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Single-LP edit of Piñata lacquered at half speed master by Metropolis Mastering in London for the highest fidelity.

After the original release Freddie Gibbs & Madlib's Piñata in 2014, cover artist Jeff Jank made a new sleeve for the album in the style of a 1964 Blue Note album.

Featuring Danny Brown, Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul, Polyester the Saint, BJ The Chicago Kid, Big Time Watts, G-Wiz, Casey Veggies, Sulaiman, Meechy Darko & Freddie Kane.

Freddie Gibbs is the product of violent, drug-laden streets but unlike most rappers with similar resumes, he brings the block to the booth without inhibition or an exaggerated rap persona. Piñata, a 17 track collaboration with producer Madlib, is the best distillation yet of his transparent approach to making music, combining an at times stark honesty with electrifying talent as a lyricist and performer.

Piñata is a gangster Blaxploitation film on wax, says Gibbs, who came up on the streets of Gary, Indiana, the disregarded city previously best known for producing Michael Jackson. Here he is joined by Mac Miller, Earl Sweatshirt, Raekwon, Scarface, Domo Genesis, Ab-Soul and a host of others in setting his soliloquies of the streets alongside film snippets and dusted funk, soul and prog musical tapestries. While this is the latest in a series of single-artist collaborations for Madlib, after Jaylib (J Dilla), Madvillainy (MF Doom) and the street-centric O.J. Simpson with Detroits Guilty Simpson, the pairing is unique as it is the first time for Gibbs working with just one producer.

On Piñata, where Gibbs can shift from textbook lessons in robbing and drugging on trackslike Scarface and Knicks, to perhaps the albums most personal song, Broken, a collaboration with Scarface, who, along with Tupac, DMX and 50 Cent, make up the rappers own Mount Rushmore of MCs (Youre getting a hurricane of all those motherfuckers hitting you at once when you listen to Freddie Gibbs, he says). Deeper, a Gibbs favorite and the third single from the album after Thuggin (2012) and Shame, (2013) is an ode to hip-hop in the mold of Commons I Used to Love H.E.R.; High, featuring Danny Brown, is self-explanatory and just what you would expect from Gibbs, Madlib and one of Detroits finest; while on Real, Gibbs addresses an old score just as Michael Corleone settled all family business on baptism day.

As a producer, Madlib, quite simply, is music, and ten years into his career-a time when other artists become comfortable-Gibbs remains restless, focused, with an eye on the competition and their position relative to his ascent. This is because mentally, hes still on the corner hustling, which would be the downfall of the average rapper. With Piñata, Gibbs confirms that he is anything but average.

Celebrate the technical expertise of the world's finest LP pressing plant — Quality Record Pressings — with the finest LP sampler ever assembled!

The Wonderful Sounds Of Quality Record Pressings includes music hand-picked by Acoustic Sounds CEO Chad Kassem and classical music tracks chosen by the team at Reference Recordings.

Every song meets the criteria of excellent performance, perfect recording and flawless mastering. What better way to celebrate such a monumental anniversary for one of the absolute leading brands in analog high fidelity than with this to-die-for LP sampler? Contains most genres of music — blues, jazz, classical, R&B and female vocal. From now on, you'll only need to carry one demo record around with you.

Vinyl expert Michael Fremer, of Analogue Planet and Stereophile, gives you a track-by-track tour of the history and production of the songs on this special album.

What separates our world-renowned Quality Record Pressings LPs from other manufacturers? Since Acoustic Sounds CEO Chad Kassem launched QRP in 2011, the focus has been on producing consistently virtually silent vinyl playing surfaces, as well as reproducing details that were hallmarks of vintage labels — the "deep groove" label of Blue Note LPs, for example.

The craft of pressing fine vinyl is perfected in such details. Such as plating lacquers within 24 hours of their arrival at the plant. Cut grooves are prone to change with temperature fluxuations, high humidity and time. The sooner that lacquers are plated, the better the fidelity of the final pressing. Other keys include using a proprietary silver spray formulation, made fresh daily. And incorporating computer microprocessors on our presses to precisely control press functions with absolute precision. And an imbedded temperature sensor in the dye cycles the press with just as much control. The result — more consistency in each LP, high fidelity and reduced distortion. The ultimate sonic advantage.

