between the specific and the universal is indeed what makes Rohrer’s music worth playing on a loop – the cool, downtempo, yet energized constructions on Codes are powered by subtle atmospheric and tonal changes, and work like a camouflage adaptable to any environment. This is a record whose strength derives from its versatility. It’s clear that this versatility of sounds has been inspired by a commitment to positive differentiation that is not just a musical one, and that’s where this work will inspire others in turn.
— Total playing time: 50:04

Regarded by many as the greatest funk album of all time, ‘One Nation Under A Groove’ was recorded at United Sound in Detroit & included a live track from their concert appearance at the Monroe Civic Center in Louisiana in April 1978. The band’s tenth studio album released during September 1978 was also their most commercial & gave the band their first platinum disc. The iconic title track was an international hit and a US R&B No.1. With lead guitarists Michael Hampton & Eddie Hazel dazzling, the personification of funk Bootsy Collins on bass, Bernie Worrell & Walter “Junie” Morrison’s keyboard wizardry & many more, the album was produced by the genius of George Clinton. Regularly ranked at or near the top of various “best album” lists, ‘One Nation Under A Groove’ is mastered for vinyl in a deluxe facsimile gatefold sleeve with booklet & lyric inner sleeves, all housed in a protective PVC sleeve. The albums’ original bonus songs are now included on a second 12-inch “Special EP” which adds the rare 11-minute “Disco Mix” of ‘One Nation Under A Groove’ to replicate the original first UK pressing from 1978. FUNKADELIC Masterminded by the larger-than-life figure of George Clinton, Funkadelic was a key component of his influential P-Funk empire. Funkadelic’s unique combination of Rock, Psychedelia, R&B & Soul led to the band crossing over to the pop mainstream & gaining a vast international following, becoming one of the most important & influential groups in music. On 6 May 1997, Parliament / Funkadelic were inducted into the Rock & Roll Hall Of Fame by Prince. To commemorate six decades of thrilling & delighting fans, George Clinton returned to the stage in 2022 for a series of concerts. To celebrate, Charly have reissued Funkadelic’s classic four albums ‘Hardcore Jollies’; ‘One Nation Under A Groove’; ‘Uncle Jam Wants You’; & ‘The Electric Spanking Of War Babies’ (originally released by Warner Bros during a golden period for the band between 1976-1981). Each album will be available as deluxe gatefold Digi-Sleeve CDs in PVC wallets + obi-strip & facsimile-edition gatefold LPs on 180-gram black vinyl & limited edition 180-gram colored vinyl + 1970s-style obi-strip in a protective PVC sleeve. “They played a HUGE role in creating the future of music.” PRINCE

Now coming out on vinyl BBE is pleased to announce the 12” release of The Lyman Woodard Organisation - 'Creative Musicians', featuring remixes by Waajeed and Henrik Schwarz. Originally released as a digital EP from the album 'Strata Records – The Sound of Detroit – Reimagined by Jazzanova', 'Creative Musicians' and its remixes now come to you on deep grooved vinyl. The vocalist for these sessions is Sean Haefeli, who originally hails from Indianapolis, and brings a relaxed urgency to his contributions, sounding like a young Gil Scott-Heron. Leveraging his 20 plus year friendship with legendary Detroit DJ/Producer extraordinaire, Waajeed, Amir enlists him for a special four-to-the-floor mix that not only keeps that organic vibe but also adds a unique contemporary Detroit flavour! Henrik Schwarz needs little introduction to fans of eclectic electronic sounds. For over thirty years, his amazing body of work has packed dancefloors worldwide. Henrik takes ‘Creative Musicians’ in a slightly different direction, retaining many of Jazzanova’s original elements while adding his signature sound to the mix, providing another dance floor scorcher! And just to give you proper context, we have included the cult-classic, much-loved original version of ‘Creative Musicians’ by the Lyman Woodard Organization. ‘Strata Records - The Sound of Detroit - Reimagined by Jazzanova’ is no ‘covers’ album, rather a brand-new celebration of the iconic imprint, as Jazzanova’s take on Lyman Woodard Organization’s musical manifesto ‘Creative Musicians’ makes clear from its Afrobeat-inspired horn arrangements, drum track, and syncopated tempo.

