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DINGGGDONGGGDINGGGzzzzzzz!!!!!!! In the newest record by the iconoclastic Brooklyn-born composer Charlemagne Palestine (b. 1947), find two mesmerizing works for carillon, the keyboard-controlled bell tower derived in the 16th century. On side A, a new piece recorded at the artist's studio in Belgium_a high-ceiling, stuffed-animal-packed paradise he calls Charleworld_among friends and "divinities," his name for the thousands of plush toys he's amassed since the '60s. On the flip side, Blank Forms Editions' very first and long out-of-print release appears on vinyl for the first time: a cathartic street recording of the minimalist composer's 2018 musical eulogy for his late friend Tony Conrad, performed on the bells of St. Thomas Episcopal Church where the two first met. Two mesmerizing "klanggdedangggebannggg" sessions in the Quasimodo of 53rd Street's unmistakable improvisatory style. Perhaps more than any of his contemporaries in the bustling, cross-disciplinary downtown New York arts scene of the '60s and '70s, Charlemagne Palestine has embodied the notion of the artist as playful polymath, testing and transcending nearly every creative form imaginable in his more than six-decade career. Originally trained in Jewish sacred singing to be a cantor, he began his artistic life as a musician, studying piano and accordion, accompanying figures like Tiny Tim and Allen Ginsburg on percussion, using early synthesizers as an assistant to Alwin Nikolais, and eventually landing a long-running gig as the carillonneur at Midtown's St. Thomas Episocal. This libertine spirit of experimentation soon led to adventures in other aesthetic arenas: making kinetic light sculptures with Len Lye, devising choreographed performances with Simone Forti, and producing over a dozen visceral videotapes with the Castelli Gallery. In the '70s, he was particularly prominent on the burgeoning loft movement, becoming well-known for his sparse, intense, and exacting long-form piano concerts, that seemed to bend the very nature of time and space. Beginning in the '80s, he spent decades in self-imposed exile from the new music scene, absconding to a palace in Europe and privately honing his hermetic sonic and visual practice, until his resurgence among record fanatics in the mid-'90s.

One of the most in-demand producers in indie rock, and one half of Foxygen, Jonathan Rado's recordings for The Killers, Father John Misty, The Lemon Twigs, Whitney, and Weyes Blood devour the canon, and return something distinctly modern. On For Who The Bell Tolls For, Rado's first solo release in ten years, the producer unveils a refined version of his signature sound, intricately sculpted by anthemic maximalism and good old-fashioned studio magic. The album is an exercise in mournful maximalism, transforming the mythos of American pop music into a vibrant meditation on death. The spirit of late producer Richard Swift _ Rado's friend and mentor _ can be found across the collection, imbuing tracks like "Easier" with a tangible sense of loss, and Swift-ian turns of phrase. On other songs, such as the addictive "Don't Wait Too Long," Rado paints an arena-ready production with streaks of longing and hopelessness. In many ways, For Who The Bell Tolls For is a musical ode to Swift, nodding to the late producer's legacy with homespun epics that straddle the line between joy and grief. Recorded at Electric Lady Studios, New York and Sonora Recorders and Dreamstar II, Los Angeles, the album features appearances by Rado's frequent collaborators, including The Lemon Twigs, Brad Oberhofer, Andrew Sarlo, Jackie Cohen, and Kane Ritchotte. Despite this esteemed lineup and the gargantuan sound of the record, For Who The Bell Tolls For is a solo album at heart. Rado plays the studio like an instrument, his distinct voice present in every nook and cranny of the structure. This presence can be easily detected in every project that the artist touches, but it's never sounded so honest, so shimmering, or so Rado as it does here.

In the early 21st century on the bustling streets of New York City, Jennifer Vanilla is a container, a portal, a joy delivery system, a self help regimen, a social mirror, a Times Square celebrity, a shark-toothed advertiser, a kicky talk show host and an ebullient mascot. Collaboratively crafted with co-writer/co-producer Brian Abelson , Jennifer Vanilla's debut full length Castle in the Sky is a deft and mercurial "jennifreaky" journey, traversing 90s dance music, no wave, post-punk, art pop, new age and experimental R&B. "Consider this an invitation, I'll be your guide," Vanilla beckons on the album's "Take Me For A Ride," which, like much of the album, is driven by their nimble and virtuosic vocal delivery. Variously steely, theatrical, sensuous and authoritative, Vanilla's vocals harken the sparkling precision of Ann Steel, the growling tenacity of Laurie Anderson and the wispy tenderness of Shelley Duvall in Faerie Tale Theatre. Jennifer Vanilla performances often are exercises in the transformation of reality through fantasy, testing the limits thereof, while the songs of Castle in the Sky are an artifact of that laboratory. Many of these songs took on numerous incarnations over the course of years before arriving at their album form, mutated in direct response to audience reaction. A year after the initial release of Castle in the Sky via Sinderlyn Records, a vinyl edition of the record arrives on December 1, 2023, featuring bonus remixes and reworks from Jerry Paper and musclecars.

Limited edition 300 copies all pressed on mandarin orange coloured vinyl, and housed in a gloss finished full colour outer sleeve with insert, polylined inner bag and download code. Non-Returnable.

