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- Betty's classic third album, originally released by Island Records in 1975 - New vinly pressing on Metallic Gold colored wax - Featuring Betty's band Funk House - Booklet includes liner notes by John Ballon interviewing Betty plus full lyrics - Newly remastered from the original analog tapes by Kevin Gray at Cohearent Audio // In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music - a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic, and in full control, Betty paved the way for generations of future artists who said 'funk you' to the music industry and social norms. In 1975, Betty Davis's star was on the rise. With the backing of Island Records and a new band, Funk House, Betty's third album, Nasty Gal, leans into the hyper-sexualized persona with which her critics were so obsessed. She raps, purrs, shrieks, and moans on top of Funk House's manic funk-rock and lays claim to the "bad girl" anthems that now saturate the music industry. Mastered from the original tapes, Nasty Gal showcases Betty's groundbreaking work as a performer, writer, and producer.

Orange, yellow, cyan blue, aqua blue, baby blue vinyl. Limited to 400 copies
After being out of print for decades, End Hits Records has partnered with the Swedish hardcore punk legends ABHINANDA to re-release their complete discography on vinyl. Founded in 1992 in Umea, now recognized as a European punk hub, ABHINANDA played a significant role in shaping the history and development of the 90's hardcore scene. Alongside their contemporaries REFUSED (with whom they frequently shared and swapped members), they were instrumental in the international breakthrough and popularization of Scandinavian hardcore. Much credit for this goes to singer Jose Saxlund, who, along with Dennis Lyxzen (Refused, Int. Noise Conspiracy), operated the Straight Edge label "Desperate Fight" and played a vital role in consistently releasing recordings from the thriving Swedish scene. Finally, the entire ABHINANDA discography will be available once again, this time on strictly limited vinyl: The five-vinyl box set comes in an elegant cardboard slipcase, with each individual record housed in a gatefold cover and accompanied by a large-format poster. Additionally, there are numerous never-before-seen pictures, along with detailed liner notes/interviews featuring band members and contemporaries such as Dennis Lyxzen (Refused), Vique Simba (Revelation Records, Simba Zine+Records), Sara Almgren (Doughnuts, Int. Noise Conspiracy), and Kate Tucker-Reddy (108). The box set includes the three full-length albums "Senseless," "Self Titled," and "The Rumble," as well as a double LP featuring all demo recordings, EPs, and 7" tracks. The music has been completely remastered, and the artwork has been entirely updated.

Speak to most musicians about their motivations, inspirations and processes and you will, generally, get variations on a similar, broadly consensual, theme. Natasha Pirard is genuinely different. Her interest in sound goes way beyond the superficial and the ephemeral. She is fascinated by how and why sound makes us feel, the political implications of sound, noise pollution and the everyday sounds embedded in our immediate environment.

Contextually, this makes a lot of sense when confronted with her debut release for DEEWEE, Dream Cycles. A 120-minute exploration of sounds, loops, frequencies and waves, it’s an eight- part musical cycle split into 15-minute sections across four cassettes, she believes, reflects on this notion of cyclical, rather than linear, time. The eight song cycles are repetitive. They start off basic and functional and build over time. They begin with one sound but soon you hear other sounds. From there you get taken to another point, where you hear something else and so on and so forth. The circle is never-ending.

Natasha Pirard is a musicologist and composer from Ghent. She will be releasing her album Dream Cycles in February 2024, as a limited edition four cassette box set, marking her debut on the Ghent-based label DEEWEE.

grey & green splatter vinyl

A1 - Spacewaves
Opening the EP in thunderous style, Aural Imbalance chops impeccable, clean amen breaks, rolling sublimely into a chorus of fluid, delicate keys. The track whisks the listener atop the crest of wavy edits before a quietly turbulent assortment of blips and notes punctuate a bass-heavy breakdown. The latter half combines the elements in surreal harmony for a triump hant crescendo, buoyed by the truly vibrant breaks.
A2 - Tranquil Sea
A masterclass in subsurface ambience introduces Tranquil Sea, glistening melodies cascade into punchy breakbeats, setting the pace. Brimming with sunken off-key 808 bass resonating unpredictably with the spirit of the ocean, Aural Imbalance gently builds the vibe with soothing waves of mesmerising soundscapes as the beats rumble on, inviting you to dance amidst the swirling currents of his inimitable sound.
AA1 - Concordia
Old school analogue breaks take center stage as Aural Imbalance rewinds the clock for a great dancefloor-friendly slice of history with a modern Spatial twist. Quiet plinky keys bubble underneath long, whooshing ripples of the sea, echoed hi hats and a distinctive classic bassline intertwine perfectly, carrying you to uncharted sonic territories that will linger in the recesses of your mind long after the needle is lifted.
AA2 - Fading Fields
Delicate cymbal work and stirring pads combine deliciously before the listener is lifted to blissful serenity with a sumptuous tapestry of synths and micro melodies set to an immense, head nodding break pattern. The noteworthy kickdrum delivers a classic analogue stomp while the drums joyously encircle them
in their droves, showcasing further the variety and density Aural Imbalance offers.

French pianist Dorian Dumont is an exceptionally gifted, Brussels-based jazzman and member of electronic experimentalists, ECHT! In 2021, he released his debut solo album 'APHEXionS' - a challenging exercise of solo piano focussed entirely on the music of one of the most influential and important artists in contemporary electronic music, Richard James, aka Aphex Twin. Dumont's sophomore album, 'to the APhEX', released 23rd February via W.E.R.F. Records, continues that fascination with his musical hero and acts as a musical love letter of sorts - a groundbreaking experience, where the enchanting world of classical piano collides with the electronic brilliance of Aphex Twin. Richard James' music serves as a starting point for Dumont's musical developments which are sometimes composed and often improvised, letting him find his playing field around the concepts and the poetics of the genius of electro music. Contrary to what one would expect, there are no electronics involved but Dumont carefully transcribes a wide selection of Aphex Twin's music to the grand piano, giving the songs a whole new dimension. Dumont starts from the melody lines and rhythmic structures found in the original tracks but builds on them, deconstructing pieces and adding his own improvisations. Lovingly recreated, the songs take on a completely new dimension, and it exposes both the genius and musicality of Aphex Twin and Dumont himself. "Aphex Twin is a fascinating artist and character. At first, I started transcribing his pieces just to understand them. I then sat on my acoustic piano for the pleasure of hearing these pieces that I loved so much only to realize that in the end I was improvising, I was playing. In short: I was having fun. That's how this project was born: through pleasure and games. The challenge then was to develop the concept of this project to find my own playground and my own responses around the musical principles of Mr. Richard James, in order to make this project a celebration on my own terms."