More than one of Jack's many nicknames, Zagg is also a shout out to her
uncanny ability to select an unanticipated word or musical flourish, her
disarming poetic acumen, her ability to zoom in and out at lightning
speed and spin a phrase into a mantra, or the opposite of a mantra
Each song on this record is its own unique little world, keeping a listener
delightfully off-kilter throughout the entire affair.
Opening track 'FMK' operates likes a sonic thesis statement. For a quiet moment,
Jackie's confessing her recurring mother-in-law dreams and initiating a suddendeath round of Fuck Marry Kill. Then on a dime she somersaults into rocket-pop
posture, ready to cut loose and head to the movies with her best boogie- boy:
'Let's go to the movies and dance a little…you can share my Twizzler…Let's go to
the movies, you can dance at the movies!!!' The charging, industrial pop of 'Get
Out' is augmented with punching strings that are both lovely and foreboding. In
the lithe, Rickie Lee Jones-nodding 'Yesterday's Baby,' a giant foot-shaped cloud
looms in the mouth- shaped sky and Jackie gets microscopic — 'Why don't you
just let it burn out/Toss that glass of wine out/Stamp that Camel Light out/Shut
your mouth up shut up your mouth.' After a few more dances, deep diaphragmatic
breaths, and Blood on the Tracks winking ballads, knock-out marathon track 'Keep
Runner' gives it straight to some Wile E. Coyote tomfool who's out getting his butt
blown up again." The energy of the record, I think, comes from finding out Patti
Smith didn't make Horses until she was 29. Extremely influential Wiki experience.
Oh, and Adam Green, my all- time favorite songwriter and artist, painted me
looking like a doctrinal seer peering into a cartoon mirror for the cover.
Pressed on Transparent Yellow color vinyl.

With its name indicative of the music's boundary-testing diversity and Southwestern inspiration, On the Border finds the Eagles leaving everything on the table and embracing a harder edge that takes the band out of more relaxed territory and establishes it as a group that knows how – and wants – to rock. Glenn Frey, Don Henley, new member Don Felder, and company immediately announce their intent on the defiant album-opening hit "Already Gone" and never look back, crafting a gem of a record that from start to finish is arguably their most consistent and balanced effort.

Limited to 10,000 numbered copies, pressed on dead-quiet MoFi SuperVinyl at RTI, and mastered from the original analogue master tapes, Mobile Fidelity's ultra-hi-fi UltraDisc One-Step 180g 45RPM 2LP collector's edition pays tribute to the record's significance and enhances the experience for generations to come. Playing with reference sonics that elevate an effort revered by audiophiles, it provides a lively, dynamic, transparent, and intimate view of a release whose contemporary importance continues to grow. The opportunity to zero in on the particulars of the Eagles' golden harmonies, distinct vocal timbres, and cohesive interplay has never been better.

Visually, the premium packaging and gorgeous presentation of the UD1S On the Border pressing befit its select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. From every angle, this UD1S reissue exists as a curatorial artefact meant to be preserved, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the iconic Navajo cover painting to the meticulous finishes.

And with On the Border, there's plenty to take in and soak up. Declared by famed critic Robert Christgau as "the Eagles' best album," the 1974 set claims a rich backstory. Initially recorded amid tumultuous sessions with producer Glyn Johns in London shortly after the release of the group's sophomore Desperado set, On the Border took a new turn after the band elected to scrap most of the prior work, return to its native California, and team with producer Bill Szymczyk to give the material less of a smooth, polished sheen and more toughness. Szymczyk also afforded the Eagles more input and freedom in the arrangements, and suggested adding another guitarist to play on "Good Day in Hell." Felder got the call, and so won over the Eagles with his skills, he quickly became the fifth member of the band.

While the late-arriving Felder only plays on one other album cut, "Already Gone," his mates more than prove their muster on the remainder of a double-platinum affair that established the Eagles as a force whose range transcended the calmer country-leaning style it perfected on their first two LPs. Primarily written by Jackson Browne and shelved during the Desperado sessions due to its higher-energy nature, the throttle-twisting "James Dean" ricochets with barbed riffs and rebellious swagger. Listen without limits to how Szymczyk's raw production stamps the song with a leather-and-jeans cool befitting its protagonist. Similarly rugged, the slide-guitar-fueled "Good Day in Hell" boasts its own mean streak. And the funk-laced, boot-stomping title track cautions "don't you tell me 'bout your law and order." Throughout On the Border, the Eagles are in no mood to mess around.

Not that the band skirts sentimental territory. On one of the era's finest covers, the Eagles nail the bittersweet feelings and bring high-definition detail to the vivid scenery of Tom Waits' "Ol' '55," a song the group makes its own. The rustic ballad "My Man" serves as a tribute to the recently deceased Gram Parsons, with singer-guitarist Bernie Leadon taking the lead on the microphone as he pours his heart out to his former Flying Burrito Brothers mate. And when it comes to romance, is it possible to top "Best of My Love"? Graced with Henley's honey-dipped vocals, refined wordless group harmonies, brushed drums, and the gentle strum of acoustic guitars, the Johns-produced cut soared to Number One and set the stage for what would soon be the Eagles' reality: global dominance.