Am 4. November veröffentlicht Carla Bruni ihr millionenfach verkauftes Album „Quelqu’un m’a dit” zum
20. Jubiläum erneut.
Das Album schrieb Carla selbst und komponierte den Großteil der Titel allein. Mit ihrer verschleierten
und magnetischen Stimme und ebenso mit ihren Worten und ihrer Musik knüpft Carla eine Verbindung
zu ihren Fans. Dieses Album ist ein Muss für alle, die ein seltenes Album entdecken möchten und dessen
Einfluss auch nach 20 Jahren noch spürbar ist. Zusätzlich enthält dieses Sammelstück ein 20-seitiges
Deluxe-Booklet mit wunderschönen und bisher unveröffentlichten Fotos.
Das Album ist als 1LP erhältlich.

The summer of 1982 saw the release of some of the most culture-defining films of our lifetime (STAR TREK II: THE WRATH OF KHAN, POLTERGEIST, TRON, CONAN THE BARBARIAN, THE THING, THE ROAD WARRIOR ... just to name a few!)

But few have had nearly the same impact on film music as the legendary sixth collaboration between Steven Spielberg and John Williams: E.T. THE EXTRA-TERRESTRIAL.

Mondo, along with Geffen Records and Universal Pictures, are proud to celebrate forty years of E.T., with an all new re-issue of John Williams' timeless, essential and period-defining score.

Reissue Produced by Bruce Botnick & Mike Matessino

Composed and Conducted by John Williams
Artwork by Dan McCarthy
Liner Notes by Mike Duquette
Manufactured in Czech Republic

American dancehall vocalist Sluggy Ranks was part of a growing dancehall movement in the '90s which emphasized cultural roots and positive messages instead of "slack" artists' obsessions with sex and violence. Ranks was born in Kingston and grew up in its Ray Town section, attending the same primary school as Wayne Wonder. Ranks began his singing career in the mid- to late '80s, coming to the U.S. to record the beginning of a series of Jamaican hit singles that included "95% Black 5% White" and his signature song, "Ghetto Youth Bust." Ranks later re-recorded both songs for his full-length 1994 album, Ghetto Youth Bust, which was produced by King Jammy and issued in the U.S. on Profile Records. While the majority of Ranks' most significant output through the '90s was largely issued on singles (and thus not very accessible to most American listeners), he also cut albums like Just Call Sluggy and 1999's My Time.

Over the years, Washington has recorded sporadically as a solo singer and extensively as a studio drummer and, has laid tracks for various artists. Simultaneously, Washington was a full-time drummer (sometimes singer) in several different bands, such as: The Avengers, The Titans, and Happiness Unlimited. With Happiness Unlimited he migrated to the USA to work with Stevie Wonder. The other Bands he played with are Calabash and Bands that backed Artists such as Leroy Sibbles, Shinehead, Junior Reid, Gregory Isaacs, Sister Carol and the Meditations.

Over the years, Washington has recorded sporadically as a solo singer and extensively as a studio drummer and, has laid tracks for various artists. Simultaneously, Washington was a full-time drummer (sometimes singer) in several different bands, such as: The Avengers, The Titans, and Happiness Unlimited. With Happiness Unlimited he migrated to the USA to work with Stevie Wonder. The other Bands he played with are Calabash and Bands that backed Artists such as Leroy Sibbles, Shinehead, Junior Reid, Gregory Isaacs, Sister Carol and the Meditations.

Jah Mason was born in Jamaica's Manchester Parish, and grew up in a Christian family. During his childhood, he was nicknamed Perry Mason for his ability to resolve disputes, and it was under this name that his debut single "Selassie I Call We" was released in 1991 on Junior Reid's JR record label.

Early in his career as a child star during the late 1960s, reggae singing legend Dennis Emmanuel Brown, received the nickname of "boy wonder of Jamaican music." In 1981, reggae fans unanimously ordained Brown with a new title, "Emmanuel, the Crown Prince of Reggae" and the undisputed heir apparent, following the death of reggae "king" Bob Marley. Brown, with his extremely powerful tenor and distinctive singing voice, established himself easily as one of the most impressive reggae artists of the twentieth century. A happy and friendly man, Brown amassed a loving and loyal following throughout his career, and upon his death at the early age of 42, he was widely eulogized for his outgoing personality. He recorded more than 100 records, including over 50 albums, from the time he was in his teens. The world of reggae music lost a "towering talent," noted Billboard magazine, when Brown passed away on July 1, 1999.