Recorded in Finland & the United Kingdom. Winter/Spring 2023

Finnish space travellers Nolla join forces with psychedelic guitar maestro Mike Vest (Bong, Blown Out, Modoki, Artifacts & Uranium, Drunk In Hell)

Inspired by classic space rock, driving hypnotic krautrock and bleak synth soundscapes, the Kaliyuga Express debut album is a story of ends and beginnings, light and darkness, dystopian worlds beyond and their warriors and masters.

Prepare to be blasted into endless black space!

‘Ultra Delays & Octave Hawkwind Guitar Compositions. At the Edge Of Time & The Universe.’

For fans of: Hawkwind, Can, Sun Dial, Bevis Frond, Space Rock, Kosmische Musik etc

Die von Kritikern gefeierte Singer-Songwriterin und globale Pop-Ikone P!NK veröffentlicht am 17. Februar 2023 ihr mit Spannung erwartetes neunten Studioalbums "TRUSTFALL" via RCA Records. "TRUSTFALL" ist ihr erstes Studioalbum seit dem 2019 erschienenen Longplayer "Hurts 2B Human" und markiert eine aufregende Rückkehr der gefeierten Künstlerin zur Musik. Auf dem Album befindet sich natürlich auch die erste Singleauskopplung "Never Gonna Not Dance Again", ein catchy Pop-Track, der von den GRAMMY-Preisträgern Max Martin und Shellback produziert wurde, die den Song auch gemeinsam mit P!NK geschrieben haben. "TRUSTFALL" ist das perfekte musikalische Warm-Up für P!NKs große "Summer Carnival"-Tour im Sommer 2023 durch sieben deutsche Stadien.

Some Songs Of A Dumb World

'The light at sunset is mysteriously pinkish.'

After Trip Trap, TRIP's sub-label GALAXIID releases the debut album by the Species Of Fishes duo. The record, originally released by the Dutch experimental label Korm Plastics in 1994, has influenced two generations of post-Soviet musicians. 'Some Songs of a Dumb World' is like a quest that you can either take up or appreciate as a mosaic of different music styles.

Igor Kolyadny and Vitaly Stern initially worked separately but later shared ideas during home sessions to build their own psychedelic world. They used a large number of cassette samples, including the voices of physicists, paranormal researchers, astronomers, and wildlife TV show hosts, combining them with pulsating rhythms inspired by various electronic music genres. The result, as the duo
described it in an Inverted Audio interview), is 'a sort of alienated, extraterrestrial, studying view on the sound component of human activity.'

For the very first time, the tracks from the debut album by Species Of Fishes are now available on vinyl. The double LP reissue with the refreshed version of the original artwork includes the original tracks, mixed between 1993 and 1994, but re-edited and remastered by Igor Kolyadny in 2021. Two tracks were released on the lesser-known follow-up 'Songs of a Dumb World Part 2', while "Salmon Hunting/Kaluga-Mars" is being released for the first time.

Die neueste Ausgabe der hochgelobten Reggae-Anthologie-Serie von VP konzentriert sich auf den Produzenten Hugh 'Redman' James - A Reggae Revolution powered by Steely & Clevie und Roots Radics bei Channel One und Tuff Gong. Ein Killersong nach dem anderen von Gregory Isaacs, Conroy Smith, Carl Meeks, Sugar Minott, Frankie Paul, Admiral Tibet etc.
Inkl. Innenhülle mit ausführlichen Liner Notes und seltenen, noch nie gesehenen Fotos.

Unverkalt malen Klanglandschaften zwischen Athen und Berlin entdecken - in limitierter Auflage als Col

Unverkalt ist eine Alternative-Rock-Band, die sich zwischen Athen, Griechenland, und Berlin, Deutschland, mit ihrem aktuellen Sitz in Berlin, bewegt. Ihre raue und vielseitige Stimme, kombiniert mit Einflüssen aus dem Post-Rock, Sludge/Doom Metal und der Alternative Pop/Rock-Szene, schaffen eine einzigartige Verbindung, die Unverkalt hervorstechen lässt. Die Musik von Unverkalt ist auch von europäischem Kino, Kunstrichtungen und menschlichen Erfahrungen inspiriert und umarmt Dunkelheit und Romantik.

Die Band wurde 2017 von dem Gitarristen Themis Ioannou und der Sängerin Dimitra Kalavrezou in Athen, Griechenland, gegründet. Gitarrist George Stamkos stieß während der Aufnahmen ihres Debütalbums "L'Origine Du Monde" (2020) zur Band und erhielt positives Feedback aus der ganzen Welt. In den Jahren 2021 und 2022 tourte die Band zur Promotion des Albums hauptsächlich durch Griechenland und Osteuropa. Unverkalt begab sich Anfang 2023 in die Rawbite Studios in Berlin, Deutschland, um ihr zweites Full-Length-Album "A Lump Of Death: A Chaos Of Dead Lovers" aufzunehmen, mit dem neuen Bassisten Spyros Olivotos. Ihr nächstes Kapitel zeigt deutlich, dass die Band ihre eigene Identität gefunden hat und eine klare Vorstellung von ihrer musikalischen Ausrichtung hat

Enigma is the first studio album by the space age, glass-harp powered, tropicalia quartet Os Barbapapas. Understandably, those adjectives could invoke images of kitschiness in one’s mind; that concept is smashed by the ice cold shot of Brazilian jazz riffing in the album’s opener and first single, “Se Liga Na Sequência”.