More About Mobile Fidelity UltraDisc One-Step and Why It Is Superior
Instead of utilizing the industry-standard three-step lacquer process, Mobile Fidelity Sound Lab's new UltraDisc One-Step (UD1S) uses only one step, bypassing two processes of generational loss. While three-step processing is designed for optimum yield and efficiency, UD1S is created for the ultimate in sound quality. Just as Mobile Fidelity pioneered the UHQR (Ultra High-Quality Record) with JVC in the 1980s, UD1S again represents another state-of-the-art advance in the record-manufacturing process. MFSL engineers begin with the original master recordings, painstakingly transfer them to DSD 256, and meticulously cut a set of lacquers. These lacquers are used to create a very fragile, pristine UD1S stamper called a "convert." Delicate "converts" are then formed into the actual record stampers, producing a final product that literally and figuratively brings you closer to the music. By skipping the additional steps of pulling another positive and an additional negative, as done in the three-step process used in standard pressings, UD1S produces a final LP with the lowest noise floor possible today. The removal of the additional two steps of generational loss in the plating process reveals tremendous amounts of extra musical detail and dynamics, which are otherwise lost due to the standard copying process. The exclusive nature of these very limited pressings guarantees that every UD1S pressing serves as an immaculate replica of the lacquer sourced directly from the original master recording. Every conceivable aspect of vinyl production is optimized to produce the most perfect record album available today.

"Bunn DeBrett Quintet is back with volume 2 of the eponymous album series of contemporary Jazz. Following on from the success of the critically acclaimed first album released in 2021 which sold out its vinyl run, volume 2 builds on the artistic and creative expressions of Volume 1 to bring together a group of artists to perform on Stephen Bunn and Jon DeBrett's compositions.

Once again featuring the core musicians of Stephen and Jon along with Neil Corcoran, Alan Barnes, Roger Beujolais, and the stunning spoken word vocals of Tenesha the Wordsmith. BDQ vol. 2 also benefits from the contributions of instrumentalists Nathan Haines, Crispin Taylor, Alastair Martin and the poetry of Daniel B. Summerhill.

Across the five tracks of this album this stellar line-up of musicians, composers and artists have created just under 40 minutes of the most fluid and fluent contemporary Jazz you will hear in many a year. Combining the spiritual with the modal and the modern, the atmosphere of this album will capture, enchant and enrapture all true music fans and those whose boundaries are blurred as to be non-existent."

Mennie heads to LOCUS for his label debut, delivering four slick productions across his ‘Jack & Jane’ EP.

Florence-based DJ and producer Mennie has been a fixture within the European house scene for years now, yet he’s still on the rise with plenty more on the horizon. A smooth operator when it comes to weaving rolling percussion with alluring basslines, the Italian’s outings via Deeperfect, Moscow Records, and Infuse have showcased his ability to deliver cuts that pack a punch yet are filled with subtle nuances. Heading into the peak summer months in style, early June brings a LOCUS debut as he drops his four-track ‘Jack & Jane’ EP.

‘Jack & Jane’ opens things with the title track bringing loopy, swinging drums alongside cosmic melodies, while ‘Space Rocket’ sees regimented drums shoulder emotive pads and zipping synths. On the flip, ‘What Happened’ buzzes into action armed with zigzagging leads and smooth rolling grooves, before ‘Just Like That’ turns up the heat with squelchy basslines, wonky, off-kilter effects and resonant vocals throughout.

• Sony Masterworks is happy to announce the vinyl release of the Netflix live-action series Cowboy Bebop which premiered in November 2021 and is available on Netflix.

• Yoko Kanno and the band SEATBELTS, the artists behind the music in the original anime series of Cowboy Bebop, have returned to bring their signature dynamic, jazzy sound to the Netflix live-action show. The resulting compositions are characters themselves - constant companions to the crew of the Bebop and brimming with just as much personality.

• Cowboy Bebop (Soundtrack from the Netflix Original Series) is a treat for Bebop fans in an additional way - it features over twenty new tracks only available on vinyl! This wide release is pressed on red marble vinyl discs in a gatefold jacket with printed inner sleeves.

• COWBOY BEBOP is an action-packed space Western about three bounty hunters, aka “cowboys,” all trying to outrun the past. As different as they are deadly, Spike Spiegel (John Cho), Jet Black (Mustafa Shakir), and Faye Valentine (Daniella Pineda) form a scrappy, snarky crew ready to hunt down the solar system’s most dangerous criminals — for the right price. But they can only kick and quip their way out of so many scuffles before their pasts finally catch up with them.

• Original anime series director Shinichirō Watanabe is a consultant on the series, and original composer Yoko Kanno returns for the live-action adaptation. The series also stars Alex Hassell and Elena Satine.