Studio One was founded by Clement "Coxsone" Dodd1 in 1954, and the first recordings were cut in 1963 on Brentford Road in Kingston.[1][2] Amongst its earliest records were "Easy Snappin" by Theophilus Beckford, backed by Clue J & His Blues Blasters, and "This Man is Back" by trombonist Don Drummond. Dodd had previously issued music on a series of other labels, including World Disc, and had run Sir Coxsone the Downbeat, one
of the largest and most reputable sound systems in the Kingston ghettos.
In the early 1960s, the house band providing backing for the vocalists were the Skatalites[3] (1964–65), whose members (including Roland Alphonso, Don Drummond, Tommy McCook, Jackie Mittoo, Lester Sterling and Lloyd Brevett) were recruited from the Kingston jazz scene by Dodd. The Skatalites split up in 1965 after Drummond was jailed for murder, and Dodd formed new house band the Soul Brothers (1965–66), later named the Soul Vendors (1967) and Sound Dimension (1967-). From 1965 to 1968 they played 9 a.m. to 5 p.m., 5 days a week, 12 rhythms a day (about 60 rhythms a week) with Jackie Mittoo as music director, Brian Atkinson (1965–1968) on bass, Hux Brown on guitar, Harry Haughton (guitar), Joe Isaacs on drums (1966–1968), Denzel Laing on percussion, and on horns (some initially and some throughout): Roland Alphonso, Dennis 'Ska' Campbell, Bobby Ellis, Lester Sterling, among others on horns during the era of Rock Steady. Headley Bennett, Ernest Ranglin, Vin Gordon and Leroy Sibbles were included among a fluid line-up, to record tracks directed by Jackie Mittoo at Studio One from 1966-1968.
During the night hours at Studio One from 1965-1968, singers like Bob Marley, Burning Spear, The Heptones, The Ethiopians, Ken Boothe, Rita Marley, Marcia Griffiths, Judy Mowatt, Alton Ellis, Delroy Wilson, Bunny Wailer[4] and Johnny Nash, among others, would put on headphones to sing lyrics to original tracks recorded by the Soul Brothers earlier each day. These seminal recordings included "Real Rock" (by Sound Dimension), "Heavy Rock", "Jamaica Underground", "Wakie Wakie", "Lemon Tree", "Hot Shot", "I'm Still In Love With You", "Dancing Mood", and "Creation Rebel".
Jackie Mittoo, Joe Isaacs, and Brian Atkinson left Studio One in 1968, recorded drums and bass for Desmond Dekker's and Toots' biggest hits at other Kingston studios, then moved to Canada. Hux Brown stayed in Jamaica to record on the soundtrack The Harder They Come, The Harder They Fall, and toured in Nigeria with Toots and the Maytals and Fela Kuti. The Soul Brothers (a.k.a. Sound Dimension) formed the basis of reggae music in the late 1960s, being versioned and re-versioned time after time over decades by musicians like Shaggy, Sean Paul, Snoop Lion, The Clash, String Cheese Incident, UB40, Sublime, and countless other Billboard originals and remakes trying to emulate their original Rock Steady sound at Coxsone's Studio One.

Coming February 10: the most live-sounding Yo La Tengo album in years, This Stupid World. Times have changed for Yo La Tengo as much as they have for everyone else. In the past, the band has often worked with outside producers and mixers. In their latest effort, the first full-length in five years, This Stupid World was created all by themselves. And their time-tested judgment is both sturdy enough to keep things to the band’s high standards, and nimble enough to make things new. At the base of nearly every track is the trio playing all at once, giving everything a right-now feel. There’s an immediacy to the music, as if the distance between the first pass and the final product has become more direct. Available on standard black vinyl.

The Rolling Stones legen die ultimative Live Best Of Sammlung vor: ”GRRR Live!”
2012 und 2013 feierten die Rolling Stones ihr goldenes Jubiläum mit der ”50 & Counting”-Tour durch Nordamerika und Europa. Bei dem Konzert am 15.12.2012 im Prudential Centre, New Jersey, begleitete ein unglaubliches Line-up von Gästen die Band auf der Bühne – Lady Gaga, The Black Keys, Bruce Springsteen, Gary Clark Jr, John Mayer & Mick Taylor. Das Konzert erwies sich als eine der bemerkenswertesten Shows in der Geschichte der Band. Nun wurde das Konzert neu bearbeitet und neu abgemischt.

Called a "slow-burning vocal-house juggernaut," and an "invigorating artist's artist," BRANDON has put together a collection of tracks featuring some of the genre's best producers, such as Chicago scene founders DERRICK CARTER & ANTHONY NICHOLSON.

