quête:k un

Martin Georgi is not a newcomer. He is more like one of those who like to stay under the radar. The sample-based music producer made his debut in the deephouse sector on his own more than 10 years ago, completely without a label or distribution. In 2016, the Berlin record label OYE Records became aware of the hitherto unknown artist and finally re-released the tracks from his debut. Since then, his early tracks have been compared around the world with the early works of Moodyman or Theo Parrish.
After more than 10 years and the maxi “9 to 5 is killing me” (2018), a second album is finally released on the underground label quietelegance records. Stylistically it ties in with the first work. “Money from the trunk” is the title of the new album and it includes socially critical issues such as class differences that are created by capital. Georgi plays with a large portion of irony and of course plenty of samples, which the passionate record digger skillfully processed into eight new songs.
Georgi not only stands out from the conforming deep-house crowd with his raw, unconventional production style, but also ensures that old-school sampling continues to have its place in current club music. In doing so, he reacts to global music trends, which he incorporates into his tracks through the finest sample operations. So it is not surprising that his new album “Money from the trunk” has a rap song as title song, for which the renown artistic-activist rap duo Fokn Bois from Ghana is jointly responsible. Also on the list of prominent guests are Felipe Gordon from Colombia and Delfonic from Berlin as well as Cornelia Lund from fluctuating images. Roskow Kretschmann appears as co-producer, whose name is associated with many other well established musicians.

Introducing the first 7" single from bassist & composer Shay Hazan and his quintet from Tel-Aviv, Israel.

Dedicated to saxophonist Albert Beger, a mainstay of Israeli jazz and Hazan mentor, 'Berber's Cha Cha' is an uptempo piano-led waltz, redolent of classic Prestige Records soul-jazz, especially when some urgent horn charts turn up the heat. It's a corker!

While on the underbelly, 'Old Tart' sounds like nothing less than a lost gem from the Brecht/Weil songbook. Lugubrious and magnificent, this world-weary vocal cut is more than a match for the nominal A-side.

Destined for the hippest jukeboxes in the hippest joints in the country, this milestone tenth release in Jazzman's estimable JAZZ45 series keeps standards impossibly high.

Our JAZZ45 label features original artwork and original music on each and every release, and are limited to just 600 copies worldwide!

Credited as one of the best late '60s German psych-rock albums, Bokaj Retsiem's ('meister Jakob' in reverse) Psychedelic Underground is an eccentric, soulful, acidn and fuzzy rockin' essay that clearly prefigures a part of the krautrock movement. Featuring Rainer Deigner, former guitar for the '60s beat German group Former Bonds, as the only credited musician and composer on this album (although other musicians assisted him on bass, keyboards, and that B3 Hammond and Leslie sound), this is basically Rainer's freaked-out tribute to his favorite children's song, 'Meister Jakob,' consisting in trippy instrumental sections, furiously savage E-guitar crescendos, amazing psych-rock improvisation, with just a hint of '60s US psych-garage. A real enthusiastic psych-kraut trip for fans of Vanilla Fudge, Hendrix,and Iron Butterfly.

A new ship of fools sails on Bolombia lands! These strange people seem to celebrate the whole jazz universe and african idioms, but they've never been in Africa. The great continent, more than physical, is a mental place of encounter and psychedelic skids. Neurotic and schizoid sorcerers, a furious wind drags them towards the total effervescence of the groove: an unprecedented cauldron of dangerous substances, hybrid styles and influences mixed with secret recipe. Their music is an explosive bubble of expressions, a feverish, impulsive and unstoppable ritual. A cosmic attitude, such as Heliocentrics or Embryo, marries the majestic and floating sounds of synths and psych organs, acidified by toxic dub sparks and deadly funk forays. A crazy horn section travels without maps from Sun-Ra and Ethiopian echoes, hard-bop reminiscenses, to sudden and virulent Balkanisms, making this soup an indecipherable combination of flavors.

This is Dorothy Ashby's debut album, originally released in 1957 by the Regent label. Recognized as the woman who gave the harp a Jazz Voice, here Ashby is at the head of a highly distinctive combo featuring Frank Wess on flute, Eddie Jones or Wendell Marshall on bass and master Ed Thigpen on drums. The Jazz Harpist is an unprecedented mix of evocative classic sounds and jazz soul, awarded by Allmusic as her first and best album, period!

This is Jack Wilson's debut album as a bandleader, originally released in 1963 for Atlantic label, featuring a young Roy Ayers on vibraphone, bassist Al McKibbons and drummer Nick Martinis. Jack Wilson was a fine and often underrated pianist and composer who played with many great names such as Gene Ammons, Jacki Mclean, Esther Phillips, Lou Rawls, Johnny Griffin, Ertha Kitt, Lambert Hendricks & Ross, Antonio Carlos Jobim... This is a lively studio session opening up with a beautiful rendition of Jobim's classic "Corcovado" and followed by WIlson's five originals. A great debut album full of warm, sophisticated and yet highly dynamic Jazz vibes.

Sealed original copies of the Horace Tapscott's 'The Tapscott Sessions' solo piano series, released on Nimbus West Records ‎from 1982 to 1984. Horace Tapscott has been one of the top "unknown" jazz pianists in the Los Angeles area since the 1960s, recording far too few sessions which has led to him being continually overlooked by jazz fans from outside L.A. During 1982-84 he recorded seven solo piano albums for the tiny Nimbus label, playing unaccompanied solos, his improvisations consist of deeply emotional exploration of his music. Tapscott has always had a strikingly original sound that, despite occasional hints at other pianists, is quite distinctive, falling between advanced hard bop and the avant-garde. Totally Essential.




Jazz, with its many iterations and forms, has always been a music on the move - its own changes and evolutions mirroring a flux in the perception of what is and was. This is all too evident when addressing its avant-garde realisations, particularly those rising across the 1960s and 70s - free and spiritual - musics which were both of their moment and beyond them - of a specific people, culture, social reality, philosophy, and political position, while transcending each. These radical sounds have rarely received the wide understanding, recognition, and appreciation in their own time. Thankfully, we have have hindsight. Historical Avant-garde jazz, springing from African American communities and taking seed in every corner of the globe, is increasingly celebrated for the seminal music is was and remains, but there’s still plenty of work to be done, especially when addressing the long standing rift in the United States which favours the east coast over the west.

The incredible sonic beauty of the Sphincter Ensemble results from musical spontaneity, a random jam session undertaken by a loose group of friends in the unlikely setting of the
Harrovian Club in Barnes, west London, on 2 January 1972. The sumptuous free jazz/prog rock/avant-classical fusion features top session players at their peak, with Trevor Morais’
funky drumming loosely tied to Quatermass bassist John Gustafson’s rough melodic lines, embellished by Anne Odell’s far-out synths, Martyn Ford’s French horn and arrangements by Elton John’s orchestrator, Paul Buckmaster. This hugely enjoyable rarity is appearing on vinyl here for the very first time—a thing of wonder for all discerning prog fans.

Kënnlisch, one of the rarest haunting psychedelic acid folk LPs from France, was the work of brothers Philippe and Jean-François Macherey.

Originally released in 1976 on the mega collectable label Le Kiosque d'Orphée, it contains some of the most beautiful sounds to come out of the 1970s alternative music scene.

An instrumental album, it opens with a burst of sunshine vibes and takes them into the experimental scene of French alternative folk avantgarde with a strong Cosmische influence. Beauty is the word, grown over acoustic guitar parts harmonised with the most elegant Moog Satellite lines you'll ever hear to create atmospheres of sound that make this is the perfect record for your mind to float away on a peaceful Sunday morning under a clear blue sky - it does have that therapeutic quality that we miss so much in modern music.

Wah Wah presents the very first official reissue of this mega rare LP, housed in it's original minimalist hand made artwork with the little upgrade twist of silk-screen printing and including a 4-page colour booklet with photos and text provided by the Macherey brothers themselves.

500 copies only!

Although this amazing U.S. popsike gem seems to have remained under the radar since it was first released in 1969, copies of an original pressing of this LP fetch several hundreds of dollars among the small circle of collectors that have managed to discover the amazing works of Don Beckmann and David Rea.

Their only LP was originally released on their hometown Denver’s Stylist Records label back in 1969. The production is amazing: to the strength of the duo’s compositions and their guitar and vocal talents, a complete band is added, plus impressive orchestrated arrangements with scores provided by Dan Goodman and Mark Schuster and conducted by Ben Kaufman, the result being a deliciously beautiful album that could be a missing link between the works of Simon & Garfunkel and those of soft pop maestros like The Free Design or Harper's Bizarre or baroque pop legends The Left Banke.

Definite reissue of this No Wave classic, originally issued in 1979. Previous reissues of the Contortions and James White albums on Infinite Zero have been deleted for the better part of a decade. These are all officially sanctioned by the originating label, Ze Records; packaged in fold out digipaks, with deluxe 20 page booklets. The 21st century has produced a new generation of young contenders of all kinds, who have, within months, spread a new string of names across the planet such as The Rapture, Playgroup, LCD Sound system, Liars, Yeah Yeah Yeahs, Radio 4 and the likes, just to name a few. Once again the heat was initiated in NYC, even though its Lower East Side epicenter 'cleaned up' by Giuliani and Bloomberg, has moved a few blocks east and across the river to Brooklyn and Williamsburg. It might be wise to remind the younger ones among us that the origins of this new musical cycle is for the most part rooted in the No Wave movement of which James Siegfried aka James White, aka James Chance is undoubtedly one of its most prominent figures. New York City was hands down the artistic telluric center of the second half of the 20th century, especially from the 70's, on. Rising from the ashes of the Velvet Underground, a slew of local bands redefined the aesthetics of rock'n'roll which the merchants of the temple hastened to rename under various designations, such as punk, new wave, no wave, jazz-funk or even disco and disco-punk without forgetting to mention the original Electro designation pioneered by the band Suicide. One of the indispensable and emblematic figures of the mid-'70s is of course James Chance.

Having inked a deal with Prosthetic Records,SUMMONING THE LICH are preparing to release their debut full length,United In Chaos. The St Louis, Missouri four piece has created a world where death metal reigns supreme and the realm of fantasy is thoroughly embraced. Taking inspiration from the best elements of Lord of the Rings, Magic The Gathering, Dungeons & Dragons, and Adventure Time, and wrapping it up in a fantastical death metal parcel, SUMMONING THE LICH has an attention to detail and commitment to storytelling that is second to none. United In Chaos tells the tale of the rise of the Lich and fall of the Kingdom Rodor - and the spread of his wicked influence across the land as his power grows.

Nach einer Dekade in der ersten Reihe von Bassmusik/Dubstep geht der britische Produzent Flux Pavilion nun neue Wege. Sein neues Album ".wav" ist ein Meisterwerk aus 16 EDM-Tracks mit Pop-Appeal, auf denen Synths, E-Gitarren und Pop-Melodien dominieren, die nun auch sein Liveprogramm prägen. Dabei verzichtet er nicht auf die bewährten Features, die seine Releases schon immer auszeichneten. Mit dabei sind diesmal die UK Produzenten Feed Me und Chime, das Folk-Pop-Duo Turin Brakes, die kalifornische Shoegaze-Band Drowsy, die New Yorker Sängerin Meesh sowie US-Indietroniker The Chaingang Of 1974. ".wav" ist erhältlich als Gatefold 2LP und Tape.

We are proud to release one of the great, acclaimed double-sider 45s of soul music in our Repro series.

The Exits recorded these classic songs in Los Angeles and found success in releasing them on Pittsburgh’s Gemini label, charting at #34 R&B in 1967. The number of copies pressed has not prevented the price of originals rising way past the £100 barrier due to its excellence and the fact it is collected on several vintage music scenes.