Always curious about new sounds and cultivating eclecticism, 'to the APhEX' stays truthful to the minimalistic aesthetics from the original tracks. From the unruly, emotionally stirring '180db_ 130' to the simple beauty of 'Windowlicker', Dumont is part of a new generation of musicians who have no intention of sticking to the rules. Dumont dances across the keys, perfectly capturing the mood and feeling of Aphex Twin, where classical meets electronic. Elsewhere, 'PAPAT4 155[pineal mix]' is stripped to the core showcasing Dumont's ingenuity, while 'Avril 14th' and album finale '#3 (Rhubarb)', unfolds with delicate piano, evoking a sense of tranquil introspection.
Born in Montpellier where he studied classical piano at the Conservatory, in 2005, Dumont achieved the highest distinctions in piano and chamber music. With a broadening interest in jazz and improvised music, he moved to Brussels in 2008 and after studying in the Jazz sections at the Royal Conservatory of Brussels then at the Koninklijk Conservatorium van Brussel, he obtained his master's degree in 2013. In recent years, he has played an integral part of the critically acclaimed four-piece 'ECHT!' which breaks the boundaries between jazz, electronic music and hip-hop. In addition, Dumont also participates in numerous other projects across various genres including 'Edges' with Guillaume Vierset, Jim Black, and Anders Christensen or 'Easy Pieces' with Ben Sauzereau and Hendrik Lasure. He also collaborates with bands including Juicy, Vaague, Kuna Maze, and Pol Belardi's Force, among others.


[a] A1. 180db_ [130]


[d] A4. PAPAT4 [155][pineal mix]

After the success of his first two albums, both received with critical acclaim, and his productive collaborations with Peter Greenaway, Peter Lindbergh and many others, Italian composer/multi-instrumentalist Luca D’Alberto is to release his third album entitled “In our hearts.”

A symphony in three acts that pursues his research into the perfect balance between neoclassical and electronic music forms.

Mit dem wachsenden Wunsch nach früheren Werken von ELOY, dem gemäß Musikpresse "deutschen Flaggschiff des Art-und Progressivrock" kommt nun am 23.02.2024 mit "Destination" ein Album aus dem Jahr 1992 erneut auf den Markt, welches schon seit langem nicht mehr verfügbar ist. Da zu jener Zeit der frühen Neunziger die Vinyl-Platte quasi komplett "out" war, erscheint "Destination" nun als physisches Produkt erstmals auch auf Vinyl. "Destination" ist ein Album, auf welchem wir viele unterschiedliche Inspirationen und stilistischen Elemente verarbeiteten und vermischten. Obwohl Bassist Klaus Peter Matziol während der laufenden Produktion erstmals wieder für die Band zum Bass griff, entstand das Material überwiegend in der Zusammenarbeit von Michael Gerlach und mir, und es kam eine Melange aus atmosphärischen, aber auch sehr rockigen Klängen dabei heraus, wobei ich mich noch im Satzgesang mit mir selbst herausforderte, und wir durch diverse Fremdinstrumente das noch immer nicht komplett neu besetzte Line Up auffüllten. Es herrschte nach dem Erfolg des Vorgängers RA, welches ELOY nach dreijähriger Pause sofort in die offiziellen deutschen Albencharts zurück katapultierte, rege Aufbruchsstimmung. Der Sound und die Melange der Musik gelangen so, wie geplant." (Frank Bornemann, 2023)

Neue Vinylfarbe 2024, klare LP, im Klappcover mit bedruckter Innenhülle! 16 Jahre nach dem letzten Studioalbum kommt das neue Album von LOIKAEMIE mit Namen "Menschen"! "Anschnallen! Unglaublich, aber wahr! Verdammte Axt!" Die Worte von Sachsens größtem Punkfestival hätten keinen Funken kleiner sein dürfen. Mit ihrem Überraschungs-Headliner verkündete das Back To Future 2019: LOIKAMIE ist wieder da! Innerhalb von fünf Jahren ging so gleich zweimal ein Ruck durch die europäische Oi!- und (Street-)Punk-Szene: Schwer die Emotionen beim Abschied 2014, umso größer die Euphorie beim Live-Comeback! Und noch größer angesichts 12 neuer Songs! Seit 2019 ist LOIKAEMIE wieder eine feste Größe, weit oben in den Lineups der Festivals und den Clubs, und das weit über Deutschland hinaus. Thomas, Eddie, Paul und Bruno konnten live nicht nur nahtlos anknüpfen, sondern eine Stufe empor steigen, auf den Konzerten trifft sich jung und alt in seiner ganzen subkulturellen Vielfalt, LOIKAEMIE ist eine Band, auf die sich - im besten Sinne - alle einigen können. Auch die Kreativität ist wieder erwacht: 2022 erschienen mit "Lumpenmann" und "Tief im Herzen" die ersten neuen Songs seit 2007 (digital und als limitierte 7"-Single), dazu gesellenen sich bisher "Was Soll Die Ganze Scheisse?" und "Lasst Uns rein", alles Vorboten des nun erscheinenden fünften Studioalbums "Menschen" und schon auf einer Menge Playlists zuhause. Kein Wunder, dass nach 16 Jahren die Erwartungen riesig sind, bei den Fans wie der Band selbst. Und ,Menschen" ist nicht weniger als ein Manifest dessen, wie Punkrock im Jahr 2023 klingen muss: Rotzig und melodisch, kompromisslos und reflektiert, politisch und gut gelaunt. Alle zwölf Ohrenfräsen atmen den unverkennbaren LOIKAEMIE-Spirit und doch ist ,Menschen" ein Riesenschritt nach vorn. Schon der überaus modern klingende Opener "Wenn wir alle so wären" fegt alles weg, was derzeit belanglos auf Allgemeinplätzen durch den Punk pogt, vom anschließenden hymnischen Titeltrack bis zur abschließenden Selbsteinladung "Lasst und rein" bleibt die Energie ganz oben, gleichzeitig ist das Album vielschichtig wie nie zuvor in der Bandgeschichte. Zu Streetpunk- und Rock'n'Roll-Brettern gesellt sich Reggea, Sprechgesang, Ballade und Melodien, die sich auch im Pop nicht verstecken müssten. Statt markiger Statements erzählen die Texte pointierte Geschichten, teilen durchdachte Gedanken zu aktuellen Miseren in der Welt, der Szene oder des eigenen Kopfes. Aber es gibt auch keine Scheu vorm hymnischen Refrain, den fortan volle Konzertsäle gemeinsam intonieren können. Oi!, was sind das knallende Hits!