• Yoko Kanno is a Japanese composer, arranger and musician best known for her work on the soundtracks of anime films, television series, live-action films, video games, and advertisements. She has written scores for Cowboy Bebop and its live-action adaptation, Darker than Black, Macross Plus, Turn A Gundam, The Vision of Escaflowne, Ghost in the Shell: Stand Alone Complex, Wolf's Rain, Kids on the Slope, Genesis of Aquarion and Terror in Resonance, and has worked with the directors Hirokazu Kore-eda, Yoshiyuki Tomino, Shinichirō Watanabe and Shōji Kawamori. Kanno has also composed music for pop artists Maaya Sakamoto and Kyōko Koizumi. She is also a keyboardist and is the frontwoman for the SEATBELTS, who perform many of Kanno's compositions and soundtracks.

Nocturne, the critically acclaimed sophomore album by Wild Noth- ing, is a window into singer/songwriter Jack Tatum’s “ideal world” of pop music. Written largely while living in Savannah, GA during 2011, the songs that became Nocturne blur the lines between Tat- um’s influences and personality. The album features some open ref- erences to past music just as his hit debut Gemini did, but it’s also an album that feels much less rooted in anything in particular, and marks a distinct evolution in songwriting for Wild Nothing.

Gemini was written before there were Wild Nothing fans or even a live band; Nocturne is different. With an unexpected new fan base to turn to, Tatum spent more time perfecting his craft. The obsessive- ness of Nocturne is inherent in it’s gentle harmonies, orchestrated synths, wandering voice, and songs that speak to his post-Gemini experiences as he explores new paradoxes of pop. And yet, Noc- turne isn’t obvious, it is a strange and distinctive musical beast, the product of an obsessive pop vision that creates its own reality.

"Now comes Analogue Productions' 180-gram double 45 RPM reissue sourced from the original Island master tapes sent over from the U.K., cut by Kevin Gray at Cohearent Audio, pressed at RTI and housed in a laminated gatefold "Tip on" jacket complete with "pop up" band. The packaging is exquisite! Only word for it. AP couldn't get permission to use the pink label so it uses the green Chrysalis one. ... if the goal was to duplicate the original pink label Island sound, this reissue misses that, which is good because this new double 45 reissue is far superior to the original in every possible way. The tape was in great shape, that's for sure. Clarity, transparency, high frequency extension and especially transient precision are all far superior to the original. Bass is honest, not hyped up and the mastering delivers full dynamics that are somewhat (but only slightly), compressed on the original. Ian Anderson's vocals are naturally present as if you are on the other side of the microphone. Most importantly, the overall timbral balance sounds honest and correct. But especially great is the transient clarity on top and bottom. ... Best of all, as the title suggests this album "stands up" to time. It hasn't lost a thing musically, lyrically or sonically. Highly recommended!" — Music = 9/11; Sound = 9/11 — Michael Fremer.

Jethro Tull's second album, Stand Up, marked an early turning point for the band with the addition of guitarist Martin Barre along with Ian Anderson's introduction of folk-rock influences to the group's blues-based sound.

Released in the summer of 1969, Stand Up rose quickly to the top of the U.K. Albums Chart, and eventually earned gold certification in the U.S.

Stand Up was the first album where Anderson controlled the music and lyrics, resulting in a group of diverse songs that ranged from the swirling blues of "A New Day Yesterday" and the mandolin-fueled rave-up of "Fat Man," to the group's spirited re-working of Johann Sebastian Bach's "Bouree in E Minor." In a recent interview, Anderson picked Stand Up as his favorite Jethro Tull album, "because that was my first album of first really original music. It has a special place in my heart."

Now with our 45 RPM release, plated at QRP and pressed at RTI, the best-sounding version of this historic album gives listeners an even richer sonic experience. The dead-quiet double-LP, with the music spread over four sides of vinyl, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Clean, balanced, richly detailed. Just the way an Analogue Productions reissue should sound. You'll experience Jethro Tull classics such as "Bouree," "A New Day Yesterday," "Look Into The Sun," "We Used To Know," "Fat Man" and the rest with a new appreciation for the Grammy-winning progressive act's musical skill and innovation.

Portland's premiere purveyors of kraut-inflected party rock return with an
album's worth of tunes crammed into an extended playing set
The eponymous lead track bursts out of the gate with ebullience. Lee Ritter's
rhythms and Cord Amato's riffs fit comfortably in the space where Kraftwerk left
off and DEVO began. "Artificial Head" may be about a Fleshlight, or it could be a
paperback sci-fi-derived weed fantasy. You could listen to Møtrik while sober, but
why would you do that? Next up is the measured and groovy "Castle Electric"
which features a dialog between bassist/vocalist Erik Golts and a sexy computer.
His German is easily as good as her English and one wonders how the night
ended after she switched the lights "auf." Side one completes with "Unifox" built
up from a Dave Fulton synth composition into a full- fledged Møtrik track, this
being the first time the band has bucked its contrarian vision of a band that jams
in its own professional recording studio yet refuses to produce itself. "Outer
Reaches" is the patiently awaited sidelong epic. The contemplative and
exploratory scene begins with chirrups from an analog swamp, then slowly rises
through the hazy pastel atmosphere on a crystalline bubble before blasting off
into full- fledged Floydian outer space psych. As always, Møtrik colors between
the lines, applying its overall aesthetic to rock music, which is to say it's the
FORTRAN approach to basement partying. Artificial Head is just what your body
needs to feel complete. Pressed on Light Green Color vinyl.