The hit side was ‘Under The Street Lamp’, a beautiful paean to the street corner vocal groups of the 50s, where many Exits members first sang. The atmospheric flip, ‘You Got To Have Money’, was celebrated later on the rare and Northern Soul dance scene and is now a guaranteed floor-filler.

Formed in Essen, Germany in 1984, Kreator are arguably the most influential and successful European thrash metal band ever, like many of their European speed metal brethren, Kreator fused Metallica's thrash innovations with Venom's proto-black metal imagery. Often credited with helping pioneer death metal and black metal by containing several elements of what was to become those genres. The band has achieved worldwide sales of over two million units for combined sales of all their albums, making them one of the best-selling German thrash metal bands of all time. The band’s style has changed several times over the years, from a Venom-inspired speed metal sound, later moving in to thrash metal, and including a period of transitioning from thrash to industrial metal and gothic metal throughout the 1990s. In the early 2000s, Kreator returned to their classic thrash sound, which has continued to the present. Their last studio album ‘Gods Of Violence’ charted top twenty in ten countries, including a number one slot in their home country of Germany.

Audiophile 180g Vinyl-Reissue des Debütalbums "Private Revolution" (1986) der britischen Rockband World Party, die der walisische Sänger und Musiker Karl Wallinger 1985 nach seinem Austritt bei The Waterboys gründete. Mit den Singles "Ship Of Fools", "All Come True" und "Private Revolution".

Lee Kerslake war der Ausnahmeschlagzeuger auf allen Uriah Heep-Alben von 1972 bis 2005. "Eleventeen" ist sein erstes Solo-Album, das er 2015 zu schreiben und einzuspielen begann und 2019 vollendete. Cherry Red ist stolz darauf, dieses Album nun posthum veröffentlichen zu können - Kerslake starb am 19.09.2020 an Krebs. Erhältlich als Gatefold Vinyl Edition!

A fixture on Copenhagen's music scene for nearly two decades, Nikolaj Jakobsen, aka Sugar, has to date thrived on concentrating - usually to the point of obsession - on one type of music at a time. Early on, it was punk: from his mid-teens he lived in the legendary squat and artistic community Ungdomshuset, toured worldwide with punk and metal bands, and was completely immersed in and dedicated to the city's DIY punk and metal scene.

Then in 2012 he set foot in a techno club for the first time, and his laser-like focus turned in that direction. Jakobsen began producing fast techno under the Sugar alias, and co-founded Fast Forward Productions, an agency and party that has gathered together the city's previously disparate band of fast techno and trance producers, DJs and collectives. Fast Forward has been instrumental in launching the careers of the likes of Schacke, Repro, Funeral Future and Rune Bagge, as well as Jakobsen himself.

Now Jakobsen is launching a new label that, even down to its name, is an open challenge to himself to focus on multiple musical styles at once. Perfumery, of which the Eyes Cream EP is the inaugural release, will be a home for his productions under the Sugar name and other aliases, as well as collaborative efforts with others. The label's open remit defies definitive categorisation of is to come, but its second release will be an abstract, atmospheric album by the cimbalom and tuba player and composer Anders Bo Eriksen, aka OPICA. On that record's heels will be collaborative projects with D.Dan and HVAD, as well as an experimental-minded debut LP by Jakobsen as Sugar.

Though Perfumery will be a platform for the exploration of new musical territories, Eyes Cream comprises four fast-techno hardware jams in Jakobsen's signature style. As well as showing off his knack for punning in a second language, opener Bright Side Of The Spoon is a classic Copenhagen splicing of darkness and light, with insistent, ominous bass waves leavened by twinkling synth textures. On the surface the middle two tracks, Eyes Cream and Try Me, are harder, flintier, Detroit-referencing tools. Just beneath, however, lurks the texture and warmth that is one of Copenhagen techno's prime calling cards. Perhaps the greatest treat of the EP is saved for last: Once And For No One is a gorgeous, gauzy, end-of-the-night banger that packs a hefty emotional punch.

All proceeds from physical and digital sales of the first EP on Perfumery will go to Sea-Watch.Org, a German NGO dedicated to saving migrants trying to reach Europe on stricken vessels in the Mediterranean.

With North Star, Viking Metal pioneers EINHERJER release their eighth studio album on February 26, 2021, proving their status as the pioneers of blending Nordic Black Metal and Folk Metal genres once again. The album marks the band’s return to Napalm Records after 25 years, and their release of the legendary Dragons Of The North album (1996). The Norwegian metal outfit remains musically true to themselves and reinforces their exceptional position. North Star was recorded in the wake of the Covid-19 pandemic at the in-house Studio Borealis, owned by founding member and mastermind Frode Glesnes. The raw production ties in seamlessly with its predecessor Norrøne Spor and makes North Star probably the most powerful EINHERJER album to date! North Star is EINHERJER's musical mission towards something bigger - the search for guidance by the North Star in a constantly changing world that is searching for stability. The album’s opener, "The Blood And The Iron", peppered with uncompromising double-bass thunderstorms, pulls the listener in from the very first second, while "Stars" stomps through atmospheric soundscapes with dark chords. "West Coast Groove" underlines EINHERJER's technical songwriting sophistication with finest guitar solos. North Star will be available in black, blue/white inkspot and limited gold vinyl editions (gold limited to 300 copies). Founded in Norway in 1993, the band has significantly influenced the way of Viking Metal in the following years with Dragons Of The North - 25 years later, EINHERJER are stronger than ever and are bursting with energy on North Star! 1. SINGLE - EN Stomping drums and gloomy guitar chords, paired with ice-cold vocals by singer and guitarist Frode Glesnes - "Stars" draws the listener into the icy, dark world of EINHERJER! 2. SINGLE - EN With powerful double bass grooves, a catchy chorus and technically skilled guitar solos, EINHERJER are more uncompromising and harder than ever on "The Blood And The Iron"! 3. SINGLE - EN Old school vibes meet dark Viking Metal atmosphere in "West Coast Groove" - EINHERJER are in top form and still prove their status as genre pioneers after more than 25 years!

The Martha’s Vineyard Ferries - ‘Suns Out Guns Out’ Over the course of two prior releases — 2010’s ‘In The Pond’ (Sickroom) and 2013’s ‘Mass Grave’ (Kiam) — The Martha’s Vineyard Ferries quietly carved out a high-IQ corner of the U.S. rock underground reserved for taut, deathly catchy songs that showcased deft (if get-to-the-point) instrumentation. That the band have been kinda/sorta under the collective radar has more to do with their being otherwise occupied (more on that in a minute) than a lack of artistic ambition; they’ve slayed before and after a long break, they’re back to slay again. So you’re wondering, what could possibly take precedence in real life terms over playing in a band this awesome? Much as I hate to compare and contrast, part of the dilemma is that the principals of The Martha’s Vineyard Ferries — commonly referred to by their fans as “the Fuckin’ Ferries”, “The Martha’s Vineyard Ferries” by everyone else --- are in too many awesome bands already. Guitarist/vocalist Elisha Wiesner has previously set the world on fire with the Massachusetts sextet Kahoots and earlier this year released a 63 song (!) digital masterclass in songwriting under the John Pancake nom de plume. Drummer/vocalist Chris Brokaw has previously pounded on things for heavyweights including but not limited to Codeine, The New Year and Obnox, though there’s a fair chance you’ve also heard his guitar/vocal performances, both solo and with Come (as well as an impossibly long list of contributions to the likes of The Lemonheads, Dirtmusic, Thurston Moore, Consonant and more). Bassist/vocalist Bob Weston is internationally renowned for his sternum-crushing work on behalf of Shellac, Volcano Suns and sound manipulation tactics for Mission Of Burma (I’ve not heard any of the above, but I’m told they’re all “ok, if you’re into that sort of thing”) Add to this workload the tiny matter of the 3 players having spent most of the last 7 years living in 3 different time zones, it’s nothing short of a miracle the 3rd and finest Martha’s Vineyard Ferries album could pass for the sustained effort of 3 men who’ve been locked up together all this time, writing and recording a powerful statement to rival anything in their collective catalogs (I’m thinking of a scenario kind of like “The Lighthouse”, except there’s 3 men instead of two and there’s more guitars than birds, but maybe the occasional bird, as you tend to get a few of them near the water).

All the leaves might be brown and the sky gray, but fortunately Willie West is still a man. This relentless underdog of the New Orleans soul history known for his work with The Meters and Allen Toussaint has been laying low in the northern parts of the US for a while now. Lately he has emerged with new raw sound, which fuses very distinctly personal lyricism with heavy minor key grooves provided by the guys at Timmion Records.

While arriving to Finland for the first time in 2014 to perform on account of his latest album "Lost Soul", Willie couldn't help laying down a few lyrics at Timmion studios in Helsinki's Kaapelitehdas. The session produced a fresh new track "I'm Still A Man", which continues on the same slow, dark and melodic path, which he paved with The High Society Brothers in 2009 with "The Devil Gives Me Everything".

From the first desolate guitar licks on Willie starts to lure the listener into his damp and heavy-aired space, like only the few masters brewed in the southern climate can. There's not many of Willie's breed still around and who knows how long his dark wail will bless us with gems like this. Let this true artistry sink its nails in you.

After three years of waiting since her seminal Sister funk hit single "2 Kinds Of Men", Record Kicks finally presents "Stop Look Listen" the debut album from the new Oporto soul diva Marta Ren & The Groovelvets that will hit the streets 19 February 2016. Anticipated from the first single "I'm Not A Regular Woman", which is getting airwaves all over Europe (including BBC 6, Rai Radio 1, LeMouv / Radio France), produced and recorded on an Ampex eight-track tape machine by New Max from Portuguese funk combo Expensive Soul and mastered in NYC by Andy Vandette, "Stop Look Listen" is pure dynamite and follows the best tradition of the Soul Sisters of the 60s. Marta Ren, not surprisingly described as the new Marva Whitney, brilliantly supported by her super tight 8-piece rhythm & soul combo The Groovelvets, serves you 11 tracks of pure fire and takes-no-prisoners. From the floorshakin' opening track "Don't Look" to the mellow feel-good anthems "Smiling Faces", "So Long" and the afrotastic "Be Ma Fela", the Portuguese combo deliver a visceral deep funk album, proving that they're the new 'real deal'.

Marta Ren is not a newcomer as she has been around in the Portuguese scene since the mid 90s lending her deep and powerful voice, amongst others, to break-beat outfit The Bombazines, recording two albums and establishing her unique talent at clubs and festivals all around Portugal. But Marta's passion has always been for the deepest funk and rawest soul of the sixties, and now the time has come for her to show the world her immense talent. With a powerful voice that would make the founding soul sisters proud, Marta Ren is looking to rule the world and make herself a household name. Fans of Sharon Jones & the Dap-Kings get on it!

If conceivable, imagine a collaboration between Brian Eno and Aphex Twin, both in their ambient periods, recording stock music for an Italian Library music label. If so, then behold Psycorama!, a collection of experimental music used to soundtrack a series of films and documentaries produced by the Italian filmmaker Roberto Rossellini. Composed by Mario Nascimbene, a name synonymous with the golden age of Italian film music, a composer whose grandiose scores of the 1950s and 60s defined the very essence of Cinecitta. While the widespread influence of these soundtracks is undeniable, it is beyond the commercial domain of the major studios where this compendium takes focus, revealing a deeper, darker and more complex composer. Forged on the 'Mixerama', a unique homemade sampling instrument, Nascimbene employed visionary techniques to deconstruct and render sound, sculpting pre-existing recordings into intense and evocative other-worldly soundscapes (most notably used for the 1971 existential TV drama Socrates and the 1969 Egyptian modernist film Al-Mummia (The Night Of Counting The Years). Previously unpublished except for a lone and mysterious Library music LP, the soundtrack cues are collected here for their first commercial release. Psycorama is a fascinating document of electro-acoustic music comparable to the beautifully dark music of fellow colleague Egisto Macchi. Including liner notes and rare photos.