Mit "Sanctuary Rat", dem siebten Studioalbum melden sich
The Arch eindrucksvoll zurück! Ihr einzigartiger NewWave/Dark-Romance-Sound paart Gitarrenparts,
elektronische Elemente und treibende Beats mit einem Hauch
bittersüßer Melancholie.
Die belgische New-Wave Band The Arch wurde im Sommer
1986 in Breendonk, Belgien, gegründet. Unter der Leitung von
Ludo Camberlin, dem bekannten Produzenten von The Neon
Judgement und The Weathermen, wurde 1987 das erste
Album "As Quiet As" mit dem Underground-Hit "Babsi ist Tot"
veröffentlicht, der noch heute die Tanzflächen füllt. Mit dem
Song "Ribdancer", der drei Jahre später veröffentlicht wurde,
erlangte The Arch weltweite Bekanntheit, ausgedehnte
Konzertreisen führten sie daraufhin durch ganz Europa.
Mit „Sanctuary Rat“ gelingt es The Arch auch im Jahr 2023
nochmals eindrucksvoll, die eigene Bandhistorie mit zehn
neuen energetischen Songs zu bereichern.

Danish imprint Inherent Futurism returns with its second release in 2024, entitled 'Merger' and made up of a selection of cuts from the Copenhagen Electro Alliance. Inherent Futurism is the new label launched by Morten Kamper, an intrinsic member of the Copenhagen electronic music scene and the man behind the city's 313vinyl_collective record store. He launched the label with a reissue of the Autobot-1000 '3 Dimensions Of Space', a hidden gem from 2001 and the golden era of Electro. Here though, he brings things closer to home and revisits an array of select compositions from the Copenhagen Electro Alliance, compiled together to make up the aptly titled 'Merger'. The package is made up of twelve tracks across two twelve-inch vinyl from artists in the alliance, Nixxon, Brain Enterprise, Deimos Defender and Kruzh'em. As the name of the Copenhagen Electro Alliance collective would suggest, the aesthetic leans heavily towards experimental sounds and draws influence from the soul of Detroit electro, which paved the way for the future of the genre. The twelve-track collection explores all of the classic Electro tropes from punchy and crunch 808s, intricately intertwined synthesizer melodies, murky bass lines and dynamically unfolding, heavily modulated constructions, some leaning towards dance floor friendly while others lay more in the realm of sonic exploration of futuristic music.

Perifaerye is a multi-part work of art comprising of 18 soundscapes, 36 digital drawings and 24 writings. Perifaerye is at once a record release, a book, a website; in the autumn of 2023 a series of playlists were published on billboards, linking the online soundscapes to the real-life physical realm. This publication is an artistic hybrid: a vinyl record / book combining sound, image and text.

The 18 audio works condense the sounds of the urban periphery into a sonic cartography. In Hamburg-Eidelstedt, people live in smaller detached houses and in larger apartment blocks. New housing estates have been developed recently in direct neighbourhood to the motorway, and currently in the district centre; a district where post-war housing estates and architectural remnants from a village past co-exist. Even meadows and fields, surrounded by the noise of motorways and other traffic, aeroplanes (the airport is close by) and railways (passenger and und freight trains, long distance, regional and local services). This collection of soundscapes – each a short composition on its own – presents a sonic portrait of a contemporary urban area.

In spring 2023, Jorn Ebner recorded the urban spaces of the Hamburg district of Eidelstedt. For each audio piece there is an image. The artist’s writings reflect and accompany the creative process.

For this book and record, Sebastian Kokus and Thomas Korf created a very haptic design. Each part of the whole can be experienced as a single piece: the A2-sized poster is part of the outer sleeve; the booklet presents image and text (German only); the record is visible through the holes in the inner and outer sleeves and forms part of the cover.

Mehr als vier Jahre nach dem Release ihres gefeierten letzten Albums "Somersault" ("Payseur's most nuanced songs to date" Pitchfork) meldet sich die LoFi/Dreampop-Formation Beach Fossils um den Sänger und Songwriter Dustin Payseur mit einem neuen musikalischen Lebenszeichen zurück! "The Other Side Of Life: Piano Ballads" präsentiert die beliebtesten Songs der Band im jazzigen Klavierballaden-Gewand. Das von Frontmann Dustin Payseur geleitete Projekt ist von seiner Liebe zu Künstlern wie Bill Evans, Lester Young, Chet Baker und Vince Guaraldi inspiriert. Mit einer Gruppe professionell ausgebildeter Jazzmusiker interpretiert Payseur einige seiner größten Hits aus dem Katalog der Beach Fossils neu. Auch der ehemalige Schlagzeuger Tommy Gardner konnte für die Aufnahmesessions zurückgewonnen werden. Auf "The Other Side Of Life" spielt Gardner Klavier, Saxofon und Kontrabass, während Henry Kwapis am Schlagzeug zu hören ist. Zusammen mit Payseurs melancholischem Gesang bildet sein dezentes Schlagzeugspiel den roten Faden zwischen den Originalversionen und den atemberaubenden Neuinterpretationen.