Os Barbapapas trapeze the vast richness of Brazilian/South American music heritage and beyond, as a collective with members who have variously travelled to Morocco to master Gnawa; played in circuses, or were born in the heartland of samba – these experiences and much more inform the complex yet breezy instrumentals of Enigma.

It’s a joy to pick through the notable influences that resound over Enigma. Ethiopian Jazz bursts from "Caminho para Itiwawa", backed by an Afro-Latin swing, fostered by drummer Barbara Mucciollo. There’s tonalities from North African artists such as Omar Khorshidor West African artists such as Tinriwen and Ali Farka Touré, as well as rhythmic influence from Afro-Cuban and Afro-Brazilian music. The dynamite track “(L)Atitude(S)” contains the explorative excitement of Brazilian 60s luminaries like Pedro Santos, however none are as special as layered percussion of “Gaba Gaba”, connected to the very specific rhythms of Northeast Brazil. It's evident from listening to Enigma that Os Barbapapas are an exceptional live band. They have their sights set on Europe soon, with the Glass Harp packed away safely. Until then please enjoy this electrifying album of their work so far, understanding: this is an extremely exciting project, still in its auspicious infant years

Enigma is the first studio album by the space age, glass-harp powered, tropicalia quartet Os Barbapapas. Understandably, those adjectives could invoke images of kitschiness in one’s mind; that concept is smashed by the ice cold shot of Brazilian jazz riffing in the album’s opener and first single, “Se Liga Na Sequência”.

Os Barbapapas trapeze the vast richness of Brazilian/South American music heritage and beyond, as a collective with members who have variously travelled to Morocco to master Gnawa; played in circuses, or were born in the heartland of samba – these experiences and much more inform the complex yet breezy instrumentals of Enigma.

It’s a joy to pick through the notable influences that resound over Enigma. Ethiopian Jazz bursts from "Caminho para Itiwawa", backed by an Afro-Latin swing, fostered by drummer Barbara Mucciollo. There’s tonalities from North African artists such as Omar Khorshidor West African artists such as Tinriwen and Ali Farka Touré, as well as rhythmic influence from Afro-Cuban and Afro-Brazilian music. The dynamite track “(L)Atitude(S)” contains the explorative excitement of Brazilian 60s luminaries like Pedro Santos, however none are as special as layered percussion of “Gaba Gaba”, connected to the very specific rhythms of Northeast Brazil. It's evident from listening to Enigma that Os Barbapapas are an exceptional live band. They have their sights set on Europe soon, with the Glass Harp packed away safely. Until then please enjoy this electrifying album of their work so far, understanding: this is an extremely exciting project, still in its auspicious infant years

BLUEM is the recording project of Chiara Floris, a London-based singer/songwriter and producer from Sardinia, Italy.⁠ ⁠⁠ With "NOTTE" the London singer-songwriter crafts comforting, yet off-kilter, alternative pop fleshed out with elements of folk and soul. Her work is grounded in a deep understanding of, and appreciation for, Sardinia’s unique heritage and folklore. Her projects invariably allude to ancient Sardinian stories both in the music and in the portfolio of visual art that accompanies each release.

Diamond-certified, eight-time GRAMMY® Award-nominated Travis Scott returns with the long awaited UTOPIA. The fourth full length #1 studio album contains 19 tracks including “I KNOW ?,” “K-POP” with Bad Bunny and The Weeknd, “DELRESTO (ECHOES)” feat. Beyoncé, and “FE!N” feat. Playboi Carti.

Following it's inclusion on Athens of the North's fabulous new compilation of underground UK soul Just A Touch, Freestyle Records drop a sorely needed 12" reissue of Sonja Ryshard's Step Back - mastered direct from the 1/2 tape, and served with the killer dub on the flip. Grab it quick!

PHORMA makes its return from a prolonged hiatus with the second release by Stockholm's very own Adam Craft. The enigmatic EP, "Renata Tracks II," delicately unfolds like a well-kept secret. Kicking things off, "Pace (Variation)" mystically opens the EP. Meanwhile, "Pace," the second track, proves itself equally versatile, capable of setting the tone for the evening's outset or carrying you through late-night after-hours. Flipping over to the B-side, "Into Dust" takes center stage, a relentless and pulsating dub techno masterpiece that will undoubtedly get dance-floors moving. As we bid farewell to this extraordinary EP, "I Only Said" will be your soundtrack to the exit. Renata Tracks II is accompanied by the captivating sleeve design crafted by the talented New York-based artist, Sebastian Lemm.

In a recent interview, the California artist Jim Haynes was asked to name his top five noise albums. In quick fashion, he listed off Kill The King, Send, Desnos, Persona, and Carcinosi. Since then, he's equivocated on which albums to choose, but the artists behind such works remain as the adjacent signposts and landmarks to his own constructions of industrial noise. How those records connect to the output from Haynes is found in their unique combination of smoldering dynamism and psychological inquest. For over twenty five years, Haynes has been an autodidactic clinician into the processes of corrosion, decay, and rust, turning his attention away from visual practices and more to the metaphoric crucible of noise and sound. By now, it seems like a cliche that the pandemic changed everything; but since that viral encroachment, there is a noticeable shift in Haynes' work post 2020. It's more aggressive and yet more controlled: a rarification and telescoping of the research into decay for more potent noise and more potent metaphor.