100% Analogue 33RPM 180g 1LP
Remastered from the Original Analogue Stereo Masters for the First Time!

Hear this album as it was meant to be heard! Absolutely Stunning!
The greatest assembly of musical talent ever on one album! Features Performances by John Coltrane, Miles Davis, Bill Evans, Ben Webster & 27 More Jazz Greats!



In 1958, a young, successful French composer-arranger with a major infatuation on American jazz, worked his way to New York and convinced the very best players of the time to record an album of largely jazz standards. Michel Legrand would go on to win numerous prizes and accolades (3 Oscars, 5 Grammies, 2 Palmes D'or, etc.), but little of what followed matched the sheer brilliance of Legrand Jazz.

Miles Davis, John Coltrane, Bill Evans, Ben Webster, Phil Woods and practically every other session man in town signed up for sessions with Legrand to record his idiosyncratic arrangements of standards ("Django", "Don’t Get Around Much Anymore", "Night in Tunisia", etc.). Instead of regurgitating then current bop styles, he reinvented the very nature of orchestral jazz band repertoire to make a unique and forward-looking statement on the genre.

The sound of Impex's all-analogue LP preserves the wide soundstage of late 50’s Columbia recordings while creating intimate spaces between players on the stage for maximum definition. This rare, highly-praised recording has never sounded as good as it does now. Go big with Legrand Jazz.

Legrand Jazz was greeted by an enthusiastic review in the magazine Down Beat. Dom Cerulli awarded it five stars out of a possible five.

The meticulously recreated outer jacket is packaged in a gatefold with an original photo montage inside honoring Michel Legrand's masterpiece of reinvention and sublime fan-boy enthusiasm.

"The music is luscious and this just may be one of the best-sounding records you'll ever hear." - Ken Kessler, Hi Fi News, Rated 95/100 Sound Quality!

re-release Typische Weihnachtslieder wie "Stille Nacht" haben die Meisten wahrscheinlich schon so oft gehört, dass sie zu beiden Ohren raushängen. Deswegen muss man in der Adventszeit trotzdem nicht auf die bewährten Weihnachtsklassiker verzichten. Denn mit "Noël Gospel" bringt das französische Label Wagram eine Kompilation heraus, die 15 ergreifende Gospelversionen bekannter, und auch einiger weniger bekannter Weihnachtstitel versammelt, zum Beispiel "Oh Happy Day", "Silent Night" oder "White Christmas". So ist für besinnliche Stimmung und ein aufregend neues Hörerlebnis gesorgt. Mit auf der LP vertreten sind die Superstars des Gospels wie Aretha Franklin, Mahalia Jackson, The Edwin Hawkins Singers, Elvis Presley, The Staple Singers, Johnny Cash und The Golden Gate Quartet. Hinzu kommen mit Louis Armstrong, Nat "King" Cole und Little Richard stimmgewaltige Sänger, die man auch unterm Tannenbaum immer wieder gerne hören mag.

‘Runner is a calmly luminous orchestral piece with the pulsating, propulsive
rhythms that animate much of Mr. Reich’s music.’ – New York Times

‘Reich interweaves the two groups to create a dense textural tapestry that sounds like his most native orchestral thinking to date. A beautiful and dramatically charged masterpiece.' – San Francisco Chronicle

Nonesuch Records releases the first recordings of Steve Reich’s Runner (2016) and Music for Ensemble and Orchestra (2018), performed by the Los Angeles Philharmonic and conducted by Susanna Mälkki.

Reich says Runner is written “for a large ensemble of winds, percussion, pianos, and strings. While the tempo remains more or less constant, there are five movements, played without pause, that are based on different note durations. First, even sixteenths, then irregularly accented eighths, then a very slowed-down version of the standard bell pattern from Ghana in quarters, fourth a return to the irregularly accented eighths, and finally a return to the sixteenths but now played as pulses by the winds for as long as a breath will comfortably sustain them. The title was suggested by the rapid opening and my awareness that, like a runner, I would have to pace the piece to reach a successful conclusion.”

“Music for Ensemble and Orchestra is an extension of the Baroque concerto grosso where there is more than one soloist,” the composer continues. “Here there are twenty soloists – all regular members of the orchestra, including the first stand strings and winds, as well as two vibraphones and two pianos. The piece is in five movements, though the tempo never changes, only the note value of the constant pulse in the pianos. Thus, an arch form: sixteenths, eighths, quarters, eighths, sixteenths. Music for Ensemble and Orchestra is modeled on my Runner, which has the same five movement form.”