Mehr als vier Jahre nach dem Release ihres gefeierten letzten Albums "Somersault" ("Payseur's most nuanced songs to date" Pitchfork) meldet sich die LoFi/Dreampop-Formation Beach Fossils um den Sänger und Songwriter Dustin Payseur mit einem neuen musikalischen Lebenszeichen zurück! "The Other Side Of Life: Piano Ballads" präsentiert die beliebtesten Songs der Band im jazzigen Klavierballaden-Gewand. Das von Frontmann Dustin Payseur geleitete Projekt ist von seiner Liebe zu Künstlern wie Bill Evans, Lester Young, Chet Baker und Vince Guaraldi inspiriert. Mit einer Gruppe professionell ausgebildeter Jazzmusiker interpretiert Payseur einige seiner größten Hits aus dem Katalog der Beach Fossils neu. Auch der ehemalige Schlagzeuger Tommy Gardner konnte für die Aufnahmesessions zurückgewonnen werden. Auf "The Other Side Of Life" spielt Gardner Klavier, Saxofon und Kontrabass, während Henry Kwapis am Schlagzeug zu hören ist. Zusammen mit Payseurs melancholischem Gesang bildet sein dezentes Schlagzeugspiel den roten Faden zwischen den Originalversionen und den atemberaubenden Neuinterpretationen.

Der in den USA aufgewachsene Christian Kjellvander (sprich: "Schjellwander") kam schon als Jugendlicher mit der texanischen Alt-Country-Szene in Berührung, die ihn nachhaltig beeinflusste. Als einer der bekanntesten Singer/Songwriter Schwedens veröffentlichte Kjellvander neben mehreren CDs mit seinen Bands Loosegoats und Songs of Soil auch zahlreiche Soloalben.

A new type of sound from uhinged live-performer and a one-woman fun tribunal. It's glossy, noisy, raw, futuristic, sensual, frivolous, dark, wonky, slow and fast alike - yet in all those variations, rather suited for bigger PAs. Tracks on Cracked, serving assorted sweets make heaven utilize pummeling yet unequal kickdrums and vary in tempo.

Side A turns risky breaks into an oddly enjoyable experience while the tracks on B flip trance motifs into rather serious, darker futuristic ride.
Isabella's work also happens to be a link between Rhode Island's noise scene & pranksters from Börft Records, Herrensauna's dancefloors and halls of Berklee College of Music where she lectures.

Repress of Black Monolith Records 15, remastered by Thomas P Heckmann.

A pure doom dark and inexcusable plate !

Repress!

Get ready for an electrifying revelation as we delve into the mind-blowing credits of this extraordinary record! This record has an outrageous lineup as Moplen is let loose to brilliantly remix and reprise Loose Change’s timeless masterpiece, “Straight From the Heart. A track that emerged from the creative genius of none other than Tom Moulton, the legendary maestro behind legendary Donna Summer’s iconic hits. But that’s not all! Enter the realm of Thor Baldursson, the brilliant mastermind known for his groundbreaking concepts and awe-inspiring arrangements. Together, the three of them form a disco dream team!

NOW is proud to present the very best of Country music with NOW That’s What I Call Country. 4 CD’s jam-packed full of the biggest Country hits of all time! With 86 tracks and its mix of classic and modern hits, this collection is essential for any Country music and Pop fan! So, grab yours today, and get ready to enjoy the very best of Country also available on a Coloured Triple LP set with 50 tracks and its mix of classic and modern hits, this collection is essential for any vinyl collection! So, grab yours today, and get ready to enjoy the very best of Country across 3-LPs!

The Fire Theft was an alternative rock band from Seattle, formed in 2001 from the ashes of legendary emo band Sunny Day Real Estate. The lineup consisted of vocalist/guitarist Jeremy Enigk, bassist Nate Mendel and drummer William Goldsmith. Mendel is also famous for being the full-time bassist in the Foo Fighters and Goldsmith was also Foo Fighters’ drummer between 1995 and 1997. This is the 20th anniversary reissue of the band's only album which was originally released on Rykodisc in 2003. A 2019 vinyl reissue of this record currently goes for very silly money on the second-hand market…Features reconstructed artwork for vinyl by Nathan Shumaker, on a gatefold cover with embossed print, 12" insert, 180 gram coloured double vinyl.

A stunning display of powerful emotion shines from the post-hardcore glory that defines The Appleseed Cast. The End Of The Ring Wars is a moving story about tragic loss and the battle to overcome the sorrow that lingers on. Disturbingly honest and passionately realized, The Appleseed Cast reminds us that sometimes the only way to feel alive is to grip closely the pain that made us who we are. This record will make your heart soar. This is a reissue of the long out-of-print vinyl version of the bands classic debut album on Deep Elm Records. 2xLP on heavy 180 gram vinyl. New artwork by Zum Heimathafen. Partly gloss printing on heavy deluxe gatefold sleeve.

Sony Masterworks Broadway, along with producers Sonia Friedman, David Babani and Patrick Catullo release the New Broadway Cast Recording of Stephen Sondheim and George Furth’s MERRILY WE ROLL ALONG which is now available on double LP Vinyl (CD was released mid-Jan). Produced by David Caddick, David Lai, Joel Fram and Maria Friedman and starring Daniel Radcliffe, Jonathan Groff, and Lindsay Mendez, the album was recorded and mixed by Ian Kagey at Berklee at PowerStationNYC and Renaissance Recording NY. The New Broadway Cast Recording includes new liner notes from Director and Album Producer Maria Friedman as well as former New York Times Chief Theater Critic, Ben Brantley.

Warehouse find!

Since emerging in the early 2000s with releases on the seminal Merck label, Proswell (Joseph Misra) has proven to be one of the most original voices in IDM. People Are Giving And Receiving Things At Incredible Speeds (PAGARTAIS), his debut on Sheffield's Central Processing Unit, is another Proswell record which overflows with creative energy. Containing five widescreen electronic epics, PAGARTAIS showcases some of the most ambitious work in the discographies of both artist and label.

The core sonic palette of PAGARTAIS is one schooled in the IDM and electronica sounds of imprints like Rephlex Records, B12 and Skam. These tracks are helmed by thick washes of keys, an array of playful synth tones and drums so deft it's sometimes hard to tell whether they have been programmed or played live. However, across almost forty minutes of music here Proswell explodes preconceptions about genre and form, his music gleefully jumping from one new sound to the next while assimilating electro, prog, computer game music, post-jazz and pretty much everything in between.