The tools for Haynes' work remain limited: motors, electronics, shortwave radio, found objects, all applied with considerable pressure. Compositionally, Inauspicious is a very rough moire pattern from overlapping elliptical structures that can negate and obfuscate just as easily as they can compound and aggregate. The album surges and collapses upon the two twenty minute chunks of controlled noise that follow an internal logic that snakes from brooding power drones, spectral radio transmission, and an aktionist demolition cast upon metal, glass, and unfortunate wooden objects. Rupture and release. Purge and pulse.

Produziert von No Doubt und aufgenommen an verschiedenen Orten in Südkalifornien, einschließlich des selbstgebauten Studios der Band in der Beacon Avenue in Anaheim, Kalifornien, enthält die ursprünglich selbst vertriebene ”The Beacon Street Collection” 10 Tracks, die die Band in der kreativen Phase vor dem Debüt ihres Blockbuster-Albums Tragic Kingdom unabhängig voneinander veröffentlichte. Jetzt ist sie zum ersten Mal offziell auf Vinyl erhältlich. Gepresst auf schwarzem 180-Gramm-Vinyl.

Capitane Records freut sich, die Veröffentlichung von Moping in Style ankündigen zu können: Eine Hommage an Adam Green. Auf diesem mitreißenden Doppelalbum sind Regina Spektor, Father John Misty, Devendra Banhart, The Libertines, Jenny Lewis, Sean Ono Lennon, Frankie Cosmos, The Lemonheads und viele andere bekannte Namen zu hören, deren Beiträge Adam Greens Position als feste Größe des Indie-Rock der letzten zwei Jahrzehnte belegen. Mit einer Songauswahl aus Adams Soloalben, angefangen bei Garfield aus dem Jahr 2002 bis hin zu seinem letzten Album That Fucking Feeling, zeigt dieses Tributalbum Adams bemerkenswerte Bandbreite als Songwriter.Weithin bekannt als eine Hälfte des Songwriter-Duos The Moldy Peaches, hat Adam Green seit den frühen 2000er Jahren einen einzigartigen Einfluss auf seine Generation von Musikern und Künstlern ausgeübt. Seit den frühen Nuller, als Bands wie The Strokes, The Libertines und The White Stripes begannen, das neue Kapitel der Indie-Kultur zu schreiben, spielte Adam eine wesentliche Rolle dabei, an einem Dienstag voller gezielter Katastrophen zu verlieren? oder Bartholemew, bring me a fork? Von seinen frühen bis zu seinen jüngsten Songs haben sich die Fans von Adam Green an der kaleidoskopischen Landschaft der Sprache erfreut, die er malt. Mit seiner lyrischen Vorstellungskraft öffnet er Türen möglicher Bedeutungen und schafft es, absurd zu sein, ohne absurd zu sein, und anzüglich, ohne offenkundig provokativ zu sein. Er fädelt die sehr zarten künstlerischen Nadeln von Zärtlichkeit und Humor, Kitsch und hoher Kunst, Rock'n'Roll und Fackellied. Neben den Moldy Peaches und seinen Soloalben umfasst Adam Greens beeindruckendes Werk mehrere Serien von Gemälden, Skulpturen, zwei Filme in voller Länge und sogar epische Gedichte. Um es nicht zu sehr auf die Spitze zu treiben, aber für viele seiner Generation - zumindest für die Eingeweihten - hat Adams Statur fast Warhol-ähnliche Ausmaße erreicht. In einer Zeit, in der die im vorigen Jahrhundert Geborenen vielleicht den Verlust dessen bedauern, was wir kollektiv als "Gegenkultur" in Erinnerung haben, erinnert Adam Green uns alle an eine komplexere und reichere Ära des künstlerischen Dialogs. Für eine jüngere Generation von Songwritern, von denen einige auf Moping in Style zu hören sind, hat Adam den Weg geebnet und die Richtung gewiesen. Aus den geschickten musikalischen Händen seiner brillanten Mitwirkenden hören wir neue Sichtweisen auf Adams Songs und stellen fest, dass Adam Green vielleicht genauso sehr wie jeder andere der oben erwähnten Koryphäen des 20. Jahrhunderts dem großen George Gershwin ähnelt, einem Meister der Melodie und des Liedes. Dopple-Vinylalbum/CD Mit Devendra Banhart / Regina Spektor & Jack Dishel / Father John Misty / The Lemonheads / Sean Lennon / The Libertines / Binki Shapiro / Jenny Lewis / The Lemon Twigs / Frankie Cosmos / Ben Kweller / Kyp Malone (TV on the Radio) / Rodrigo Amarante / Joanna Sternberg / Hubert Lenoir / Jeffrey Lewis / Turner Cody / The Cribs / The Pirouettes / Vincent Delerm / Herman Dune / Cut Worms / Ben Lee / Lou Barlow / Jonathan Rado (Foxygen).

East coast garage band. Remastered from orig tapes with new liners

Includes a cover of Sleng Teng and 4 or 5 other killers

stylistic dancehall toaster from the Kilimanjaro sound system

Every record looks different in terms of colors.

Głós
I welcome Głós on my label. Głós, currently based in Tokyo, Japan has made a point out of not following the sometimes linear Techno patterns with his artistry. He comes from a band-focused Rock-environment and runs his own label, arranged to be a wildly experimental project. In his earlier years, Głós was in several ways a close contributor to the Ressort Imprint label. However, with "Scarlit Scandals" he delivers a perfect hypnotic track, not too calm, not too fast with a deep kick.