Reissue of a rare Italian experimental Library LP.
Music used to soundtrack Roberto Rossellini films.
Pioneering sampling techniques and tape manipulation.
Brian Eno's Music For Airports meets Aphex Twin's Ambient Works II!

Driving anywhere in Texas can cost you half a day, easy. For example, it’ll take you over four hours just to get from R&B singer Leon Bridges’ hometown of Fort Worth down to Houston, where the psychedelic wanderers in Khruangbin hail from. The state is vast, crisscrossed with rugged expanses of road flanked by limestone cliffs and granite mountains, forests of pine and mesquite, miles of desert or acres of sprawling grassland, all depending on what part you’re in. And it’s all baking under the Texas Sun that lends its name to Bridges and Khruangbin’s new collaborative release. “Big sky country, that’s what they call Texas,” Khruangbin bassist Laura Lee says. “The horizon line goes all the way from one side to another without interruption. There’s something really comforting about that.” On ‘Texas Sun’, these two members of the state’s musical vanguard meet up somewhere in the middle of that scene, in the mythical nexus of Texas’ past, present, and future - a dreamy badlands where genres blur as seamlessly as the terrain. It calls equally to the cowboys bootscooting at Billy Bob’s in Fort Worth, the chopped-andscrewed hip hop fans rattling slabs on the southside of Houston, the art-school kids dropping acid in Austin, the cross-cultural progeny who grew up on listening to both mariachi and post-hardcore out on the Mexican borders of El Paso. All of these things, overlapping in a multi-coloured melange, purple hues as vivid and unpredictable as one of the state’s rightfully celebrated sunsets. A journey through homesick reminiscences, backseat romances and late night contemplations, the kind of record made for listening with the windows down and the road humming softly beneath you. Like the highways that inspired it, ‘Texas Sun’ is guaranteed to get you where you’re going - especially if you’re in no particular hurry to get there. Khruangbin and Leon Bridges are critically acclaimed artists with extensive coverage in print and online, including the New York Times, NPR, FADER, four Grammy nominations (Leon Bridges), The New Yorker, Washington Post and Pitchfork, among many others.

Revive the epic Arcade adventure with the Metal Slug 3 soundtrack on 2LP (Red/White splatters) and CD with booklets on both, officially licensed by SNK.

Following Samurai Shodown 2019, Wayô Records and SNK Corporation once again join forces to deliver an international edition of Metal Slug 3's original soundtrack, in honor of the game's 20 anniversary! Originally exclusive to Japan, this album is now available in this double vinyl edition.

With its distinctive "rock orchestra" sound, the music for SNK's series turned out to be as essential as the games themselves thanks to its uniqueness and incredible energy. Composed by the legendary SNK Sound Team, this soundtrack has a lot in common with the other titles in the series, but stands as the densest and most inspired. Filled with biting humor and explosive action, Metal Slug 3 is often regarded by fans as the best game in the series!

- Two vinyl discs, 33 rpm

- First Print Edition translucent red with white splatters

- Complete soundtrack newly remastered for the vinyl format

- Gatefold with a central wide illustration and two individual illustrated sleeves for each disc

- New comments from the game team

- Officially licensed by SNK

LIMITED TRANSPARENT RED WITH BLACK SWIRLS DOUBLE VINYL

Nine years after it’s initial release, 'The Ripper At The Heaven's Gates Of Dark' is back. The original black vinyl and CD editions sold out pretty quick, and have been a constant source of repress requests ever since. So, at Makoto’s personal request here it is. And I agree with him that it’s definitely the best AMT studio album from that short lived four piece line up.

With the exception of the album's opener 'Chinese Flying Saucer' and it's unashamedly obvious musical references to Led Zeppelin II (hello 1969!) the rest of the album locks into a much more laid-back groove than on recent AMT releases. This dynamic shift is best displayed on the 22 minute jam, 'Shine On You Crazy Dynamite' and also the album's closer 'Electric Death Mantra'. The band opt for less frantic explosions of electric guitar overload and fuzz, replacing those elements with a more epic, blissed-out and at times brooding Japanese psychedelia, with more emphasis on acoustic guitars, sitar, organ, synthesiser and at times, really trippy vocals (most prevalent on 'Back Door Man Of Ghost Rails Inn'), recalling the twisted psychedelics of early Pink Floyd. Yet still, their sound remains so expansive that it is easy to become totally immersed in this album.

Epic in proportions, cloaked in a cosmic haze and shimmering in a synth utopia. 'The Ripper At Heaven's Gates Of Dark' maintains AMT's status as masters of out-of-this-world music and reveals their darker side of the moon.

Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording were :Tsuyama Atsushi : monster bass, voice, soprano sax, cimpo flute, soprano recorder, acoustic guitar, cosmic joker Higashi Hiroshi : synthesizer, dancin'king Shimura Koji : drums, latino cool Kawabata Makoto : electric guitar, electric bouzouki, sitar, organ, percussion, electronics, speed guru

Recorded at Acid Mothers Temple, Japan Produced & engineered by Kawabata Makoto
Digital mastered by Yoshida Tatsuya.

Today, The Wytches announce their third album Three Mile Ditch. The album features the recently released single “Cowboy” which marked their return after four years away and to celebrate the announcement they share new single “A Love You’ll Never Know”. The track is accompanied by a music video by Mark Breed and he explains,

“The music video format was a long process. Making the set was incredibly fun with Kristian crafting most of the miniatures.I then had to film the green screen band performance within the set before recording the edited version onto my VHS camera. Finally I shot the finished edit inside the view finder.”

The album recorded with Luke Oldfield at Tile House Studios will be released on their own label Cable Code Records on Friday 2nd October.

“This is the first thing that I've ever been proud of for longer than a week,” says The Wytches frontman Kristian Bell of the band’s latest album Three Mile Ditch. This sense of vigour and enthusiasm coming from Bell about the band’s third album is matched by its contents. The album is an explosive collection of 10 tracks that weaves seamlessly between gut-wobbling monster riffs, swampy rock, slick surf, and finely tuned songcraft. It’s also the result of a band coming back from the brink of collapse.

The band’s early trajectory was a steep and speedy one as they quickly established themselves as one of the country’s most exciting and pulverising new bands. Major festival slots stacked up at places such as Glastonbury, SXSW, Reading and Leeds, and British Summertime with the Strokes. As did the tours across the US with METZ, traversing Europe with Fat White Family and Death Grips. They garnered support from BBC 6 Music, DIY, MOJO, NME and more. However, when the ascent to the stratosphere is moving at such a speed, there’s a risk of burning out and imploding, and the band came close to this.

They were on the rocks for a while, unsure of themselves and if the band should - or even could - go on. “I had it in my head that this kind of thing only really happens once and to try it again might be a big waste of time,” Bell reflects. However, despite the difficulties, the powerful pull of the band was too great to ignore.

“We had an album’s worth of songs that was some of our best material. The mission became to complete a Wytches album rather than get The Wytches back on the touring circuit. This album helped us make the decision to try it again.”

LIMITED TRANSPARENT BLUE WITH BLACK SWIRLS DOUBLE VINYL HOUSED IN A NEWLY REDESIGNED FULL COLOUR GATEFOLD SLEEVE/JACKET.

Nine years after it’s initial release, 'The Ripper At The Heaven's Gates Of Dark' is back. The original black vinyl and CD editions sold out pretty quick, and have been a constant source of repress requests ever since. So, at Makoto’s personal request here it is. And I agree with him that it’s definitely the best AMT studio album from that short lived four piece line up.

With the exception of the album's opener 'Chinese Flying Saucer' and it's unashamedly obvious musical references to Led Zeppelin II (hello 1969!) the rest of the album locks into a much more laid-back groove than on recent AMT releases. This dynamic shift is best displayed on the 22 minute jam, 'Shine On You Crazy Dynamite' and also the album's closer 'Electric Death Mantra'. The band opt for less frantic explosions of electric guitar overload and fuzz, replacing those elements with a more epic, blissed-out and at times brooding Japanese psychedelia, with more emphasis on acoustic guitars, sitar, organ, synthesiser and at times, really trippy vocals (most prevalent on 'Back Door Man Of Ghost Rails Inn'), recalling the twisted psychedelics of early Pink Floyd. Yet still, their sound remains so expansive that it is easy to become totally immersed in this album.

Epic in proportions, cloaked in a cosmic haze and shimmering in a synth utopia. 'The Ripper At Heaven's Gates Of Dark' maintains AMT's status as masters of out-of-this-world music and reveals their darker side of the moon.

Acid Mothers Temple & The Melting Paraiso U.F.O. at the time of this recording were :Tsuyama Atsushi : monster bass, voice, soprano sax, cimpo flute, soprano recorder, acoustic guitar, cosmic joker Higashi Hiroshi : synthesizer, dancin'king Shimura Koji : drums, latino cool Kawabata Makoto : electric guitar, electric bouzouki, sitar, organ, percussion, electronics, speed guru

Recorded at Acid Mothers Temple, Japan Produced & engineered by Kawabata Makoto
Digital mastered by Yoshida Tatsuya.

The National’s second album, Sad Songs For Dirty Lovers (2003) proved a leap forward from 2001’s eponymous debut, showing a band adept at delivering warm embraces and gut punches in equal measure. With word of mouth now spreading on the band, critics proved equally enthusiastic... Pitchfork in their glowing review called it a “Gorgeous train wreck” that “Lives up to its blunt title (with) Matt Berninger’s self-eff acing barbs matched by the band’s equally potent hooks,” while Uncut also became early champions saying the album was “A genuine treasure... Livid as a bruise, this is brave, desperate, beautiful music.” No longer a secret among those that know, Sad Songs For Dirty Lovers is an important record in The National’s discography with this new remaster showing that it’s more than standing the test of time.

Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which - thanks to ist collection of delicate ballads and anthemic crowd-pleasers - sums up what they do best in under 30 minutes. Now a fi rm fan-favourite, among Cherry Tree’s seven tracks are now National classics ‘About Today’ and ‘All The Wine’, plus a thrilling live version of ‘Murder Me Rachael’ that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World. And with this new master, it’s never sounded better too.

With his new album, Year Of The Living Dead, Vienna-born and LA-based producer John Tejada finds a blissful extended moment of balance between the new and the familiar. Anyone who’s followed his career to date, which has included four previous albums for Kompakt, outings for storied labels like Plug Research, Playhouse and Cocoon, and numerous remixes and collaborations – most recently, his Wajatta duo with actor and musician Reggie Watts – will immediately sense the warmth and eloquence that Tejada brings to his gilded, pliant techno and electro hybrids. But there’s more here, too; an explorer’s glimmer in the producer’s eye, as he gets to grips with new ways of working and being, while offering a reflective opening for the listener, something echoed in artwork by graphic designer and ‘contemplative artist’ David Grey.

“The album was started using tools I was unfamiliar with, which became an interesting exploratory process,” Tejada says. “Staying away from the obvious and having to re-learn simple things was a fun challenge.” You can hear these new creative pulsions pushing the eight tracks on Year Of The Living Dead ever-forward; the album has an unique cast, and though there are trace elements of the genres Tejada has indulged previously, he’s never quite put them together this way before. There’s the dubwise glitter sprinkled across the moody opener “The Haunting Of Earth”, the kind caresses found amongst the deftly woven textures of “Sheltered”, and the churchy melancholy, all hymnal and golden, of “Echoes Of Life”.