Nonesuch has recorded every new piece of music by Steve Reich since 1985, beginning with The Desert Music and continuing through 2018’s Pulse/Quartet, resulting in 22 albums and the two box sets Phases in 2006 and Works: 1965-1995 in 1997. Most recently, the label released his Reich/Richter, performed by Ensemble intercontemporain and conducted by George Jackson, in June 2022. The Times said, ‘What a delight to be able to focus on the music, delivered here with a clever mix of pinprick precision and reverberant haze by 14 members of Ensemble Intercontemporain. The more intently you listen, the more subtleties emerge among the shifting, criss-crossing textures and phrases, sometimes coloured with gentle melancholy but decisively upbeat by the end. Reich/Richter is an ear-tickling tonic and a happy companion to Reich’s newly published book, Conversations.’ Nonesuch will put out a collection of Reich’s complete works in 2023.

Reich released a book earlier this year, Conversations, that includes dialogues with past collaborators, fellow composers, musicians, and visual artists who have been influenced by his work, including: David Lang, Brian Eno, Richard Serra, Michael Gordon, Michael Tilson Thomas, Russell Hartenberger, Robert Hurwitz, Stephen Sondheim, Jonny Greenwood, David Harrington, Elizabeth Lim-Dutton, David Robertson, Micaela Haslam, Anne Teresa de Keersmaeker, Julia Wolfe, Nico Muhly, Beryl Korot, Colin Currie, and Brad Lubman. The Wall Street Journal called the book ‘a testament to the influence of an idea – one that triggered a cultural turning point,’ and the New York Times said, ‘The joy of the book is to hear artists from a variety of disciplines and backgrounds rhapsodizing about their relationship to Reich’s music and how it influenced their own creative processes.’

Steve Reich has been called ‘America’s greatest living composer’ (Village Voice), ‘the most original musical thinker of our time’ (New Yorker), and ‘among the great composers of the century’ (New York Times). His music has influenced composers and mainstream musicians all over the world. Music for 18 Musicians and Different Trains have earned him two Grammy Awards, and in 2009, his Double Sextet won the Pulitzer Prize. Reich’s documentary video opera works – The Cave and Three Tales, done in collaboration with video artist Beryl Korot – have been performed on four continents. His recent work Quartet, for percussionist Colin Currie, sold out two consecutive concerts at Queen Elizabeth Hall in London shortly after tens of thousands at the Glastonbury Festival heard Jonny Greenwood (of Radiohead) perform Electric Counterpoint followed by the London Sinfonietta performing his Music for 18 Musicians.

In 2012, Reich was awarded the Gold Medal in Music by the American Academy of Arts and Letters. He has additionally received the Praemium Imperiale in Tokyo, the Polar Music Prize in Stockholm, the BBVA Award in Madrid, and the Golden Lion at the Venice Biennale. He has been named Commandeur de l’Ordre des Arts et des Lettres and has been awarded honorary doctorates by the Royal College of Music in London, The Juilliard School, and the Liszt Academy in Budapest, among others. ‘There’s just a handful of living composers who can legitimately claim to have altered the direction of musical history and Steve Reich is one of them,’ states the Guardian.

Redefining what an orchestra can be, the Los Angeles Philharmonic (LA Phil) is as vibrant as Los Angeles, one of the world's most open and dynamic cities. Led by Music & Artistic Director Gustavo Dudamel, this internationally renowned orchestra harnesses the transformative power of live music to build community, foster intellectual and artistic growth, and nurture the creative spirit. This is the third recent recording by the orchestra on the label; the others were the Louis Andriessen pieces The only one and Theatre of the World. Additionally, the Los Angeles Philharmonic’s recordings of The Gospel According to the Other Mary and Must the Devil Have All the Good Tunes?, with Yuja Wang, released on Deutsche Grammophon, are included in this year’s John Adams Collected Works boxed set. Nonesuch also released an LA Phil recording of Adams‘ Naïve and Sentimental Music in 2002.

Susanna Mälkki is sought-after at the highest level by symphony orchestras and opera houses worldwide. About to embark on her final season as Chief Conductor of the Helsinki Philharmonic Orchestra, she concludes a seven-year tenure with a distinctive dynamism and imaginative flair to her programming. In addition to a full season in Finland, she will lead the Helsinki orchestra on tour to the prestigious Lucerne and Edinburgh festivals, New York’s Carnegie Hall, and Washington’s Kennedy Centre this season.