Opener 'PAGARTAIS I' sets the tone for the rest of the record. This is a track which never sits still - beginning with a distorted melee of drums that comes off like a strange new version of breakbeat, 'PAGARTAIS I' moves through some thrillingly idiosyncratic takes on Rephlex-school IDM, stargazing Detroit electro and The Comet Is Coming's futurist electronic jazz across its near-ten-minute runtime. Following number 'PAGARTAIS II' is no less impressive, referencing the hyper-modern computer sounds of Iglooghost and Kai Whiston while containing a driving opening section which could have soundtracked one of the legendary Wipeout games.

Although this fabulously unpredictable record often zips along at high speeds, Proswell is also able to dial things back when he needs to. Indeed, the second half of PAGARTAIS finds him slowing down a tad in order to deliver some of the album's most atmospheric material - 'PAGARTAIS III' blends cutting-edge electronics with sonorous jazz harmonies and fizzing improvised lead lines, the mysterious 'PAGARTAIS IV' is a sort of freeform variation on the maximalist, colourful electronica of Galaxy Garden-era Lone, and the slinking computerised Braindance number 'PAGARTAIS V' recalls Calum Gunn's recent CPU drop Addenda.

Really, though, none of these comparisons quite do justice to the inventive capacity of this music - Proswell's in a lane of his own here. An incredibly innovative fusion record that takes in IDM, prog, computer music, electro and plenty more besides, People Are Giving And Receiving Things At Incredible Speeds (PAGARTAIS) is the sound of a unique musical mind in full flight.

RIYL: Calum Gunn, Kai Whiston, Iglooghost, Rustie, Bogdan Raczynski

In this Bukky's latest offering, he has assembled some of his favourite DJs and producers including his old comp Rende Gillies Peterson, Orlando Voorn, Lesley Lawrence. His dear friend the godfather of Dub Dennis Bovell. Featuring original material compositions:

OBEDUN (Sweet SOUP) - Mixed by Orlando Voorn Inspired by his cultural background Bukky goes in search of the cuisine traditions of his mother land Nigeria. He sings praises of his favourite traditional African cuisines. Sang in his native dialect Yoruba language.

GENRE JAM – Afrobeat recently became a recognised genre. Whereby the unique percussion driven with soulful guitar hook lines and melodic piano phrases can be incorporated any genre as a version.

UNISEX DILENMA - it's just light-hearted, tongue in cheek commentary on the interplay between men and women and some of the stereotypical ways we see relationships, it's nuanced and that's why it's called Unisex Dilemma. Meaning people shouldn't take the song too literally.

ANNARKEY – Mixed by the Godfather of Dub Dennis Bovell. This a great example 0f Genre Jam whereby Rock or Reggae can be intertwined with Afrobeat. Especially from the Latin Rhythms which are all influenced by Afrobeat.

SUMMER BREEZE – Mixed by Lesley Lawrence is Jazzy instrumental track. It draws from Bukky's past recording and associations with the giants of Jazz i.e. Clifford Jarvis, Bob Ra Kalan Moses, and playing with Tony Allen who is heavily influenced Art Blackey and Max Roach.

a 01: Obedun (Sweet Soup) Orlando Voorn Mix

The UK avant-garde’s rising star, Bristol-based multi-instrumentalist Bingo Fury is announcing his debut album ‘Bats Feet For A Widow’ due out 16 February via tastemaking label state51. Filled with noir elegance, ‘Bats Feet For A Widow’ is an album that revels in extremity. The album was recorded in a local church in Bristol, taking inspiration from the musician’s complex relationship with his strong religious upbringing. The influence of the church building resonates throughout the album.

‘Bats Feet For A Widow’ is full of strange experiments, obscure references, offbeat one-liners, heart-breaking sentimentality and surging creativity. At the heart of it all is Bingo Fury’s crooning bass vocal, lending a vivid and slyly humorous voice to universal themes of love and pain.

Alongside the album announcement, Bingo Fury is releasing new single ‘Leather Sky’, a tender piano ballad charged with real emotion and a heartbreaking cornet refrain played by band member Harry Furniss. In this cinematic track full of paralysing despair, the musician sings: “You know I’m trying to give you everything / It all gets in the way.”

Bingo Fury on the single: “Leather Sky is a difficult song to describe succinctly. It’s about being separated from someone against both of your will. Somebody close to me became very unwell and communication became restricted, almost non-existent. The song took shape during that period. A few of the surreal lines ended up becoming reality.”

Although very much a solo songwriter, Bingo Fury’s compositional process relies on contributions from his entire band - bassist Megan Jenkins and drummer Henry Terrett have been playing together since their teens. In one of their various incarnations, they recruited local avant-jazz legend, cornet player Harry ‘Iceman’ Furniss, with guitarist and percussionist Rafi Cohen later completing the line-up.


The album announcement follows the release of the cacophonous single ‘Power Drill’, which garnered praise from The Line Of Best Fit and DIY. This comes after Bingo Fury’s debut EP, ‘Mercy’s Cut’, that came out last year to an abundance of critical acclaim from the likes of BBC 6 Music, The Quietus, Loud & Quiet, Clash, as well as earning himself a spot on the NME Top 100. Filled with rich, cinematic allure, the EP is both beautiful and unsettling and underlines Bingo Fury’s complete abundance of compositional ideas.

The UK avant-garde’s rising star, Bristol-based multi-instrumentalist Bingo Fury is announcing his debut album ‘Bats Feet For A Widow’ due out 16 February via tastemaking label state51. Filled with noir elegance, ‘Bats Feet For A Widow’ is an album that revels in extremity. The album was recorded in a local church in Bristol, taking inspiration from the musician’s complex relationship with his strong religious upbringing. The influence of the church building resonates throughout the album.

‘Bats Feet For A Widow’ is full of strange experiments, obscure references, offbeat one-liners, heart-breaking sentimentality and surging creativity. At the heart of it all is Bingo Fury’s crooning bass vocal, lending a vivid and slyly humorous voice to universal themes of love and pain.

Alongside the album announcement, Bingo Fury is releasing new single ‘Leather Sky’, a tender piano ballad charged with real emotion and a heartbreaking cornet refrain played by band member Harry Furniss. In this cinematic track full of paralysing despair, the musician sings: “You know I’m trying to give you everything / It all gets in the way.”