Year Of The Living Dead also speaks obliquely to its moment, though Tejada works this implicitly, allowing the strange circumstances of 2020 to cast their inevitable shadow without being obvious or didactic. “The production process began right before lockdown and continued through what felt like a very serious time for all of us,” he recalls. “Not being able to see or touch our loved ones made me feel we are all like ghosts. We can observe from a distance but cannot really be there. We are isolated and alone.” And yet, Year Of The Living Dead’s tenderness offers an out for that anxiety and loneliness, its intimate immensities gifting the album a redemptive and compassionate core. Compact and glistening, Year Of The Living Dead sculpts unassuming beauty.

Mit seinem neuen Album “Year Of The Living Dead“ findet der in Wien geborene und in Los Angeles lebende Produzent John Tejada die richtige Balance zwischen Neuem und Vertrautem. Wer seine bisherige Karriere verfolgt hat, seine vier Alben für Kompakt, Beiträge für Labels wie Plug Research, Playhouse und Cocoon, zahlreiche Remixe und Kollaborationen wie zuletzt das Projekt Wajatta zusammen mit dem Schauspieler und Musiker Reggie Watts, spürt sofort wieder die Wärme und Eloquenz, die Tejada in seine geschmeidigen Techno-Elektro-Hybride einbringt. Doch es geht auch noch einen Schritt weiter. Da ist dieses Aufblitzen des Entdeckers im Auge eines Produzenten, der sich mit neuen Arbeits- und Seinsweisen auseinandersetzt und dem Zuhörer gleichzeitig etwas sehr Offenes und Nachdenkliches anbietet, etwas, das im Artwork des Grafikdesigners und "kontemplativen Künstlers" David Grey nachklingt.

"Ich hatte angefangen, das Album mit mir noch unbekannten Tools zu produzieren, was sich zu einem interessanten Forschungsprozess für mich entwickelte", sagt Tejada. "Sich vom allzu Offensichtlichen zu trennen und einfache mal Dinge neu lernen zu müssen, war eine recht spaßige Herausforderung.“ Man kann diese neuen kreativen Impulse hören, die “Year Of The Living Dead“ auf einer Länge von 8 Tracks nach vorne treiben; das Album hat einen einzigartigen Ansatz, denn obwohl es Elemente der Genres gibt, denen Tejada zuvor gefrönt hat, hatte er sie doch noch nie zuvor so zusammengefügt wie hier. Da ist dieses dubbige Glitzern im atmosphärischen Opener "The Haunting Of Earth", die freundlichen Zärtlichkeiten, die man in den Texturen von "Sheltered" findet, und schließlich die heilige Melancholie im hymnischen "Echoes Of Life".

Auch “Year Of The Living Dead“ enthält Andeutungen auf die momentane Situation und erlaubt es, den seltsamen Umständen des Jahres 2020, ihren unvermeidlichen Schatten zu werfen, ohne dabei zu offensichtlich oder gar belehrend zu sein. "Der Produktionsprozess begann kurz vor dem (ersten) Lockdown und setzte sich in einer Zeit fort, die sich für uns alle als eine sehr ernste Zeit anfühlte", erinnert er sich. "Da wir nicht in der Lage waren, unsere Lieben zu sehen oder zu berühren, hatte ich das Gefühl, dass wir alle wie Geister sind. Wir können nur distanzierte Beobachter sein, aber wir können nicht wirklich anwesend sein. Wir sind isoliert und allein." Und doch scheint die Zärtlichkeit von "Year Of The Living Dead" einen Ausweg aus dieser Angst und Einsamkeit anzubieten, die grenzenlose Intimität des Albums enthält einen erlösenden und mitfühlenden Kern. Derart konsistent und schillernd formt "Year Of The Living Dead" eine unprätentiöse Schönheit.

Shake Your Money Maker, the classic debut album from The Black Crowes has received the super deluxe treatment for its 30th anniversary. Hours of audio from the original studio sessions and live shows have now been curated under by brothers Chris and Rich Robinson and album producer George Drakoulias. The new collection features 5 unreleased songs including the should have been a single studio track “Charming Mess” along with studio recording covers of Humble Pie’s “30 Days In The Hole” and John Lennon’s “Jealous Guy”. The set also includes 2 previously unreleased demos from when the band was originally called Mr. Crowe’s Garden and liner notes penned by David Fricke.

The original album has been newly remastered from the original tapes.

Also unearthed were the original multitrack tapes from the band’s homecoming concert. Recorded over two nights at Atlanta, GA’s Center Stage, the full concert is now available for the first time ever. Previously, only the live version of “She Talks To Angels” was released from this show.

Shake Your Money Maker, the classic debut album from The Black Crowes has received the super deluxe treatment for its 30th anniversary. Hours of audio from the original studio sessions and live shows have now been curated under by brothers Chris and Rich Robinson and album producer George Drakoulias. The new collection features 5 unreleased songs including the should have been a single studio track “Charming Mess” along with studio recording covers of Humble Pie’s “30 Days In The Hole” and John Lennon’s “Jealous Guy”. The set also includes 2 previously unreleased demos from when the band was originally called Mr. Crowe’s Garden and liner notes penned by David Fricke.

The original album has been newly remastered from the original tapes.

Also unearthed were the original multitrack tapes from the band’s homecoming concert. Recorded over two nights at Atlanta, GA’s Center Stage, the full concert is now available for the first time ever. Previously, only the live version of “She Talks To Angels” was released from this show.

Repress

***
Mord.
Morderstwo.
Rotterdam.
Herdersmat.
***

The term 'tourbillon' has two meanings - it is the French word for "whirlwind" and also a device used in watchmaking to improve the accuracy of a timepiece. Both definitions feel apt when listening to Tourbillon, the latest release on Central Processing Unit from Australian producer Tim Koch. Following on from Koch's CPU debut Spinifex back in 2018 - an album that initially emerged via minidisc - Tourbillon is a four-track EP which dazzles with its perpetual-motion post-IDM productions.

These tracks draw you into their webs by forming dense interlocking sonic patterns over the course of several minutes. While the rhythmic programming and lattice of alien percussion tones can appear discombobulating at first, Koch also bewitches the listener with the slyly melodic synth work that he laces throughout Tourbillon.

Opening track 'Estranger' is a fine example of this combination. The first section here is a blend of blown-out drum sounds which comes off like an industrial electro tune run through a meat grinder. However, the track soon blossoms with the introduction of some amazingly atmospheric synth pads, and the two contrasting elements come together for a strange and rather beautiful whole.

'Estranger' finds a mirror-image in Tourbillon's final cut 'Hankert', a track in which more of those gurgling percussive tones play off the rich chord progressions that chirrup away in the background. Between 'Estranger' and 'Hankert' we get two propulsive grooves in the form of 'Disfugue' and 'Dreitark'.

How, then, to contextualize such unique material? Calum Gunn's recent outing for CPU is a good point of comparison, and the electronics here bang and whirr in a manner which nods to the post-IDM innovations of artists like μ-Ziq. One can also see Tourbillon as descended from acts like Cabaret Voltaire, the industrial electronics innovators from CPU's home city of Sheffield. However, Tourbillon is ultimately an EP which exists in its own lane, an open-minded and open-hearted set which runs with the futurist spirit of CPU and Koch's previous home of Merck Records.

Australian producer Tim Koch returns to Sheffield's Central Processing Unit with Tourbillon, an EP of otherworldly post-IDM productions.

RIYL: μ-Ziq, Calum Gunn, Proswell, Modeselektor

Architects are back with their ninth studio album "For Those That Wish To Exist". The self-produced record is the follow-up to the band's critically acclaimed 2018 release Holy Hell, which took a look at the pain and despair that lay at the heart of losing a brother, band mate and best friend in Tom Searle, the group's founding guitarist. The band have confirmed their ascent to the very upper echelons of British heavy music. Few bands, of this modern era or any other, can match the quintet's ability to blend uncompromising heaviness with razor-sharp melodic musicianship. A versatile metal group based out of Brighton, England, Architects employ a lethal combination of breakdown-heavy guitars, melodic vocals and symphonic-ambient post-metal. That sonic delivery is conducted from a platform built on veganism and environmental activism.

DRP (Dom & Roland Productions) was started in 2006 for Dom to collaborate with like-minded artists. Now 15 years in with an enviable roster from “Noisia” to “Amon Tobin” it is now the main home of Dom’s work.

Mando is one of Doms closest friends. He has been writing music for over 25 years. A gardener by day, he shuns the limelight and has always maintained writing music is his secret hobby! He had a studio in the room next to No-U-Turn in the 90s which was eventually taken over by Optical and Edrush.
Until fairly recently he never released anything! He has an amazing ability to create sick grooves, his style is raw and refreshing and not over produced like a lot of modern music. If i had to pigeonhole his style I would say 90s neurofunk.

Both these tracks play to his strengths. This is his first release on vinyl, so will become collectable!

DJ PLAY: What? In their bedrooms? These people regularly play DRP tracks… Rene Lavice, Laurent Garnier, Giles Peterson, Jerome Hill, Digital, DJ Bailey, DJ Lee, Bryan G, Fabio, Grooverider, Loxi, Andy C, Break, Kasra, Doc Scott, Dbridge, Goldie, Ant TC1, Gridlok, Ulterior Motive, Noisia + More.

Bristol's Jurango kicks off 2021 in fine style with the 'Retreat Ites' EP for the Livity Sound Reverse series.

From the paranoid echo of the title track to the dark mutant dancehall of 'Theeves', Jurango crafts heavyweight ice cold drum and bass rhythms exploring the outer reaches of soundsystem music in true school Bristol fashion, placing him amongst peers such as Laksa, Batu and Lurka.

Livity Sound is a label set up by Peverelist in 2011 as a vehicle for a raw and exploratory strain of UK techno, rooted in the heritage of UK dance music and sound system culture. It has since become one of the UK's foremost protagonists for cutting edge underground electronic music.

Ultra rare 1979 KBD-style punk rock from Piteå – a small town situated in the very north of Sweden. Rock Set are buzzing of small town boredom and fuck authority attitude. The name Rock Set was inspired by UK pubrockers Dr Feelgood’s Roxette -a few years before Per Gessle took the Roxette moniker to the top of the Billboard chart. “Piteå Kommun” never reached the Billboard chart but over time it has generated a cult following amongst punk rock aficionados all over the world. Original copies are nowadays changing hands for hundreds of dollars. A fact easily understood when hearing Rock Set’s perfect mixture of punk-, mod- and garage-rock.
In the late fall of 2020 OTD traveled to Piteå in order to find the members of Rock Set. A license deal was made and in true OTD fashion the sound recordings were remastered and carefully restored. Many photos from the band members’ private photo albums are seen on the printed inner sleeve. Liner notes by Peter Kagerland. Turquoise vinyl.
File under: ”beyond essential to any serious rock’n’roll fan”.

Country music has chased piety, poetry, and much else, but The Social World is unapologetic hardcore, beer-sodden country music reduced to its core values. No faking. No pretension.
Spare, unornamented, and straight from the heart, the songs on the “Social World” of Rodger Wilhoit are all that’s holy and true in beerhall country music. The instrumentation is only as full as it needs to be. The singing is careworn and deeply sincere. There’s nothing tentative or lukewarm in Wilhoit’s music. It isn’t going to meet you halfway.
It seems that there’s always more to discover. Most copies of Social World and Rodger’s singles were probably sold off the bandstand 40 or 50 years ago. They were among the thousands of records by local artists on local labels sold off local bandstands all across the country. Most ended up in garage sales, thrift shops, or landfill. But every so often, an artist will be resurrected, and find a new audience. Rodger Wilhoit is one such singer. At a time when most mainstream Nashville country music sounds so contrived and empty, it takes an artist like Rodger Wilhoit to remind us what it’s really all about.