More Influenza
More Influenza is a techno DJ/producer duo in Puglia (Italy) based and Resident DJ at WAYS collective. Their style is characterized by dirty sounds and repetitive rhythms influenced by the productions of the late 1990s. Vinyl lovers and avid collectors, More Influenza bring their passion for analog music and sonic eclecticism to their artistic experience. Perfect for Balders Audio. Welcome!

Mayday Parade is celebrating the 10th Anniversary of their fourth studio album, Monsters In The Closet, with an expanded vinyl reissue. The LP includes six previously unreleased demos and alternate cover art, complete with an etching on the d-side. The original July 2013 release debuted at #10 on the Billboard 200, and #16 on the UK Independent Singles Breakers. Kill Your Stereo dubbed the album “Mayday Parade’

Elvis Back In Memphis is an album by Elvis Presley, released in 2023. Elvis Back In Memphis includes a.o. the following tracks: “ Inherit The Wind”, “ Stranger In My Own Home Town”, “ You'll Think Of Me”, “ Without Love (there Is Nothing)” and more. The album is a Coloured Vinyl, High Quality rock & roll LP.

"North London’s midnight man tumbles out his treehouse to deliver twelve potions of minor healing in “Iron Day”, his questing, soul-salvaging songbook. Brimming with majesty and maraud in equal parts, Genghis Cohn synthesises trad. English folk and woe with surrealist dream sequences on this debut long-player. A romance of two hedgehogs, devotional bone temples, broken shadows and sausage kings, GC conjures Brent Hayward strolling through the silver birch and presents to us, in a warmly recognisable form, a grand slab of folk music that challenges its ancient rewards.

Previous acquaintance with GC's lean, amorphous strain of experimental home recordings may encounter a menacing apprehension whilst trying to settle in the splendour of "Iron Day", unnerved by it's posture and the anticipation of songs dissolving or amalgamating in rust and gob at any moment. Still minimalist and direct, but delivered by an altogether different jester, songwriting that has featured in many previous works is smithed into fine, well-wrought suites that build and blend through paced, tempered sequencing and playful, intricate storytelling.

Amidst cavernous inner-dialogue and brilliant, contorted pastoral sequences, GC’s guitar (reported to be over 100 years old!?) laps and thrashes alongside accompaniments of Lauren Collier’s aching violin, a lethargic harmonica and emphatic hand-percussion that drifts in and then out. A dynamic, earthy collection that places future barn-stormers like “Underneath The Oak” and the gentle blaze of “Onion” in cadence with the doom-stricken, ghostly slides as on “Misunderstood” and “Secrets”, all recorded in dazzling clarity that captures the cascading instrumentation as clearly as the settled, tormented humour of GC’s blues. Indispensable candlemeat and essential, joyous listening for fans of; Davy Graham, The Godz, Leonara Carrington, Smelly Feet, Martin Carthy..."

Green Splatterd Vinyl

Barcelona-based DJ, crate digger and producer Lis Sarroca makes her debut on Shall Not Fade's coloured vinyl series marking the tenth release on the imprint.

Taking influence from her extensive travels - before lockdown hit - Sarroca mixes classy 90s house rhythms with standout melodies. No Wait EP follows on from her 2020 release on Hot Haus Records. Sarroca describes her music as "danceable, energetic, deep and warm", an ethos reflected throughout this EP. Despite dabbling in variations on dance music, stripped back disco to punchy tech house rhythms, this record is accomplished and consistent, coming together to deliver memories of sweaty summer club nights. "No. Wait" references French filter house, pairing a chugging bass and booming kick drum with sparkly disco keys into one very sultry track.

In "La Neta" Sarocca turns her attention to electro with the squelching bassline and drum machine loops but uplifting chords bring it back to house roots. There's a little bit of Kraftwerk in "Round & Round", a hypnotic pulsing track with synths of a distinctly German sound palette; it's the darkest moment on the record.

The B-side is expansive feel-good house, "Hi Montana" plays with dramatic strings while "Get This Right" is a certified summer anthem of sharp chord stabs and clean bassline made for the beer garden. No Wait closes with "AX", a piece of fun cowbell-smattered organ house.

Bill Bruford is the original drummer in YES and was a long term member of King Crimson. The band Bruford recorded this album in 1979 and it went on to achieve critical acclaim and commercial success. The line-up on this album is: Bill Bruford – drums, percussion Allan Holdsworth – electric guitar Dave Stewart – keyboards Jeff Berlin – bass This 12" vinyl re-issue has been mastered from the original 1979 mix, taken from the original 1979 analogue tapes, and comes housed in a replica sleeve. The remixing was done by Jakko Jakszyk (the lead singer of the current line-up of King Crimson) and has been approved by Bill Bruford. This definitive vinyl re-release is re-issued on Bruford’s own Winterfold Records and was overseen personally by Bill Bruford.

New for 2023! Kitty, Daisy & Lewis' iconic debut album reissued on Half Black and White vinyl. Originally released in 2008 when the band were still only teenagers, their self titled debut catapulted them into rock n' roll favourites and the album has since been regarded as a cult classic. With a sound deep rooted in the past, the sibling trio pay homage to those who inspired them from Charlie Rich to Muddy waters and released an album truly like no other.