Bingo Fury on the single: “Leather Sky is a difficult song to describe succinctly. It’s about being separated from someone against both of your will. Somebody close to me became very unwell and communication became restricted, almost non-existent. The song took shape during that period. A few of the surreal lines ended up becoming reality.”

Although very much a solo songwriter, Bingo Fury’s compositional process relies on contributions from his entire band - bassist Megan Jenkins and drummer Henry Terrett have been playing together since their teens. In one of their various incarnations, they recruited local avant-jazz legend, cornet player Harry ‘Iceman’ Furniss, with guitarist and percussionist Rafi Cohen later completing the line-up.


The album announcement follows the release of the cacophonous single ‘Power Drill’, which garnered praise from The Line Of Best Fit and DIY. This comes after Bingo Fury’s debut EP, ‘Mercy’s Cut’, that came out last year to an abundance of critical acclaim from the likes of BBC 6 Music, The Quietus, Loud & Quiet, Clash, as well as earning himself a spot on the NME Top 100. Filled with rich, cinematic allure, the EP is both beautiful and unsettling and underlines Bingo Fury’s complete abundance of compositional ideas.

Communion blood + white vinyl - 500 pressed worldwide - NB Side D is a silk screen . Non-Returnable.

Also contains the 1985 demo pressed on vinyl for the first time!

Double vinyl w/silk-screen printed on side D. Liner notes by Ron Quintana. 8 -page
comic book/liner notes.

Touring in support of their fifth studio album, "Airborne," The Flying Burrito Brothers performed at The Bottom Line in NYC on August 18, 1976. This never-before-available album features classic tracks alongside some bluegrass standards. The lineup includes Skip Battin and Gene Parsons (ex-Byrds); Gib Guilbeau, Joel Scott Hill and Burrito pedal steel legend, "Sneaky" Pete Kleinow

2024 Repress

Get Up! Time to release this beast on 7".

Breakwater’s earth-shattering “Release The Beast” is unquestionably the standout song from their 1980 funk masterpiece LP Splashdown. It also came out as a now-hen’s-teeth-rare 7" in the same year and when it came to putting it out as a 7" again we just had to do it in a miniature version of the Splashdown sleeve. It’s one of the best album cover shoots of all time.

For the b-side, we’ve backed Breakwater’s biggest track with Be With’s favourite: the quietly majestic gem “Let Love In”, another winner from the same LP.

Possessing a sound and a feel that was lightyears ahead of its time, “Release The Beast” is a showcase for Breakwater’s phenomenal power-funk capabilities. The energy is astounding. It rips out of the grooves on a deep funk tip, with speaker-smashing, room-shaking drums competing with distorted funk-rock guitar, bumping bass and space-age synths. But it’s not without its compellingly haunting elements too. What else can we say? It’s a genius piece of music.

And, yes, of course this is the tune Daft Punk sampled for their 2005 track “Robot Rock”. Let’s be blunt, they lifted the Philly act’s funk-rock vamping pretty much wholesale. But to be fair to them we wouldn’t have messed with the perfection of the original either and those Parisians shone a much-needed spotlight on an innovative band from the halcyon period of post-disco funk.

On the flip, “Let Love In” is a smooth, easy glide that demonstrates Breakwater’s superb, sophisticated musicianship. The tight horn section and irresistible bass make for an undeniable groove. However, it also reveals a depth to their lyricism that’s often overlooked. In these dark days, the sentiment of the opening lines is truly one to we should all take to heart:

“It feels good to be friends with everyone, Walk around and the feeling’s in the air, No more hate can’t you see, This is really for me.”

A feel good hit for the summer if ever there was one.

Remastered for this vinyl reissue, we’re delighted to present this modern soul double-sider. Essential in every way.

The music of Atlanta trio Omni has always swung fast and hit hard. And Souvenir, their fourth album and second for Sub Pop, packs their biggest punch yet. Inactive during the majority of the pandemic-the longest downtime in their history-they approached this recording with lots of pent-up energy. Guitarist Frankie Broyles, singer/bassist Philip Frobos, and drummer Chris Yonker converted their creative fuel into sharp, driving songs that land immediately, sporting chopping riffs, staccato beats, and wiry melodies. Why does Souvenir sound so sharp? Because each track is a compact unit that stands on its own, reflecting the time and place in which it was created. That's why Omni called the album Souvenir: it's a collection of audio objects, a stash of musical miniatures. Think of it as a family photo album, a binder of rare playing cards, a shoebox holding precious gems. Take "Plastic Pyramid," the first song Omni wrote after coming out of lockdown. Filled with twists and turns, it's a journey unto itself, charged by clanging chords, spinning rhythm, and Frobos trading lines with Izzy Glaudini of Automatic, with whom Omni toured with last fall. (Glaudini sings on two other Souvenir tracks, the first guest vocalist the band has collaborated with). Or take opener "Exacto," a slicing web of intertwined guitar and bass. Its razor-fine notes and syncopated beats perfectly match pointillist Frobos lyrics such as "Exacto, de facto, concise, quite right"-a line that could well be an Omni mantra. The precision and clarity of Souvenir comes from some new Omni developments. For one, this is their first album with Yonker as their full-time drummer, and his forceful playing adds exclamation points to every pointed moment on Souvenir. In addition, the trio worked with Atlanta-based engineer Kristofer Sampson for the first time. Sampson pushed the band to a higher degree of power, with Frobos's vocals more upfront in his pulsing mix and the rest of the music leaping out of the speakers. You might notice that Frobos' singing is a bit more emotional and even nostalgic this time around. In crafting his vocals, he was inspired by the early college radio rock of formative favorites like REM, the Cure, and Big Audio Dynamite-the kind of bands whose melodies could have been top 40 hits in an alternative universe. The lyrics on Souvenir are also by turns funny, absurd, and even cryptic. A wry humor has always coursed through Omni's songs, and this time, it comes in shades of both dark and light. In "Granite Kiss," an "astronomical" love story concludes with the hope that "we can decay together," while in "PG," a romantic walk in the park includes a rose-colored mugging. Immediacy rushes throughout every moment of Souvenir, making it the band's most powerful album to date. Omni has truly crafted a musical keepsake-a set of songs that you'll want to keep close, an aural memento you'll cherish for the rest of time.