2023 Repress: Limited Transparent Yellow, 3-sided Vinyl, heavy wide-spine outer sleeve, printed inners! On Vertigo Days (Release: 2021), the first album in seven years for The Notwist, one of Germany"s most iconic independent groups are alive to the possibilities of the moment. Their music has long been open-minded and exploratory, but from its engrossing structure, through its combination of melancholy pop, clangorous electronics, hypnotic Krautrock and driftwork ballads, to its international musical guests, Vertigo Days is both a new step for The Notwist, and a reminder of just how singular they"ve always been. Most importantly, the core trio of Markus and Micha Acher and Cico Beck are reaching out: as Markus reflects, "we wanted to question the concept of a band by adding other voices and ideas, other languages, and also question or blur the idea of national identity."

Die norwegischen experimentellen progressiven Thrasher Vorbid sind endlich mit neuer Musik zurück - vier Jahre nach der Veröffentlichung ihres von der Kritik gefeierten Debütalbums. Vorbid ist eine junge, frische und unglaublich energiegeladene Metal-Band aus Arendal, Norwegen. Die früheren Alben erhielten erstaunliche Kritiken und bekamen viel Aufmerksamkeit in den Medien, was ihnen Tourneen mit norwegischen Underground-Schwergewichten wie Aura Noir, Obliteration oder Einherjer einbrachte. 2023 sind Vorbid noch technisch anspruchsvoller und faszinierenderer zurückgekehrt und haben das noch Spiel intensiviert. Nach dem 2022er CD-Release erscheint nun endlich auch die schwarze Doppel-LP in Kastentasche!

Priscilla Renea Hamilton , known professionally as Muni Long (pronounced "money long"), is an American singer and songwriter. Under her birth name, her solo debut studio album, Jukebox, was released through Capitol Records in 2009. She then spent the following decade co-writing songs for other recording artists, including the singles "California King Bed" by Rihanna, "Worth It" by Fifth Harmony, "Love So Soft" by Kelly Clarkson, "Imagine" by Ariana Grande, and the global chart-topper "Timber" by Pitbull featuring Kesha. She has received four Grammy Award nominations throughout her career, including for Best New Artist, Best R&B Song ("Hrs & Hrs"), and Best R&B Performance ("Hrs & Hrs"). She also received a nomination for Album of the Year through her work on Back of My Mind (2021) by H.E.R. . Public Displays of Affection is a soundtrack of intimacy that seemed to offer an answer: You let love lead. "I am a lover," Muni Long explains. "I prefer to be kind. I believe in fairytales. The reason Public Displays of Affection worked is because love was absent in R&B." For that breakthrough project, Muni wanted to mimic the ebbs and flows of a relationship, dipping and diving between moods and sounds - which is real, because love can be tumultuous, too.

Pauline Marx, formerly of the fantastic duo La Fureur de Vouivre, seems like a being from another time and place; namely, an escaped marauder lurking in the forests of a Bruegel painting and integrating the surreal flora and fauna of a Boschian creation into the scenery and lore of deep Brittany. Her invented mythology is loaded with murky rituals and contorted mantras, backed by the surprising sounds and textures of terrains so earthly and so unreal.

The Devil at the Crossroads

Where do you think you come from? Where do you think you're going? Lasciate ogni speranza, voi ch’entrate: you, with the noodle to the four winds, who pass the threshold of this disc, you better leave all hope there, and glide in the poisonous footstep of the devil your guide.

Where do you think you come from? The mountain is no longer just the mountain; after your passage, it will no longer even be a mountain. Like the whole landscape, it will have been eaten, sauced by invisible leeches. Your nostalgia for the ground and your thirst to find the source will have only discovered a forest of vain words and foul water. Where do you think you're going? At the crossroads, the world is consumed in the previous future. Only the devil will know how to make you overcome the disgust of traditions, and only the love for the devil will give you enough vim to reach your goal: a village, perhaps, but which belongs to no one, a haven to your excessiveness .

The dark tradition to which this game of ternary trampling belongs, like the rhythm of a heart in tune with the inverted world, has no country and no assigned time. Rather a topology of Eve awakened after a thousand-year sleep, an idiosyncratic and possessed reading of our common humus, made up of stories composted in the limbo of the past, of songs captured in extremis vitae and rebus in the privatized antechambers of death.

What does she tell us about? Of our automobile and in love roamings, of the porosity of the membranes that separate beings and things, of the constant inversion of signs. The seventeen stages of this short journey, where intertwine the throbbing of objects, blown horns and rubbed horsehair, form the map of a country never to be found, ours, where only the voice of an old child and the disgusting devil's poisonous charm can guide us.