PRESSED ON FRUIT PUNCH COLORED VINYL WITH HAND NUMBERED OBILIMITED TO 2000 COPIES

The contemporary realm of hip hop music can be seen as polarized between two sides; mainstream versus underground, industry versus independent, at a base level boiled down to catchy sounds & infective hooks over higher quality lyrical content. These elements don’t need to be mutually exclusive, but these days it’s rare to find an act that can please all sides of the discussion. Clipse are one of the few groups that successfully and consistently caters to both sides of rap’s splintered psyche, simultaneously serving the scene with upbeat bangers that get the club poppin’ & subwoofers rattlin’ while crafting clever quotable compositions deserving of repeated headphone submersions. Though their preceding official albums Lord Willin’ (2002) & Hell Hath No Fury (2006) made bigger splashes commercially, 2009’s Til The Casket Drops is surely no slouch, a gem which deserves to be revisited with fresh ears – good thing Get On Down has given it the proper treatment it deserves with its first-ever vinyl pressing!
Til The Casket Drops was a departure from the duo of Malice & Pusha T’s previous works in that it was their first LP not completely produced by The Neptunes. However, the celebrated team who brought us ‘Grinding’ & ‘Mr. Me Too’ still helmed 8 of the album’s 13 tracks, thus dominating the soundscapes and aesthetic of the album anyway. With the remaining beats handled by Hitmen Sean C & LV (Jay-Z, Big Pun, Ghostface) and Aftermath’s DJ Khalil (Kendrick Lamar, Aloe Blacc, Eminem) clearly Clipse stock hadn’t lowered in the game. While boasting notable vocal features from Kanye West, Pharrell, Cam’ron, Keri Hilson, Yo Gotti & their Re-Up Gang affiliate Ab-Liva, Casket Drops leaves ample space for the core emcee duo of Pusha & Malice to shine in the spotlight, with verses revolving around each other succinctly in-synch and bonded by an exceptional creative rhythm only biological brothers could share.
Clipse have always delighted in dualities, juxtapositions and contradictions, unabashedly celebrating the capitalistic lifestyle and the grind as the kings of ‘coke-rap’, while taking hard looks at society’s mores and those of their own individual journeys. We hear Malice’s eventual transition to No Malice taking form on this album as he found religion, warning others who might follow in his path on ‘Footsteps’: “don’t let my wrongs give you the right of way/ to emulate my past escaping the law’s grasp” while refusing to be pinned down in one lane: “it weights on my conscience and I hate conscious rap”. Meanwhile Pusha T continues his lyrical ascent into the King Push persona with bars like “pompous motherfucker, look what them jewels made me/ I’m only finding comfort in knowing you can’t replace me/ What a thing to say, but what am I to do/ I’m role-playing a conscious nigga and true is true/ Cocaine aside, all of the bloggers behooved/ My critics finally have a verse of mine to jerk off to” decisively on album opener “Freedom”.
Since it dropped, the Clipse have stated that Casket… is their final album together while subsequently alluding to the possibility of an eventual reunion. Only time will tell, but until then it’s time to re-celebrate one of hip hop’s most dynamic duos by hearing Til The Casket Drops in a whole new light with its long-overdue, first time on vinyl pressing via Get On Down featuring all 13 original tracks on wax and cover art by the legendary KAWS! It’s kinda like a big deal…

Kid Katana Records teamed up once again with Dotemu, Tribute Games and Nickelodeon to release TMNT: Shredder’s Revenge Dimension Shellshock OST, a brand new musical experience composed by Tee Lopes!

Inspired by the music of one of the most iconic pop culture licenses of all time, this OST was fully composed by Tee Lopes, the talent behind the music of Sonic Mania and Streets of Rage 4: Mr X’s Nightmare and of course Shredder's Revenge vanilla game OST. His musical vision echoes the spirit of the turtles and this specific game specificities: tributes to classic TMNT tunes with a good dose of fun and switching fluidly between 80s/90s electro, funk, rock, and jazzy tunes with chiptune vibes.

This edition includes:
-> 1x 12-inch vinyl featuring the 15 tracks in the Dimension Shellshock DLC
-> 2 colored vinyl labels with the two new playable characters: Usagi Yojimbo and Karai

-> Exclusive sticker board with all playable characters and iconic items from the game

Problem Patterns have got something to say and they're going to say it fucking loudly Unfiltered, raw and absolutely vital, queercore quartet Problem Patterns are angry. When Problem Patterns reconnected during a break in the pandemic, they realised that the mission was more important and the rage was extra- critical. This, surely, was punk rock time. Problem Patterns are not limited by age or ability or binary identities. They don't have a front person, they swap instruments and roles to ensure that each member of the group has a voice. They espouse queer punk and they have shared touring schedules with Queen Zee, JOHN, Pink Suits & soon to be Bob Vylan. They are part of a supportive musical community in Belfast that includes Gender Chores and Strange New Places. Live shows are celebratory and uplifting. Outbreaks of fun and positive havoc are part of the experience. The band's admiration for Bikini Kill and the riot grrrl movement led to an online conversation with the artist Kathleen Hanna, who they later went on to support (Bikini Kill) in Manchester and Glasgow. "She's been part of relighting the fire," says Ciara, "and the trust and confidence we have in ourselves as a band. We've for more of a 'fuck it' than we've ever had. And we already had that. Punk provides protest songs and it provides a release for feelings." Beverley agrees: "We're talking about what's currently happening right now. Always.