Ever spent Christmas in New
York City? It’s pure magic…the
department store decorations,
the nip in the air putting color in
the cheeks of eager shoppers, the
general spirit of bonhomie that
pervades the street and subway,
and—if you’re lucky—the silent
beauty of a fresh snowfall reflecting
in the streetlights. Having grown
up in New York, Lea Michele knows
well just how spectacular New York
can be during the holiday season;
and on this, her Top 40 2019
album, the Glee star (currently
playing Fanny Brice in Funny Girl on Broadway)
captured a sleigh-full of that Yuletide joy. The centerpiece of the
record is “Christmas in New York,” an original that, in her words,
“paints this beautiful picture of New York, but it also is really about
what it means to be with your family and friends and engaged in that
holiday spirit.” The rest of the record, which is produced by Glee
producers Alex and Adam Anders, is equally transcendent, featuring
duets with fellow Glee stars Jonathan Groff (the voice of Kristoff
in Frozen) and Darren Criss, plus a showstopping vocal display on
“Angels We Have Heard on High” with Cynthia Erivo. For its vinyl
debut, Christmas in the City comes to you in a gatefold album jacket
containing a printed inner sleeve featuring beautiful shots of Lea
spreading some Christmas cheer. A snow white vinyl pressing limited
to 1500 copies…Merry Christmas!

2022 Repress

After a few nice but largely unnoticed 12"s for lower-profile labels, Dürerstuben is ready to make a serious maneuver, and Pampa is pleased to provide them with the proper platform. The Sheets of Rane EP is the Berliner duo's most sophisticated statement yet, imbuing cold programmed sounds with a glowing human touch and a penchant for melody. A1 'Gscheids Planet' unfolds with a deceptive intro, click-clackety downtempo stomps and crunchy snares beneath a tender vocoder coo, just when some muted guitar plucks crescendo into a burst of robo-synths. Although three minutes have passed, only now does the song reveal its true nature, a summery tune with rich synths that billow in the wind. Then, as its title indicates, 'Haeckles Kosmos' further explores Dürerstuben's fascination with the unlimits of outer space. This star system in particular has a very tropical flair, punctuated with bouncy parallel fifths straight out of the Italo Orient. In between movements, the duo makes some brief non sequiturs into piano balladry, the kind that force a smile (and a record deal) out of DJ Koze. Finally, venturing even further into jacking territory, 'Freiherr in der Wall' hinges upon syncopated, sometimes faltering beatbox rhythms, a swaggering bassline and fluttering arpeggiation. Coupled with hand-played chords, this is a prime example of how Dürerstuben can tame the beast machine and let irregularities be strengths. If you can get down with Metro Area, Zapp, Tensnake, and yes, even Survivor, then pick this one up.

2022 Repress

The Artist Concurrently Known As Jackmate has been already been indoctrinated into our cult since he signed onto he Pampa bookings roster awhile back. As SoulPhiction he is also co-founder of Philpot, the Stuttgart-based label, home to the majority of his releases over the past 10+ years. Anyway, we get the privilege of stamping the Turkey logo on SoulPhiction's first proper release of 2013, following his remixes for Murat Tepeli and Detroit Swindle. 'When Radio Was Boss' is a tribute to those magical electromagnetic waves that ruled yesteryear. With that prototypical Pampa percussion-rattling and clanking its way into the room-and a warm, round bassline bounce combined with some symphonic froth in the atmosphere, this track definitely demands airplay. On the dancefloor, at least! (And right in the middle of the track, catch the pleasantly jarring shout-out from WBAU, the call sign of the defunct New York radio station that counted members of Public Enemy and hosts of Yo! MTV Raps amongst its staff.) On the flip, the bpm gets cranked down just a bit for 'Maybachswagger"-If the A-side is a tribute to radio, the B has roller-skating on its mind. Starting out spooky with a sampled voice cooing over a slightly detuned bassline, the surprise comes in the final third, when a kawaii disco vibe drops in, seducing you onto the rink for a few laid-back laps.

Second Editions presents a new collaborative work by Marja Ahti and Judith Hamann.

After their distinguished duet ‘Portals’ for Cafe Oto's Takuroku label, ‘A coincidence is perfect, intimate attunement’ is a wonderful sophomore collaborative work pieced together over two years of changing seasons, ideas, moods, and feelings. The release is formed from a shifting field of sound correspondence that pivots on moments of coincidence, of a tuning in.

What are we opening ourselves to when we tune in to sound? How can one be truly open to a sound? How can the activity of recording move beyond notions of capture and release into more generative frames? Rather than a tool purposed for preservation or ‘conservation’ of memory, of time and place, can recording sound instead form new vibrant or vibratory spaces of attunement?

‘A coincidence..’ is an LP length composition of multiple interlocking parts, created through exchange, alignment, unpredictability: the title borrowed from poet Fanny Howe falling right into place, a flock of birds in flight, pitches matched and moved across different geographies and temporal frames. Marja & Judith have created an intuitive, lyrical longform piece that considers the idea of attunement itself as, in some sense, the smallest form of measure or denominator connecting their respective practices: across field recording, just intonation, electronic sonorities and instrumental bodies. ‘A coincidence..’ reflects a sense of a willingness to tune in to impulses given, or gifted to the other, a position that embraces an intimate synchronicity.