Vampa were just kids, 13-14 years old, when they recorded and released their raw and very Iron Maidenesque 45 back in 1982. DIY all by themselves… The lyrics (sung in Swedish) is the ultimate hate for school-anthem. The boredom and frustration of (barely) teenage kids totally sick of school and its teachers has rarely been captured in a better and more enjoyable way. Even though the lyrics are in Swedish the language that grabs the listener as the needle is dropped into the groove is universal. Original 45 is near impossible to find. On The Dole Records found the members, got loads of rare photos that fills up the printed inner sleeve.
Comes with new original artwork by Swedish artist Oscar Nordblom, the guy behind the notorious Jobcentre Rejects-drawings
File under: ”beyond essential to any serious rock’n’roll fan”.

These two contrasting unissued late 60s soul sides were first made available on Ace CDs. Gigi & the Charmaines’ ‘I Don’t Wanna Lose Him’ was written by Dale Warren and Gigi’s husband, Herman Griffin. Herman was responsible for many Detroit soul classics and Dale Warren made his name arranging and writing at Shrine Records. A stomping yet subtle dance number that captures the energy of 1966, its only vinyl presence was on the 100 Club Anniversary 45 of 2006, now a much-coveted item.

Walter Jackson’s ‘Forget The Girl’ is taken at a more sedate pace, but is no less dynamic, with a full Chicago orchestra backing Walter’s luxuriant vocal on a Clint Ballard ballad, another stunning recording.

Arthur Alexander’s mid-60s releases for Monument and Sound Stage 7 under the supervision of Fred Foster in Nashville failed to register on the charts but are highly regarded, none more so than these sides cut on his first session for the company. The released tracks from the session, ‘(Baby) For You’ and ‘The Other Woman (In My Life)’, were more country-sounding.

These two wonderful soul songs remained in the vaults until an Ace CD in 2001 and have picked up admirers ever since. To own them on vinyl will be a vintage soul lover’s thrill.

These two tracks have been around since their first releases on Kent LPs in the late 80s. Taken from the Scepter/Wand tapes, the artists had one release each on those labels. Maurice Williams’ ‘Look My Way’ was recorded at the same session as the two songs issued on his Zodiacs-billed Scepter 45, although it outperforms them both.

It was assumed that ‘Not Now But Later’ by Walter Johnson was also an unreleased number, but a few years later, a Wand DJ copy was discovered in the home of the producer Billy Jackson, when the singer’s true identity was found to be Walter Wilson. However, Billy stated that it was an alias for Tommy Keith, who wrote and recorded some excellent soul music. It is a beautiful self-penned ballad in the Ashford/Simpson mould.

Raver's Guide VA features russian underground with top-notch names again. There is a heavy & classy intro by Gemüt, the crusader of Moscow's Monasterio. Then you get trapped in a warehouse honey banger by Melier Avenue. And also here is a hypno trance atmo delivered by Disco Morato. Embodied in the thick black vinyl.

Conceived and produced by Luciano Cantone, co-founder of Schema Records, and written by Alex Puddu, The Afro Soul Prophecy is a musical project that stands out of time and trends and that finally releases a full-length after some 2017 singles/Ep's. "Heat in the City" is an almost completely instrumental black funk music-based album, that often indulges in afrobeat, latin, disco and urban blaxploitation music. The multi-ethnic nature of this project ensures a multi-faceted work, where the music language has been able to unite musicians from all over the world.

Enter, ANGST a series of musical ‘essays on the ephemeral being’ by Portuguese pianist and composer Tiago Sousa.

After 2015’s Um Piano nas Barricadas (Discrepant, CREP23) Sousa expands his compositional chops by writing and performing along with a trio made of clarinet, percussion and vibraphone adding a magical realism aura to the music.

It was fate that the releasing of these compositions would arrive in one of the most troubled passages of recent memory, just as a new decade begins. If it was already established that anguish is one of the hallmarks haunting our modern era, these last few years expose this existential feeling with even greater urgency.

The album that Tiago now presents, part angst part nostalgic escapism addresses this very modern concern as well as other themes dear to the so-called existentialist thinkers such as Heidegger, Camus or Kierkegaard, who among others, seek to directly challenge the Being with various concepts such as Repetition, Temporality, Interiority, Despair…

Throughout the 8 themes here presented, a delicate attempt is made to sketch a phenomenological cartography through its content and form, loosely describing the feeling of being launched into the wide world and the discovery of one self. In other words, the artist’s aim here is to convey the growing pains that the whole question about the meaning of life throws at us.

In an approach that is difficult to catalogue, the album tries to avoid genres and crystallizations in which music presents itself as a vehicle to express the ineffable and the incommunicable, expressing instead a magical world of wonder and enchantment.

We are starting 2021 with this incredibly beautiful and critically acclaimed track by Deborah Jordan, from her latest album ‘See In The Dark’ and this outstanding rework and extended edit by the songs original producer Marc Rapson. The extended edit is an exquisite journey through the original into an instrumental with stunning piano flourishes, magical strings and soaring vocals, continuing the journey of this unique and timeless track, which has been described as Deborah’s Magnum Opus. Rapson’s new Rework evokes memories of our most endeared hip-hop beat makers (Dilla, Q-Tip, Pete Rock) and takes us deep with masterful piano textures, resampled voices and the warmest bass you would have heard in years.The bonus track ‘Senses’, a standout from Deborah’s album, has also received the Rapson touch with a perfect hip-hop swing and ridiculous bass line which is exclusive to this vinyl release.

-LTD. MAGENTA VINYL-

What is the utility of pain? Can it do anything but fester? In Ferneaux explores pain in motion, building audio-spatial chambers of experience and memory. Using an archive of field recordings from a decade of global travels, isolation gave Blanck Mass an opportunity to make connections in a moment when being together is impossible. The record is divided into two long-form journeys that gather the memories of being with now-distant others through the composition of a nostalgic travelogue. The journeys are haunted with the vestiges of voices, places, and sensations. These scenes alternate with the building up and releasing of great aural tension, intensities that emerge from the trauma of a personal grieving process which has perhaps embraced its rage moment. An encounter with a prophetic figure on the streets of San Francisco presented the question of "how to handle the misery on the way to the blessing." This is the quandary of the impasse we now all find ourselves in, trapped in our little caves, grappling with the unease of the self at rest - without movement, without the consumerist agenda of "new experiences." The possibility of growth, always defined by our connections with others, held in limbo. Sartre said that "Hell is other people," but perhaps this is the Inferno of the present: the space of sitting with the self. A blessing is often thought of as a future reward, above and beyond the material plane. With In Ferneaux, Blanck Mass wrangles the immanent materials of the here-and-now to build a sense of transcendence. Here, the uncanny angelic hymn sits comfortably beside the dirge. The misery and blessing are one.

Mouse on Mars, the Berlin-based duo of Jan St. Werner and Andi Toma, approach electronic music with an inexhaustible curiosity and unparalleled ingenuity. ‘AAI’ (Anarchic Artificial Intelligence) takes their fascination with technology and undogmatic exploration a quantum leap further.
Emerging from a primordial ooze of rolling bass and skittering electronics, hypnotic polyrhythms and pulsing synthesizers propel the listener across the
record’s expanse. Hidden in the duo’s hyper-detailed productions is a kind of meta-narrative.
Working with AI tech collective Birds on Mars and former Soundcloud
programmers Ranny Keddo and Derrek Kindle, the duo collaborated on the creation of bespoke software capable of modelling speech; text and voice from writer and scholar of African Studies Louis Chude-Sokei and DJ/producer Yağmur Uçkunkaya were fed into the software as a model, allowing Toma and Werner to control parameters like speed or mood, thereby creating a kind of speech
instrument they could control and play as they would a synthesizer.
The album’s narrative is quite literally mirrored in the music - the sound of an artificial intelligence growing, learning and speaking. This exploration of artificial intelligence as both a narrative framework and compositional tool, allowing the duo to summon their most explicitly science-fiction work to date. Original artwork by Casey Reas, inventor of the computer graphics language Processing.
Recently, Mouse on Mars received the 2020 Holger Czukay Prize for Pop Music.
Mouse on Mars have been regularly streaming performances throughout 2020, partnering with organizations like Goethe-Institut, Haus der Kulturen der Welt, Conditions of a Necessity and others and will continue these in 2021.
‘AAI’ is available on grey or black double LP packaged in a single sleeve with full colour insert / lyrics. CD comes with 8-panel poster booklet.
“Andi Toma and Jan St. Werner continue to create soundscapes that blur the line between programming and live musicianship, and sometimes between Earth and outer space.” - AV Club
“Enthralling and impossible to categorize.” - Pitchfork
“Sustained and ephemeral electronic sounds conjure unearthly open spaces… It’s not a song; it’s sound as a temporal phenomenon, a few minutes of sculpted attention.” - The New York Times

Founded by childhood friends Evan Stephens Hall and Zack
Levine, Pinegrove have already crafted three fantastic albums
- ‘Everything So Far’ (2015), ‘Cardinal’ (2016) and ‘Skylight’
(2018) - and achieved massive critical acclaim and a
widespread and devoted listenership. The band’s latest
album (and first for Rough Trade), ‘Marigold’, arrived in
January of 2020 and its themes of reflection and resilience
have resonated through an especially tumultuous year. Now
with tours cancelled and time on their hands, the band have
decided to put together something special for their fans.
‘Amperland, NY’ is yet another full album, this time
accompanying a feature film of the same name. The
collection features 21 brand new studio recordings spanning
Pinegrove’s career and catalogue, captured upstate in the
house where the band lived and recorded for 4 years - a
place they lovingly referred to as ‘Amperland’. But all good
things (and leases) come to an end and, before they bid
adieu to the space permanently, they gathered together for
one last performance with friends and family.
Featuring original member and keyboardist / vocalist Nandi
Rose (Half Waif) on many tracks - this collection will thrill old
and new listeners alike - with the band breathing new life
into fan favourites and deep cuts. From acoustic versions to
unique arrangements featuring piano, pedal steel and organ,
‘Amperland, NY’ touches on notes of folk and progressive
rock previously unheard on their studio albums. This will be
an essential addition to the Pinegrove catalogue and
encompasses all of the earnest and ecstatic live energy the
band is known for.
Double vinyl format housed in a heavyweight matte gatefold
package and comes with a fully annotated script and behind
the scenes photos from the film.