For Fans Of... Magic Sam, Otis Rush, GA-20, Albert King, Elmore James. Never before heard blues from 1969! The 2023 RSD release is now also available on black vinyl and CD! Pressed right in Cleveland, Ohio at Gotta Groove Records. On Remined Records, Colemine's re-issue imprint. Produced by Eli 'Paperboy' Reed. Recorded by Eli's father in 1969. Tapes have been hidden for over 50 years, now being released for the first time ever. "Fred Davis was a legend, but only in my living room. As a teenager, I started digging deeper and deeper into the blues records in my Dad’s collection. That was when I started to get the Fred Davis story in fits and starts. Fred could play like T-Bone Walker and had a keen voice like J.B. Lenoir, he said. He used to front a jump band in Kansas City, before something went down that sent him to prison at Leavenworth. In the summer of 1967, he ended up working alongside my Dad at Harco, the Cleveland factory where my grandfather was an executive. They became friends, bonding over the B.B. King and Bobby Bland records blaring from the AM radio on the factory floor. Fred taught my Dad the rudiments of blues guitar, but his style. Instead of barring with his first finger, he wrapped his thumb around the back of the neck. That left his other fingers free to create big, ringing voicings that imitated the Kansas City horn sections he heard in his youth. Fred could play up and down the neck and, even when he played and sang just by himself, he sounded like a full band. Or, at least, so the legend went. These were only foggy memories from thirty years previous, passed down from a father to a son. But then we found the tape. A quarter inch reel in a plain white cardboard box, hiding on a shelf in the attic. My Dad explained how it came to exist: He found some friends (acquaintances really) who had a band and some equipment. They setup in my grandparents living room where the upright piano was, and he invited Fred over to record some of his songs with the band backing him up. We found a place nearby that could dub the tape and put it on a CD for us. When we finally got the transfer back, the legend became real. With this music now professionally transferred and remastered, I can only hope that Fred Davis can finally receive the acclaim that he deserves; that he never received in his lifetime. The legend can finally go behind the confines of my living room and, with any luck, to the whole world." Eli 'Paperboy'

Repress!

James Brown. Who doesn't know about the godfather of soul Who doesn't know about the milestone anthem Cold Sweat' Maybe there is nobody, but we are sure that many of you don't know that hidden on that particular song, and in all of James Brown's productions, is one of the best kept secrets in soul music: Mrs. Martha High.

She is the one who sings that crazy soprano note at the very beginning of the song and she is the one who sang behind James Brown for about 35 years. She was with Brown and the Jb's in Boston on the infamous night after the Martin Luther King assassination, she flew with him in the dangerous Vietnam skies to entertain the US soldiers, and was also in Zaire celebrating the Rumble in the Jungle' between Ali and Foreman. Martha was truly a friend, confidant and supporter of the godfather of soul.

Maybe she was just too young and shy to jump over the other soul divas to ask for a solo record. Today is different.

singer of Maceo Parker's band but now she is on fire because finally, she has recorded the album she never made but always wanted to make.

11 killer original tunes produced and arranged by Luca Sapio, the Italian soul ambassador, in true analog super sound. The tunes evoke the best productions of the golden era of Southern soul as well as the sonic landscapes of the Italian soundtracks of the 60's. Here is the middle ground where these two unheralded musical traditions meet and Martha is the undisputed Queen.

Don't miss the chance to take a listen. This record is made of truth, soul, love, and pain - a full spectrum of emotions that only a Queen can deliver to your ears. She spent much time in the studio with Luca and his guys to make it happen. This is not a revival, this is not retro, this is NOW. She took it as a challenge and we are sure that she won.

First time on vinyl!
Newly remastered. LP housed in a gatefold jacket.
Featuring Herbie Hancock, Martha Reeves, Alphonse Mouzon, Chuck Rainey, Patryce “Choc’let” Banks, Carlos Morales, and members of The Pointer Sisters.

In the 1970s, Betty Davis defied genre and gender by pushing her voice to extremes and embracing the erotic. She articulated a kind of pre-punk, funk-blues fusion that had yet to be normalized in mainstream music – a style that few musicians have come close to replicating. As one of the first Black women to write, arrange, and produce her own albums, Betty was a visionary who disregarded industry boundaries and constraints. Raw, unapologetic and in full control, Betty paved the way for generations of future artists who said “funk you” to the music industry and social norms.

In 1979, when Davis entered an L.A. studio to record her fifth and final album, she was reeling from a series of setbacks. Three years earlier, after recording her fourth album, Is It Love Or Desire, Davis was dropped from her label and the LP was subsequently shelved. In 1978, her beloved band Funk House went their separate ways. Looking for a fresh start, Davis relocated to Hollywood to focus on songwriting. Before long, British manager Simon Lait (Toni Basil), offered to fund her next project.

With renewed vigor, Davis reunited with former Funk House guitarist Carlos Morales and brought together industry veterans like fusion drummer Alphonse Mouzon and session bassist Chuck Rainey. Old friends Anita and Bonnie Pointer (The Pointer Sisters) and Patryce “Choc’let” Banks joined Davis on vocals, as did Motown legend Martha Reeves. The resulting album, Crashin’ From Passion, was her most musically diverse, blending elements of reggae and calypso (“I’ve Danced Before”), jazz (“Hangin’ Out in Hollywood,” “Tell Me a Few Things”), dark synth-pop (“She’s a Woman”), and even disco (“All I Do Is Think of You”). Equally exploratory are Davis’ vocals, as she trades in her signature sass and snarls for more nuanced stylings.