Recordings & correspondances between 2020-2022. Mixed by Marja Ahti & Judith Hamann. Mastered and cut by Anne Taegert at Dubplates & Mastering in Berlin, 2022. Title quotation from Night Philosophy by Fanny Howe, Divided Publishing, 2020. Photogrpahy by Joshua Bonnetta. Thanks to Nino Bulling, Niko-Matti Ahti and leo. The work was supported by Kone Foundation, Akademie Schloss Solitude and NEUSTART KULTUR.

Marja Ahti (b. 1981) is a Swedish-Finnish composer and sound artist based in Turku, Finland. Ahti works with field recordings and other acoustic sound material combined with synthesizers and electronic feedback in order to find the space where these sounds start to communicate. She makes music that rides on waves of slowly warping harmonies and mutating textures – rough edged, yet precise compositions, rich in detail. Ahti has presented her music in many different contexts around Europe, in Japan and the United States. She is currently active in the duo Ahti & Ahti with her partner Niko-Matti Ahti and in the artist/organizer collective Himera.

Judith Hamann is a cellist and performer/composer from Narrm/Melbourne in so-called Australia, currently based in Berlin. Their work encompasses performance, improvisation, electro-acoustic composition, field recording, electronics, site specific generative work, and micro-tonal systems in a deeply considered process based approach to creative practice. Currently Judith’s work is focused on an examination of expressions and manifestations of 'shaking’ in solo performance practice, a collection of works for cello and humming, as well as ongoing research surrounding ‘collapse’ as a generative imaginary surface, and the ‘de-mastering’ of bodies (human and non-human) in European settler-colonial heritage instrumental practice and pedagogy. Judith likes working with and thinking-with other artists which sometimes includes people like Joshua Bonnetta, Dennis Cooper, Charles Curtis, Golden Fur (with James Rushford and Sam Dunscombe), Lori Goldston, the Harmonic Space Orchestra, Sarah Hennies, Yvette Janine Jackson, and Anike Joyce Sadiq.

Swords and metal go hand in hand. That’s what crossover thrash band High Command say, having turned heads with their debut album Beyond The Wall of Desolation (2019). But it’s not solely metal music which influences the band, who cite the lustful violence of Robert E. Howard, Michel Moorcock, Jack Vance and many other legendary pulp writers of the 20th century as an impetus for their expansive storytelling.
“People would also be surprised to hear we drew quite a bit of inspiration from the music of Ennio Morricone, especially in regards to writing some more of the epic, grandiose passages and chord progressions.” says the band.
Now, with their second album, Eclipse of the Dual Moons, the band take their love of storytelling a step further, deepening and widening the world of Secartha, the realm of High Command’s songs. The band place themselves as omniscient narrators of the world they have created, and say that they are inseparable from Secartha and its people. “It’s one thing to make a good metal record, but it’s another to put on top of it a sort of overarching story that makes sense to listeners. The whole High Command project is enriched by lyrics articulating characters, a world, and trials faced within it. We want our records to be immersive and leave listeners with a feeling they’ve experienced something bigger than the music.”
It’s not just a question of widening the world, which the band first started exploring on The Secartha Demos (2016); Eclipse of the Dual Moons sees High Command honing their process to a fine art “it’s like we started with chiseling a rock… this record is the moment the rock in question begins to look like an actual sculpture.”

Swords and metal go hand in hand. That’s what crossover thrash band High Command say, having turned heads with their debut album Beyond The Wall of Desolation (2019). But it’s not solely metal music which influences the band, who cite the lustful violence of Robert E. Howard, Michel Moorcock, Jack Vance and many other legendary pulp writers of the 20th century as an impetus for their expansive storytelling.
“People would also be surprised to hear we drew quite a bit of inspiration from the music of Ennio Morricone, especially in regards to writing some more of the epic, grandiose passages and chord progressions.” says the band.
Now, with their second album, Eclipse of the Dual Moons, the band take their love of storytelling a step further, deepening and widening the world of Secartha, the realm of High Command’s songs. The band place themselves as omniscient narrators of the world they have created, and say that they are inseparable from Secartha and its people. “It’s one thing to make a good metal record, but it’s another to put on top of it a sort of overarching story that makes sense to listeners. The whole High Command project is enriched by lyrics articulating characters, a world, and trials faced within it. We want our records to be immersive and leave listeners with a feeling they’ve experienced something bigger than the music.”
It’s not just a question of widening the world, which the band first started exploring on The Secartha Demos (2016); Eclipse of the Dual Moons sees High Command honing their process to a fine art “it’s like we started with chiseling a rock… this record is the moment the rock in question begins to look like an actual sculpture.”