As Plankton Wat, Dewey Mahood uses his considerable
guitar prowess to deliver an album that encompasses
both the wild, seeking energy of free-improvisation and
the deliberate arrangements of more traditional
composition.
With his deft and stylistically varied playing, Plankton
Wat’s ‘Future Times’ escapes psychedelic tropes and
chemical fuelled alterations and instead celebrates an
escape into the natural world.
‘Future Times’ taps into psychedelia’s counter-cultural
heritage as music for protest, liberation and imagining
new ways of being in this world.
“Pastoral drones and swirling psychedelia” - Pitchfork
Known for his guitar prowess in modern psychedelic
music, specifically with Eternal Tapestry as well as
Edibles, Elephant Factory Galaxy Research and Gärden
Söund among others.
‘Future Times’ was recorded at Mahood’s home studio
Solar Commune, with additions from Dustin Dybvig
(Horse Feathers & Edibles) and Victor Nash (Flash Hawk
Parlor Ensemble). Features Ash Dybvig on flute.
LP comes on red or black vinyl packaged with download
code and insert.
“Mahood’s lonesome universe is definitely a psych-folk
monster on the sly… Mahood’s gone far into the burrow
of psychedelia for an album that’s caustic and tender,
bittersweet and effervescent.” - Raven Sings the Blues

As Plankton Wat, Dewey Mahood uses his considerable
guitar prowess to deliver an album that encompasses
both the wild, seeking energy of free-improvisation and
the deliberate arrangements of more traditional
composition.
With his deft and stylistically varied playing, Plankton
Wat’s ‘Future Times’ escapes psychedelic tropes and
chemical fuelled alterations and instead celebrates an
escape into the natural world.
‘Future Times’ taps into psychedelia’s counter-cultural
heritage as music for protest, liberation and imagining
new ways of being in this world.
“Pastoral drones and swirling psychedelia” - Pitchfork
Known for his guitar prowess in modern psychedelic
music, specifically with Eternal Tapestry as well as
Edibles, Elephant Factory Galaxy Research and Gärden
Söund among others.
‘Future Times’ was recorded at Mahood’s home studio
Solar Commune, with additions from Dustin Dybvig
(Horse Feathers & Edibles) and Victor Nash (Flash Hawk
Parlor Ensemble). Features Ash Dybvig on flute.
LP comes on red or black vinyl packaged with download
code and insert.
“Mahood’s lonesome universe is definitely a psych-folk
monster on the sly… Mahood’s gone far into the burrow
of psychedelia for an album that’s caustic and tender,
bittersweet and effervescent.” - Raven Sings the Blues

‘Banane Bleue’ (French for blue banana), the brand new album from Frànçois & The Atlas Mountains, is a nomadic and truly European record, hailing from rented workspaces in some of the continent’s key cities - Berlin, Athens and Paris - and recorded with instruments that were often borrowed from likeminded musicians.
Written solely by Frànçois Marry himself, close collaborator and Weird World artist Jaakko Eino Kalevi was enlisted for production duties whilst Renaud Letang (Feist, Gonzales, Connan Mockasin) mixed the album.
The title of the album is taken from the ‘blue banana’ concept, a geographical theory that groups together a corridor of Europe’s biggest cities, originally conceived in the 1980s. The theory states that the blurring of these cities’ boundaries has resulted in the formation of one massive, interconnected megalopolis.
Expanding on the theory, Frànçois poetised it, picturing a luminescent blue banana shape that you can see from space with vibrant, ethereal currents that surround and bind us. It explores common cultural and romantic ground, creating an album full of missed meetings and misunderstandings.
CD into printed inner wallet and 8-page booklet.
Vinyl into printed inner sleeve with digital download card.

‘Galdre Visions’ is Leaving Records supergroup Galdre Visions’s debut release. Inspired by Celtic mysticism, outer space and New Age both classical and modern, ‘Galdre Visions’ is a document of the exploratory, healing power of music.
Galdre Visions are comprised of Olive Ardizoni (Green-House), South Asian-American sitarist Ami Dang, Diva Dompé of Yialmelic Frequencies and harpist Nailah Hunter. These four artists were drawn together during the pandemic to remotely create collaborative music reflecting global uncertainty.
‘Galdre Visions’ is a reflective, ambient journey with airy vocal harmonies and layers of field recordings, harps and slow-burning ambient chords.
The record is housed in a tip-on jacket with microtene inner sleeves and played at 45 RPM.
For fans of Laraaji, Mort Garson, Kaitlyn Aurelia Smith, Huerco S., Emily A. Sprague, Ana Roxanne, Christina Vantzou.

‘Little Oblivions’ is the third studio album by Julien Baker. Recorded in Memphis, TN, the record weaves together unflinching autobiography with assimilated experience and hard-won observations from the past few years, taking Baker’s capacity for storytelling to new heights.
It also marks a sonic shift, with the songwriter’s intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo and mandolin, with nearly all of the instruments performed by Baker.

Lost Horizons release their new album ‘In Quiet Moments’ via Bella Union. The album features a stellar array of musical guests including John Grant, C Duncan, Marissa Nadler, Porridge Radio, Penelope Isles, Karen Peris (the innocence mission), Tim Smith (Midlake), Ren Harvieu and many more.
In 2017, Simon Raymonde and Richie Thomas had both abstained from making music for 20 years until they united as Lost Horizons and released a stunning debut album, ‘Ojalá’ - the Spanish word for ‘hopefully’ or ‘God willing.’
“These days, we need hope more than ever, for a better world.” Thomas said at the time. “And this album has given me a lot of hope. To reconnect with music.... And the hope for another Lost Horizons record!” Thomas’ hopes had a mixed response.
On the plus side, the new Lost Horizons album ‘In Quiet Moments’ is an even stronger successor to ‘Ojalá’ with another distinguished cast of guest singers and a handful of supporting instrumentalists embellishing the core duo’s gorgeously freeflowing and loose-limbed blueprint that one writer astutely labelled, “melancholydelia.”
On the minus side, any hope for a better world, as Earth continues to freefall toward political and social meltdown. Then, to make matters worse, as Raymonde and Thomas buckled down to create the improvised bedrock that Lost Horizons is built on, the former’s mother died. At least Raymonde had a way to channel his grief.
“The way improvisation works,” he says, “it’s just what’s going on with your body at the time, to let it out.”
Raymonde (bass, guitar, keyboards, production) and Thomas (drums, occasional keys and guitar) forged ahead, creating 16 instrumental tracks to send to prospective guests. When he did, Raymonde suggested a guiding theme for their lyrics: “death and rebirth. Of loved ones, of ideals, at an age when many artists that have inspired us are also dead, and the planet isn’t far behind. But I also said, ‘The most important part is to just do your own thing, and have fun.’”
Lost Horizons’ melancholy-delia also feels buoyed aloft by airy currents, informed in part by Raymonde and Thomas’ former respective bands: the legendary Cocteau Twins and Dif Juz. Their former bands were labelmates on 4AD in the mid-80s, which is how they first met.
“I think ‘In Quiet Moments’ is more in the direction of where we’re going,” Thomas concludes. “People have retreated into their lives and, in those quiet moments, reflected on the world, how we fit in and who we and trust. Maybe the next album will be about rebellion! But the road is long and winding. We just need to express ourselves in how we feel at the time.”
Coloured vinyl 2LP (disc one green, disc two blue) in PVC outer sleeve with printed text, 350gsm wide spined sleeve on uncoated/reverse board, 16pg booklet on standard paper with contributions from all featured artists and digital download code.

An album of our times, Newcastle band Maximo Park return with
their seventh full length, ‘Nature Always Wins’.
The album arrives as something of an examination, zeroing in on the
notion of the self, identity as a band and that of humanity as a
whole. The album’s title nods to the famous Nature vs Nurture
debate. Discussing whether change is capable under the influence of
time, perspective, environment or if we are destined to be bound by
our own genetics, it asks, “who are we, and who do we want to be,
and do we have any control over it?”
“I’m so happy we were able to make this album during lockdown, as
it’s been a challenging time for everyone. After almost 4 years since
‘Risk To Exist’, we wanted to explore new musical territory (for us)
without sacrificing our trademark melodic twists and heartfelt lyrics.
As always, the passing of time looms large, although the songs
contain more affection for the past than before, and there are
occasional hints of the fractious, divided time that we live in.” -
frontman Paul Smith
Produced by Atlanta-based Grammy-winning producer Ben Allen
(Animal Collective, Deerhunter), who afforded the band freedom to
play and create. What wasn’t anticipated was how that freedom
would be soon be stripped, as lockdown restrictions left the band
recording remotely across Newcastle, Liverpool and Atlanta with
audio files bounced back and forth, 4000 miles across the world.

An album of our times, Newcastle band Maximo Park return with
their seventh full length, ‘Nature Always Wins’.
The album arrives as something of an examination, zeroing in on the
notion of the self, identity as a band and that of humanity as a
whole. The album’s title nods to the famous Nature vs Nurture
debate. Discussing whether change is capable under the influence of
time, perspective, environment or if we are destined to be bound by
our own genetics, it asks, “who are we, and who do we want to be,
and do we have any control over it?”
“I’m so happy we were able to make this album during lockdown, as
it’s been a challenging time for everyone. After almost 4 years since
‘Risk To Exist’, we wanted to explore new musical territory (for us)
without sacrificing our trademark melodic twists and heartfelt lyrics.
As always, the passing of time looms large, although the songs
contain more affection for the past than before, and there are
occasional hints of the fractious, divided time that we live in.” -
frontman Paul Smith
Produced by Atlanta-based Grammy-winning producer Ben Allen
(Animal Collective, Deerhunter), who afforded the band freedom to
play and create. What wasn’t anticipated was how that freedom
would be soon be stripped, as lockdown restrictions left the band
recording remotely across Newcastle, Liverpool and Atlanta with
audio files bounced back and forth, 4000 miles across the world.

The ultimate pressings of the Beach Boys discography from Analogue Productions!
Original mono mix produced by Brian Wilson
One of 10 titles featuring 33 1/3 mono and stereo remastered editions: Surfin' USA, Surfer Girl, Little Deuce Coupe, Shut Down Vol. 2, All Summer Long, Today!, Summer Days (And Summer Nights!!), Beach Boys Party!, Pet Sounds and Smiley Smile
Mastered by Kevin Gray at Cohearent Audio, most from the original master tapes or best sources available
Lacquer plating by Gary Salstrom and 180-gram vinyl pressing by Quality Record Pressings!

"It was Pet Sounds that blew me out of the water…I love the album so much. I've just bought my kids each a copy of it for their education in life. I figure no one is educated musically 'til they've heard that album." – Paul McCartney

"All of us, Ginger (Baker), Jack (Bruce), and I consider Pet Sounds to be one of the greatest pop LPs to ever be released. It encompasses everything that's ever knocked me out and rolled it all into one." – Eric Clapton

"For those in search of an original mono in pursuit of sonic quality, search no more. This Analogue Productions pressing is now the definitive pressing and the one we chose to feature at our Classic Album Sundays events to honour the 50th anniversary of Pet Sounds, an album that helped change the course of pop music." — Colleen ‘Cosmo' Murphy, Classic Album Sundays

"Overall though, this new reissue is the best sounding of all. The bottom end has more weight and solidity and the instrumental separation and front to back layering is nothing short of astonishing compared to the pleasing mush offered up by other editions. ... Pet Sounds belongs in every serious rock record collection and if you're going to have but one version this one from Analogue Productions is the one to have." — Music = 11/11; Sound = 11/11 - Michael Fremer, AnalogPlanet Read the whole review here.

"What I can say is that Kevin Gray has been able to extract every last bit of information from whatever tape is in the box, and present it in a way that is pleasing and natural to the ear. ... in my opinion, the Analogue Productions pressings are now THE definitive issue of each Beach Boys album, and will be my reference copies until if and when something better comes along — which may be never." — Lee Dempsey, Endless Summer Quarterly, Summer 2015 Edition

To meet the standards of Analogue Productions, our Beach Boys album reissues had a mission to achieve: Present the band's music the way that Brian Wilson — famed co-founder, songwriter and arranger — intended. Mono mixes created under Wilson’s supervision were how the surf rockin’ California crew rose to fame! And we’ve got ‘em!

For the early part of the Beach Boys' career, all of their singles were mixed and mastered and released only in the mono format — they didn't release a single in stereo until 1968. In those days, hits were made on AM radio in mono. And the mono of those times worked well for Wilson, who suffers from partial deafness. In fact, for their first 13 albums, Wilson originally turned in all the final mixed Beach Boy albums to Capitol Records only in mono. The mono mixes were where Wilson paid intense attention, and the dedication paid off!