Among the album’s few funk tracks is “Quintessence of Hip,” in which Davis hails musicians like Bob Dylan, Billie Holiday, Stevie Wonder, and John Coltrane, while deftly integrating elements of their work. The song also offers a moment of stark vulnerability, as she sings, “Isn’t rich? Isn’t it queer? Losing my timing so late in my career.” It would prove to be a prophetic line in the months to follow.

The mixing process was mired by artistic differences and then cut short, amid the death of Davis’ beloved father. Bereft and exasperated, Davis returned home for the funeral, setting into motion her retirement from the music industry. Crashin’ From Passion, meanwhile, would be shelved for 15 years and licensed for a CD-only release, without Davis’ consent, in the ‘90s. This 2023 edition of the album, made with Davis’ full approval and cooperation, marks its first official release and first time ever on vinyl. The package was designed by GRAMMY®-winning artist, Masaki Koike, while the album cover features an incredible shot of Betty captured in London in the mid-1970s by renowned photographer Kate Simon.

Crashin’ From Passion was remastered by Dave Cooley at Elysian Masters and pressed on vinyl at Record Technology, Inc. (RTI). The accompanying booklet includes a treasure trove of rare photos from the era, plus lyrics, and new liner notes by writer, ethnomusicologist, and Betty’s close friend, Danielle Maggio, who integrates interviews that she conducted with Davis, marking her last ever interviews.

Lipphead is a production duo consisting of veteran producers Blockhead (Ninjatune, Future Archive Recordings) and Eliot Lipp (Alpha Pup) creating eclectic instrumental hip hop that dances effortlessly between Blockhead's sample-based hip hop beats and Lipp's evolving synth-laden swing. Illustrated by artist Maddison Chaffer, the titular character serves as the group's mascot and as a tongue-in-cheek personification of the artist’s fused styles. In 2022, the pair released their debut LP ‘In the Nude’ via Michigan label Young Heavy Souls to critical acclaim.
Building on that success, Lipphead is back with 10 new tracks and a fresh selection of singles to introduce the forthcoming record entitled ‘From the Back’. Kicking off with the irresistible disco soul of ‘Midnight Brain to Georgia,’ the duo hits the ground running. The second single effortlessly guides the listener through a showcase of fluttering flute samples, jittery synthesizer flourishes, and a bassline that is sure to please even the most selective funk enthusiasts. Throughout ‘From The Back’, fans can expect an even groovier spin on their genre-blending mix of downtempo, hip-hop, and electro-funk, along with a healthy dose of the duo’s trademark sense of humor.
Reflecting on the album, Lipp states that “Lipphead really starts to perfect their stylistic fusion on this record. Plenty of oddball beats and goofy samples, but this time there’s an upbeat funk vibe throughout. ‘From The Back’ is basically a window to what goes on in Lipphead’s wild-ass brain.”

Banzaï Lab is proud to present 'Rogue Monsters 2', the new album from Al'Tarba x Senbeï.

Al'Tarba, the architect of sonic shadows, and Senbeï, the master of electronic textures, join forces once again on an opus that's off the beaten track.

A fusion work inspired by skate subculture, Rogue Monsters 2 transcends convention, blending heady rhythms and ethereal harmonies.

Retro samples blend with contemporary electronic melodies, recalling the fusion of styles and the abo- lition of musical chapels specific to the sound universe of 90's/early 00's skate culture. We're naturally reminded of the soundtracks to Larry Clark films (Bully, Kids), skate documentaries (Fully Flared, Video Days...) and video games (Extreme Games, Tony Hawk's Pro Skater...).

This second joint opus is much more than a simple album, it's a unique and timeless experience, fusing hip-hop, punk and electronic music.

Rogue Monsters 2 stands out in today's musical landscape, offering a bold vision of what defines an album, one that will appeal to those nostalgic for the Golden Era of the 90s as much as to those exploring new sounds.

With J Jazz volume 4, the BBE J Jazz Bullet Train continues its journey traversing the expansive landscape of modern Japanese jazz. Volume 4 is the latest in the universally praised compilation series exploring the best, rarest and most innovative jazz to emerge from the Far East. Please take your seats for a first-class ticket to J Jazz central. This latest station stop off is with the famed Nippon Columbia label, one of the biggest labels in Japan, whose jazz output embraces every possible style imaginable. Focussing on the key years 1968-1981, J Jazz volume 4 sees compilers Tony Higgins and Mike Peden dig even deeper into their record collections and pull-out tracks that span styles ranging from solo to big band, jazz classical interpretations and heavy jazz rock, to febrile post-bop, white hot samba fusion, and modal psychedelic wig-outs. J Jazz volume 4 features icons such as drum master Takeo Moriyama, keyboard magi Hiromasa Suzuki, Fumio Itabashi, and Masahiko Satoh, and guitar wizards Kazumi Watanabe and Kiyoshi Sugimoto, alongside big band maestros and innovators Nobuo Hara and his Sharps and Flats, and Toshiyuki Miyama’s New Herd. Thunderous basslines nestle alongside glistening runs of electric piano, bubbling synths and air-tight drumming as the heavy psychedelic modal blues of Jiro Inagaki flows with the infectious samba grooves of Takashi Mizuhashi featuring Herbie Hancock; Shigeharu Mukai’s fusion funk epics take the music to another level and Mikio Masuda’s driving keyboard rhythms brings the heat to an incendiary dancefloor zone.