Maya Youssef is a multi-award winning musician and composer from Syria. She is hailed as ‘queen of the qanun,’ the 78-stringed Middle Eastern plucked zither. Maya’s intense and thoughtful music is rooted in the Arabic classical tradition but forges pathways into Western classical and contemporary styles. It explores the emotional and healing qualities of music.

The 'Finding Home' is a journey through memories and the essence of home both within and without in the search of that place of peace, comfort, and healing which manifests in everyone in a unique way.

Maya wrote this album during a time of spiritual awakening. Over time she has come to accept the loss of her homeland and in the process of grieving (which she explored in her Album Syrian Dreams in 2018) Maya has found a much greater sense of home in the most spiritual sense.

“As any Syrian will tell you, there is this overwhelming sense of loss and an overwhelming sense of grief. Because that world which existed before the war started, despite it naturally having problems, was a beautiful world with a booming economy, artistic scene, film festivals and visiting international artists, Damascus was the third safest city in the world. The loss of that world was heart wrenching and, in a way, steered me towards a universal concept of home.

The main trigger that made me create Syrian Dreams was the Syrian war and the loss of my homeland. And it's only by embarking on that spiritual journey of constant meditation and of finding home within God and within myself that I started to feel consolable and started to feel that I have my own home within me. I felt that the world is my home and humanity is my home. With my latest album I want to take people through a transformative journey, where they land in that place of home for them. No matter how that will look like for each person.” Maya Youssef

"Mane Attraction is the fourth studio album from the New York-based glam metal band White Lion. The album featured the singles “Love Don’t Come Easy”, the eight-minute heavy rock epic track “Lights and Thunder”, and a re-recorded version of their debut single “Broken Heart”. It was the last album that featured both Greg D’Angelo and James Lomenzo in the line-up. For the first time since its original release in 1991, the album is getting a reissue. Mane Attraction is available as a limited edition of 1500 individually numbered copies on silver coloured vinyl and includes an insert. "

Die Welt von FARSOT ist finster und harsch. Ihr schwarzes Reich wird von den kriegslüsternen Herrschern, Furcht und Hass, Trauer und Tod regiert. Diesen dunklen Avatare spiegeln sich unter anderem in der musikalischen Handschrift der deutschen Avantgarde Black-Metaller wider. Auch ihr viertes Album "Life Promised Death" steht voll in dieser Linie. "Life Promised Death" ist das Vermächtnis von FARSOTs bisherigem Schaffen. Was dieses Album von seinen Vorgängern unterscheidet, ist eine höhere Klangdichte, ein härteres Riffing und außerdem überraschend eingängige Songs. Dies lässt sich auch darauf zurückführen, dass der frühe Grunge der 1990er-Jahre laut der Band eine wichtige Inspirationsquelle für "Life Promised Death" dargestellt hat. Was beim oberflächlichen Hören noch unwahrscheinlich erscheint, wird bei einer intensiveren Beschäftigung mit dem Album hörbar plausibel.
Textlich spinnen FARSOT erneut ein düsteres Garn, das sich als dunkelroter Faden durch "Life Promised Death" zieht. Das Album dreht sich darum, wie ein Leben auf vielfältige Weise aus den Fugen geraten kann. FARSOT formierten sich 1999 in der thüringischen Wissenschaftsstadt Gotha. Damit wird 2024 auch zum Jubiläumsjahr für das 25-jährige Bestehen der Gruppe. In Anbetracht ihrer langen Erfolgsgeschichte ist es bemerkenswert, dass drei der fünf aktuellen FARSOT-Mitglieder zu den ursprünglichen Gründern gehören, und vier von ihnen bereits seit mehr als 20 Jahren zusammen spielen. Ihrem eigenen künstlerischen Tempo folgend, haben sich FARSOT erneut die nötige Zeit genommen, um ein viertes Meisterwerk zu erschaffen. Die wunderbar bittersüße Frucht der harten Arbeit und von kreativem Blut, Schweiß und Tränen war all die Mühen wert: "Life Promised Death" ist der perfekte Soundtrack für diese mehr als unruhigen Zeiten!

Die Welt von FARSOT ist finster und harsch. Ihr schwarzes Reich wird von den kriegslüsternen Herrschern, Furcht und Hass, Trauer und Tod regiert. Diesen dunklen Avatare spiegeln sich unter anderem in der musikalischen Handschrift der deutschen Avantgarde Black-Metaller wider. Auch ihr viertes Album "Life Promised Death" steht voll in dieser Linie. "Life Promised Death" ist das Vermächtnis von FARSOTs bisherigem Schaffen. Was dieses Album von seinen Vorgängern unterscheidet, ist eine höhere Klangdichte, ein härteres Riffing und außerdem überraschend eingängige Songs. Dies lässt sich auch darauf zurückführen, dass der frühe Grunge der 1990er-Jahre laut der Band eine wichtige Inspirationsquelle für "Life Promised Death" dargestellt hat. Was beim oberflächlichen Hören noch unwahrscheinlich erscheint, wird bei einer intensiveren Beschäftigung mit dem Album hörbar plausibel.
Textlich spinnen FARSOT erneut ein düsteres Garn, das sich als dunkelroter Faden durch "Life Promised Death" zieht. Das Album dreht sich darum, wie ein Leben auf vielfältige Weise aus den Fugen geraten kann. FARSOT formierten sich 1999 in der thüringischen Wissenschaftsstadt Gotha. Damit wird 2024 auch zum Jubiläumsjahr für das 25-jährige Bestehen der Gruppe. In Anbetracht ihrer langen Erfolgsgeschichte ist es bemerkenswert, dass drei der fünf aktuellen FARSOT-Mitglieder zu den ursprünglichen Gründern gehören, und vier von ihnen bereits seit mehr als 20 Jahren zusammen spielen. Ihrem eigenen künstlerischen Tempo folgend, haben sich FARSOT erneut die nötige Zeit genommen, um ein viertes Meisterwerk zu erschaffen. Die wunderbar bittersüße Frucht der harten Arbeit und von kreativem Blut, Schweiß und Tränen war all die Mühen wert: "Life Promised Death" ist der perfekte Soundtrack für diese mehr als unruhigen Zeiten!