We’ve taken 10 of the most classic, best-sounding Beach Boy titles ever and restored them to their mono glory!

But there’s no disputing that the close harmonies and one-of-a-kind rhythms of hits like “Surfer Girl,” “In My Room,” “Little Deuce Coupe” and more lend themselves naturally to stereo. So we’ve got your 2-channel needs covered with prime stereo mix versions as well.

Mastered by Kevin Gray, most from the original master tapes, and plated and pressed by Quality Record Pressings, the finest LP pressing facility in the world, these are awesome recordings to experience. And the look of each album befits its sonic superiority! Presented in "old school" Stoughton tip-on jackets, these time honoured favourites shine brighter than the originals!

Pet Sounds is famous for its use of multiple layers of unorthodox instrumentation as well as other cutting edge audio techniques for its time. It's considered the best Beach Boys album, and one of the best of the 1960s. The group here reached a whole new level in terms of both composition and production, layering tracks upon tracks of vocals and instruments to create a richly symphonic sound.

Conventional keyboards and guitars were combined with exotic touches of orchestrated strings, bicycle bells, buzzing organs, harpsichords, flutes, Theremin, Hawaiian-sounding string instruments, Coca-Cola cans, barking dogs, and more. It wouldn't have been a classic without great songs, and this has some of the group's most stunning melodies, as well as lyrical themes which evoke both the intensity of newly born love affairs and the disappointment of failed romance (add in some general statements about loss of innocence and modern-day confusion as well). The spiritual quality of the material is enhanced by some of the most gorgeous upper-register male vocals (especially by Brian and Carl Wilson) ever heard on a rock record. "Wouldn't It Be Nice," "God Only Knows," "Caroline No," and "Sloop John B" (the last of which wasn't originally intended to go on the album) are the well-known hits, but equally worthy are such cuts as "You Still Believe in Me," "Don't Talk," "I Know There's an Answer," and "I Just Wasn't Made for These Times." It's often said that this is more of a Brian Wilson album than a Beach Boys recording (session musicians played most of the parts), but it should be noted that the harmonies are pure Beach Boys (and some of their best).

VH-1 named Pet Sounds as the No. 3 album in the Top 100 Albums in Rock 'n' Roll History, as judged in a poll of musicians, executives and journalists. It's been ranked No. 1 in several music magazines' lists of the greatest albums of all time, including NME, The Times and Mojo Magazine. It was ranked No. 2 in Rolling Stone's 500 Greatest Albums of All Time list.

Mats Gustafsson - Flute, baritone sax, live electronics, Johan Berthling - Electric bass, Andreas Werliin - Drums with Goran Kajfes - Quartertone trumpet, Mats Aleklint - Trombone, sousaphone, horn arrangements. Fire! tracking new paths and reaching new levels of excellence, still honoring their 12 year old vow of presenting a fresh approach to improvised music. Their debut album, You Liked Me Five Minutes Ago, was released in 2009 to wide international acclaim. "The basic strategy of pairing the expressive energy of free jazz with a sturdy sense of groove has yielded something potent and self-contained" (New York Times). Between this and Defeat there's been five albums, including collaborations with Jim O'Rourke (Unreleased?, 2011) and Oren Ambarchi (In The Mouth A Hand, 2012). No two Fire! records sound the same, but with Defeat they have taken their biggest leap so far, with Gustafsson giving the flute a prominent place in the sound image, a surprising and most successful move, his both expressive and ornamental approach given ample room to breathe, especially on the two long tracks bookending the album. In places more subdued than on previous efforts, but with the distinctive bass figures and hypnotic mood fully intact. There are some lively stretches with guests Goran Kajfes and Mats Aleklint, bringing to mind their big band offshoot Fire! Orchestra, albeit on a smaller scale. For over 20 years we have made a habit of releasing music that is beyond easy classification, in later years typified by Hedvig Mollestad, Elephant9 and Krokofant, but cemented by Fire! and their exploratory curiosity and deep love of music in general. We, and many others, have tried to compare the trio to other groups, but listening to Defeat we realize how futile this is. Given the above there's no doubt there are many influences at play, but the resulting brew is in a class by itself.

It was the end of a century, and as the 1990s inevitably applied its brakes, Dubstar were sent flailing through the windscreen of popular music. Their third album, the unfortunately-titled Make It Better, lay bleeding at the side of the road, itself a casualty of one-too-many personal and professional traumas.


In the following years there were some half-hearted attempts to record more music- even the occasional, low-key live appearance here and there- but it wasn’t until 2015 that Sarah Blackwood and Chris Wilkie found themselves formally reconstituted and writing new material in dedicated earnest. Not because it was expected, but because they couldn't help it.

With the support and encouragement of legendary producer Youth, they began sessions for One, which represented the beginning of a new chapter in the Dubstar story, and one which has audibly benefitted from the passing of time. The album is generally considered to be the first worthy successor to their platinum-selling debut Disgraceful, and serves as generous compensation for the wilderness years, while promising even better things on the horizon.

The music of porn movies of the 70s became the fad of diggers and Brigitte Lahaie an absolute icon of these years marked by sexual liberation. In 2020, feminist filmmaker Olympe de G. is embarking on the production of an inclusive and ethical

post-porn feature. Brigitte Lahaie, 64, activist for the right to die with dignity, plays the main role, driven by her deep desire to free the bodies and sexualities of women of her age. This film is certainly one of the most beautiful porn movies of the icon Brigitte Lahaie.

The soundtrack of the film is entrusted to Jb Hanak. A figure in the musical underground, this hyperactive has been multiplying projects for more than 20 years. With the group dDamage he formed with his brother Fred, he explored the frontiers of Hip Hop, IDM and electro. With Cobra, a punk rock group to be taken to the 14th degree, they crossed the lands of the absurd. At the end of 2020, he will release an album with actor Pierre Richard. At the same time, he exhibits his plastic works in art galleries ... hyperactive we have said.

Raleigh Ritchie releases his highly anticipated second album, ANDY. A twelve track project, Andy sees Bristol born and London-hailing Raleigh holding a colossal magnifying glass to himself. Over the production, for the most part, from long-term collaborator Chris Loco but also, the incredibly talented GRADES on “Time In A Tree” and “27 Club”, Raleigh leaves no stone unturned. The album is a creation of heartbreakingly honest songs that seamlessly fuses sweeping soul and mellow R&B with forward-thinking electronica and gutsy orchestral moments. (Raleigh has become well known for working with the sensational Rosie Danvers and Wired Strings.) This is a truly powerful record, a long-awaited return that packs a poignant punch.

It has been four years since Raleigh aka Jacob Anderson, released his inaugural debut album You’re A Man Now Boy but fans have not been left wanting. When he wasn’t releasing music, performing at his sold out show at Shepherds Bush Empire, or alongside Stormzy in his iconic Glastonbury headline, featuring on Gang Signs & Prayer, Stormzy’s critically acclaimed debut, or acting as Grey Worm in the hit HBO series Game Of Thrones, he was and is “Andy”.

More than 90 years after their creation, THE RED ARMY CHOIR – still today one of Russia’s pure artistic gems – have become universal and their reputation cannot be ignored! Inseparable from the revolution that would give birth to the Soviet Empire. The Ensemble was originally dedicated to celebrating the founding father of Bolshevism, Vladimir Ilyich Ulyanov, says Lenin… Even though they were, in fact, founded four years after his death! Lenin as well as the The Red Army Choir, remain two symbols of the Russian revolution, even if the tyrannical period of Stalin and the Soviet purges have passed, the Ensemble distances itself from any political representation by being consecrated as an international icon and today the most famous choir in the world.



This album takes us back to the origins of sedition and revolutionary songs, even before the Red Army Choir also became the heroes of the great patriotic war against the Nazis.

For the first time, far from the folk songs often associated with their repertoire, this album offers an anthology of the most famous Russian revolutionary songs. A disc completely remastered, original recordings to collect… Like an artistic bridge linking the history of music and the great history of the world.

It has been twelve months since singer-songwriter Lucy Spraggan chose to go sober, and life has changed a lot. In fact, the present day Lucy Spraggan is, in a multitude of ways, unrecognisable from the person of yesteryear. Control - both relinquishing it and taking it back - plus rediscovering oneself, is a recurring theme of the past year and Spraggan’s forthcoming album Choices. Aptly named, the songs that comprise the collection offer insight and introspection that saw her let go of alcohol, embrace exercise and a healthier lifestyle, move onwards through a divorce and find solace in its wake. Needless to say, it may have been necessary, but it was by no means easy. In conclusion, “it’s really just been an enlightening thing.”

This is KORPSE, a quartet of death metal destruction from The Netherlands. Insufferable Violence marks KORPSE’s third full-length album, set for release via the indomitable Unique Leader Records on 26th February. By far the most brutal and dark album KORPSE has produced yet, the band deliver eleven tracks of jaw dropping Death Metal carnage. During Insufferable Violence’s forty-two minutes of chaotic punishment and depravity the band seem on a mission to turn their listener to dust beneath a ceaseless torrent of immensely heavy slam breakdowns, inhuman vocals, grinding speed and aggression. KORPSE once again bring their no-nonsense approach to the slamming death genre with no compromise or false overstatements in one of this year’s heaviest releases. The result is a deeply uncomfortable listen. Comments KORPSE: “We are very proud to present to you our third album called Insufferable Violence. The title is an obvious metaphor for what to expect from the new tracks; relentless brutal death metal in our signature style of the genre. Obviously, the songs are fast, brutal, aggressive, slow and groovy, but we didn't shy away from trying new things. We've incorporated a lot of death metal's neighbouring genres to spice up the mix, varying from beatdown to black metal, and from goregrind to tech death. We feel this is the absolute best album we are able to deliver at this point in our career and we sincerely hope you will become as excited about it as we are!” Founded by drummer Marten van Kruijssen in 2013 together with vocalist Sven van Dijk, guitarist Floor van Kuijk and bassist Robin van Rijswijk, KORPSE are widely regarded for their savage and uncompromising live shows. Previous albums the self-titled Korpse debut (2014) and Unethical (2016) grabbed the immediate attention of fans and press worldwide whilst allowing the band to tour throughout Europe and the USA playing many Summer festivals including Deathfeast, Neurotic Deathfest, Obscene Extreme, Stonehenge, Berlin Deathfest, Nice To Eat You Deathfest, UK Slamfest, Slamming Brutality, Fall in the Brawl, Chicago Domination Fest, New York Deathfest, Heidelberg Deathfest and touring with bands such as Scordatura, and Extermination Dismemberment. If by the end you’re not mauled to pieces, congratulations, you’ve just become one of the survivors of KORPSE’s aural battering ram.

TERMINAL BLISS makes their Relapse Records debut with the unrelenting album Brute Err/atta! A veritable who’s who of Virginia punk, the band features vocalist Chris and guitarist Mike Taylor (Pg. 99 and Pygmy Lush), drummer Ryan Parrish (Darkest Hour, Iron Reagan, City of Caterpillar) and bassist Adam Juresko (City of Caterpillar). Inspired by the likes of Born Against, Gauze and Void—not to mention Black Flag, Crass, Negative Approach, Disrupt, Necros, Crossed Out and Disclose—TERMINAL BLISS conducted their first band practice on January 14 th, 2020. Just six weeks and five practices later, they were recording their full-length debut with Majority Rule frontman Matt Michel in the engineer’s chair. The name TERMINAL BLISS was born out of the merciless consumerism and environmental destruction that are America’s enduring legacy. From dystopian, sci-fi themes in tracks such as “March of the Grieving Droid”, to the apathy of the checked-out masses on “Small One Time Fee” and the personal recount of loss and the inefficacy of our healthcare system in "Clean Bill of Wealth", it’s the merging of personal experience and social critique that has informed the punk edge behind the members of TERMINAL BLISS for decades now. For TERMINAL BLISS, it’s become a crucial combination born of decades of playing live. (Unfortunately, the band’s first show was cancelled when the US began its COVID-19 lockdown.) “I realized early on that if you don’t write something that resonates with yourself on a fundamental level, it’s going to get trite when you’re performing night after night,” Chris Taylor says. “So, with the idea in mind that we’ll eventually play shows, I always try to write something that will resonate.”

Those Once Loyal is the eighth and final album by the British death metal band Bolt Thrower. It was released on 11 November 2005 in Germany, 14 November 2005 in the rest of Europe and 15 November 2005 in the United States by Metal Blade Records. It was recorded and mixed at Sable Rose Studios in Coventry, England. It is produced by the band and Andy Faulkner. With Bolt Thrower deciding against releasing a follow-up to Those Once Loyal, it was Bolt Thrower's final studio album before breaking up a year after drummer Martin Kearns' death in September 2015. Like all of Bolt Thrower's albums, Those Once Loyal deals with war, specifically World War I. The cover shows a World War 1 QF 18 pounder field gun and its crew in action and is based on an original WW1 photograph. The picture is also found on the back side of the Guards Memorial in St James's Park in London.

One of Britain's most consistent and enduring death metal bands, Birmingham's Bolt Thrower has weathered the best and worst of times in the extreme genre's history without ever giving in to commercial temptations, or hardly even altering its sound. The fact that they were unusually blessed with a steady lineup throughout much of their career no doubt contributed to this stability, and though they were rarely bestowed wild praise for their efforts, with most of their competitors or contemporaries either adopting other styles or long retired, Bolt Thrower has gradually established itself as one of the best death metal bands ever to emerge from England. - Ed Rivadavia (All Music Guide)

A deluxe vinyl reissue of Demigod's 2002 album Shadow Mechanics. This version comes with a gatefold sleeve and is limited to 500 hand-numbered copies on violet splatter vinyl. Demigod’s criminally underrated second album of cult Finnish Death Metal from 2002 released on vinyl for the first time! Melodic, brooding and doom-laden death metal, punctuated with full-fledged scorchers such as the fierce and blasting "Gates of Lamentation", makes Shadow Mechanics an unpredictable treat, way ahead of its time. This seven-Finn act's potent, driving obscure death metal dispenses pure surges of metal-laced adrenaline thanks to the gruesome vocals and a monstrous Finnvox production. Layering the album with more solemn and atmospheric cuts, Shadow Mechanics shows Demigod pushing at the boundaries of their sound and the conventions of the scene at the time. Pressed in a limited quantity of 500 hand-numbered copies on violet splatter vinyl, with a gatefold sleeve and old-school classic Demigod logo replacing the typeface of the original CD issue, this highly collectible new Svart Records pressing is a treasure for any self-respecting Finnish Death Metal connoisseur to complete their collection.

The self-titled, full-length debut from Bones Owens is a selection of songs both gloriously gritty and undeniably euphoric. In a bold departure from the moody Americana of his acclaimed EPs Hurt No One and Make Me No King, the Missouri-bred musician’s first release with Thirty Tigers delivers a powerful sound deeply inspired by ’60s garage-rock, Hill Country blues, and the swampy roots-rock of bands like Creedence Clearwater Revival (“the first record I remember stealing from my dad when I was ten and just starting to play guitar,” according to Owens). A potent showcase for his formidable guitar work—a talent he’s displayed in performing with artists as eclectic as Yelawolf and Mikky Ekko— Bones Owens arrives as a full-tilt expression of Owens’ wildest impulses, all swinging rhythms, and swaggering riffs. Featuring heavily playlisted hits like “White Lines” and “Keep It Close,” Bones Owens came to life at The Smoakstack in Owens’ adopted hometown of Nashville. With production from studio owner Paul Moak—a five-time Grammy Award nominee who’s also worked with Joy Williams, Marc Broussard, and The Blind Boys of Alabama. “This album really came from opening for some good people over the last few years, from feeding off that energy from the crowd and wanting to write more songs that would feel exciting to play live,” says Owens, who’s recently toured with Reignwolf and Whiskey Myers. “It felt like the right approach to keep the production simple and record everything to tape - I think it creates a good type of nervousness that brings out the best in everyone. Nobody wants to be the one to mess up the take. Besides, all my favorite records were made that way. You can’t fake that sound.”

On his first full length effort, singer / songwriter Mav Karlo, otherwise known as Menno Versteeg, offers up a much more elaborately realized, yet no less intensely intimate body of work. With its gracefully sparse arrangements, the album centres on Versteeg’s lyrical storytelling, revealing a narrative voice deeply attuned to the beauty in the ordinary and routinely overlooked. Strangers Like Us closely documents an especially tough period in Versteeg’s life but the album ultimately showcases an undeniable courage in its commitment to truth-telling and unsparing self- examination. He is supported by spirited guest performances from Katy Goodman of Vivian Girls (on vocals), Charlie Spencer of Dizzy (keys, drums) and Versteeg’s Hollerado bandmate Nixon Boyd (guitar, bass). Album produced by Chris Coady (Yeah Yeah Yeahs, Amen Dunes, Beach House) and recorded at Sunset Sound and Sonic Ranch. Menno Versteeg is the owner of Royal Mountain Records and a former member of both Hollerado and Anyway Gang.

Be No Rain, the moniker of South London’s Sam Frankl is a project that was born out of a studio decked out with disco balls, fairy lights and fake ivy; a perfect aesthetic to the sound that followed.“It felt like there needed to be a character that could be as flamboyant as I wanted to be and remove the constraints that being human leaves you with” Frankl explains “It was incredibly liberating”.It’s about being trapped into that infinity loop of emotions, like a cartoon character wandering through a world he never quite understood”.The debut album from Frankl comes on the back of a collaboration with Armin Van Buuren on single Hollow. All album’s come signed by Frankl.

When I think I refused the first one, what an unconsciousness! "It was in these terms that Serge Gainsbourg expressed, in 1977, his joy at seeing his talents as a composer finally associated with the adventures of Emmanuelle, embodied on screen by the sensual Sylvia Kristel. For a long time, he bit his fingers for declining the offer to compose the soundtrack for the first part of the erotic saga. In France, only one 45 rpm appeared on Philips in 1977, regrouping the song "Goodbye Emmanuelle" and the instrumental "Emmanuelle and the Sea". However, Goodbye Emmanuelle's soundtrack was released in October 1977 as a nine-track LP reserved for the Asian market (Japan and Hong Kong). Enriched with two bonus tracks, this extremely rare LP is finally available in the UK. Reviews in London Macadam, and L’Echo Ads London Macadam and L’Echo

Attention RARE! For the first time in UK, Annie Girardot's vinyl "Vivre pour Vivre“. Released by Polydor in 1967 only in Canada! It is on the occasion of the 10 years of her death that we are releasing this vinyl. This great lady of French cinema who was the most popular actress of her generation and had collaborated in the 1960s for this album with among others the famous author Françoise Dorin. Find the magic of the 60s and all the tenderness and charm of Annie Girardot in this unique album. Reviews in London Macadam, and L’Echo Ads London Macadam and L’Echo

The “nighters” at Wigan Casino initially ran from 2am-8am every Saturday night/Sunday morning. From midnight onwards, crowds would gather outside and spill over onto the road blocking the local traffic. As attendances grew the crowds became a problem, particularly to the local constabulary, and on the eve of the Casino’s 1st Anniversary – with a genuine threat of closure looming – a momentous decision was made. Gerry Marshall, the Casino’s owner, somewhat reluctantly decided to open the club’s adjoining cabaret lounge, known as “Mr M’s” (named after the man himself).

That night Northern Soul history was made. It was the start of an era, the birth of the “club within a club” and, as it proved to be, a temple to fans of Northern Soul “oldies”. Eventually at 3am the black double doors – which separated Mr M’s from the upstairs balcony of the main ballroom – burst open, and a sea of soulies hit the dancefloor for the very first time to the banging sound of “Hey Sah-Lo-Ney” by Mickey Lee Lane, spun by DJ Alan Cain and featured here in all of its remastered glory (side 1, trk 1).

Such was the incredible response to that first night in Mr M’s in 1974 that a petition did the rounds gaining over a thousand signatures demanding that it should continue every week! What had intended to be an emergency one-off event had unintentionally ended up being the longest, most popular “temporary” oldies venue EVER!

M’s, as it was more affectionately known, soon became the No.1 oldies venue in the 70s. It was unashamedly “100%” oldies and “100mph” dance tunes!!! It was like an engine room churning out vinyl memories week in, week out and the atmosphere and sounds are captured here!

• Around the second anniversary of Chas Hodges’ passing, his son Nik began going through Chas’s multitracks and picking the pieces that he felt his dad would’ve considered finished and ready to be heard by all. Back in 2007, Chas had bought himself a digital hard-disk multi-track “portastudio” recorder, which allowed him to make fully-produced recordings rather than just rough demos, playing all the instruments himself.
• So here are fourteen previously unreleased wonderful gems – ten original songs and four covers. The originals include instant classics like “Street Games” and “Rock ‘n’ Roll Allotment”, as well as two songs written with the “Only Fools And Horses” West End musical in mind, “Trigger (Is What I’m Known As)”
and “What You Got You Gotta Show It”.
• The standard “I Can’t Give You Anything But Love” is given the unmistakable Chas Hodges treatment, and the album ends with his touching rendition of The Beatles/John Lennon classic “I’m So Tired”.
• The artwork includes personal notes by both Chas’s wife Joan and son Nik, as well as previously unseen photos.

Machine is the second studio album by the American industrial metal band Static-X, released in 2001. The album can be considered post-modern metal, as it features electronics and industrial effects, and not just a pinch of electronic gadgetry. Critics and fans responded positively to this album, which peaked at #11 on the Billboard 200 charts. The song “Black and White” provided the album’s first single and music video, followed by “This Is Not”. The third single “Cold” is used on the soundtrack of the film Queen of the Damned. Machine is available as a a limited edition of 1000 numbered copies on transparent red vinyl.

Set in Mumbai’s underground rap scene, Gully Boy is inspired by the lives of Mumbai rappers Naezy and Divine (a.k.a. Naved Shaikh and Vivian Fernandes respectively). Ever since Indians started protesting or expressing dissent about an existing political system, songs have always been a major weapon, and Gully Boy, lyrically and musically, is a triumph!
The soundtrack features Bollywood superstar Ranveer Singh, who plays the titular Gully Boy, rapping himself, along with a bouquet of writers ( Divine, Naezy, Spitfire, Rishi Rich, Raghu Dixit, Karsh Kale, Midival Punditz, Vivieck Rajagopalan, Dub Sharma, Sez On The Beat, Jasleen Royal, Ankur Tewari, Mikey McCleary, Kaam Bhaari, Ace, Ishq Bector, Prem & Hardeep, Major C), either performed on screen by various artists or playing out in the background.
Gully Boy’s music is the hallmark of change in Bollywood.

Kaleidoscope is the fourth album (and third solo piano album) by French- Georgian concert pianist Khatia Buniatishvili. The album features a unique combination of challenging pieces in which she shows her true virtuosic playing style. Some of the pieces taken on by Buniatishvili on this record are the beloved “Pictures at an Exhibition” by Moderst Mussorgsky on side A, as well as Ravel’s “La Valse” and Stravinsky’s “Petruschka”. Available on vinyl for the very first time. The two LP’s are housed in a heavyweight sleeve with gloss laminate finish. The package includes a 4-page insert. This edition is a feast for both the ears and the eyes.