Die Wiederveröffentlichung von "Swan Songs" von Lord of the Lost ist ein bedeutendes Ereignis für Fans der Band und des Dark Rock-Genres. Ursprünglich wurde "Swan Songs" als Teil der vielfältigen Diskografie der Band veröffentlicht, die Elemente aus Gothic, Metal und Rockmusik miteinander verbindet. Lord of the Lost, 2007 von Chris Harms in Hamburg gegründet, ist bekannt für ihre theatralischen und visuell beeindruckenden Auftritte sowie für ihre tiefgründigen, erzählerischen Texte. Das Album "Swan Songs" nimmt einen besonderen Platz im Repertoire von Lord of the Lost ein, da es eine eher symphonische und orchestrale Seite der Band zeigt. Diese Herangehensweise unterscheidet sich von ihrem typischen schwereren und aggressiveren Stil und unterstreicht ihre Vielseitigkeit als Musiker. Das Album enthält neu interpretierte Versionen ihrer bestehenden Songs, die an ein klassischeres und symphonischeres Arrangement angepasst wurden, bei dem oft Instrumente wie Streicher und Klavier zum Einsatz kommen, was dem Album einen unverwechselbaren und gefühlvollen Klang verleiht.

Part of a (very) loose but somewhat like minded kaleidoscope where one can trace something like a Portuguese hauntology, centred around labels like Russian Library or Prisma Sonora Records, Alexandre Centeio joins Discrepant with the surefire release of 'Panorama'. A multi-instrumentalist and sound artist based in Porto, Centeio - who is also part of Stellarays and The Murmurous Playground - delivers his second album under his own name after 2022's 'Movanta'.

Signalling a departure from the intimate synth driven beautifully soothing landscapes of 'Movanta' while still working within a realm where space and memory play a significant part of both escapism and connection, 'Panorama' opens itself up to a "surrealistic soundscape filled with real and dreamt sound", perfectly illustrated by Ruca Bourbon’s artwork. A sonic fiction conjured from a variety of sources - hand drums, disembodied voices, scraps of unknown realities, skewed loops, oneiric collages, flutes, spectral synths - that float freely between disruption and continuity but within their own internal logic. A very particular and hallucinatory one at that, mind ya. Collapsing notions of time and geography in an aural canvas totally aligned with Discrepant's ethos. 'Panorama' indeed.

FOR FANS OF: NIGHTWISH, AMARANTHE, HALESTORM, WITHIN TEMPTATION
TEMPERANCE BESTSELLER! Zum ersten Mal auf Vinyl Limitiert auf 500, in ‘MARBLED ORANGE’ Vinyl. Temperance ist eine der meist gepriesenen
neuen ‘Melodic Metal’ Bands, die in den letzten Jahren in Europa aufgetaucht ist. Mit gleich 3 Sängern in ihrem Line-up, besticht die Musik von
Temperance durch ihre ausgefeilten Harmonien, sowohl auf ihren Studioalben als auch bei ihren starken Konzerten, welche auch durch eine Fülle von
schneidenden Gitarren-Riffs, Electronica und sogar Einflüsse des Rock glänzen. Melodien, geballte Energie und überragende gesangliche Harmonien:
Drei Worte, um die Seele und den Erfolg von Temperance’s Sound treffend und prägnant zu umschreiben.
‘Of Jupiter and Moons’, das 4. Opus der Band aus dem Jahr 2018, stellt einen weiteren kräftigen Schritt vorwärts in der Karriere der umtriebigen Band
dar. Gemischt und gemastert von Jacob Hansen (Volbeat, Epica, Amaranthe), mit einem hervorragenden Cover Artwork von Yann Souetre (Ayreon)
und Band Photos von Tim Tronckoe (Nightwish, Ghost), kehren Temperance zurück ins Zentrum der Szene, stärker als je zuvor!
Die Veröffentlichung des Albums 2018 fiel zusammen mit der Vorstellung des neuen Vocal Teams: Das Talent von Marco Pastorino wird nun verstärkt
durch die neuen Sänger Michele Guaitoli (bereits bekannt als Leadsinger von Kaledon und Overtures) und Alessia Scolletti, einer begnadeten Sängerin
und ‘Rising Star’ der italienischen Szene!










[j] Daruma's Eyes [Part I]

Endlich wieder ein Lebenszeichen der legendären Indie-Rock-Band Grandaddy aus Kalifornien. Im Februar 2024 wird ihr brandneues Studioalbum „Blu
Wav“ via Dangerbird Records erscheinen. Kürzlich feierten Grandaddy ihr Schaffen mit einer Reihe von Wiederveröffentlichungen zum 20-jährigen
Bestehen, darunter das hochgelobte Sumday Twunny-Boxset, das von Pitchfork als „Best New Reissue“ ausgezeichnet wurde. Auf Wunsch der Familie
seines Freundes und Psychedelic-Pop-Kollegen Mark Linkous steuerte Lytle auch Gesang zu einem posthumen Sparklehorse-Album bei. Grandaddy
haben fünf offizielle LPs veröffentlicht, zuletzt 2017 das Album „Last Place“. Zu den Mitgliedern von Grandaddy gehören Jason Lytle, Aaron Burtch,
Jim Fairchild, Tim Dryden und der 2017 verstorbene Kevin Garcia.

This album is a prime example of misunderstood genius, not particularly liked by the fans because of its rather radical low-key atmosphere, quite distant from the previous "Heavy Prog" formula. In fact, it's so moody it can verge on soporific, like a soundtrack for an opium den. But these guys are full of surprises and they succeed in paving the road for future prog acts such as PTree, NoSound, White Willow, Paatos and the brilliant Sunscape by deliberately expanding on the veil on the sonics, less rock and more roll if you will. Landberk is unquestionably led by the scintillating guitar work of Reine Fiske, a unique somber style that winks reverently at a reserved Fripp or U2's The Edge on quaaludes combined with an abundant use of fluffy mellotron carpets at the hands of producer Simon Nordberg. Both bassist Stefan Dimle and drummer Jonas Lindholm excel at setting a mood and keeping it firmly anchored, just plain solid.