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This is the debut release from Danish Qbasic as a solo artist, and its likely the strongest lo-fi record to emerge straight out of Copenhagen.

The A-side brings a cheerful, feel-good disco vibe, based on an old Detroit sample that loops endlessly, accompanied by repetitive, uplifting woodwind instrument.

Flip over to the B-side, and youll encounter a strong contrast: dark, mean heavy, and gritty cassette tape samples create a dreamy, solitary journey through an urban nightscape. As you walk through the dark night you discover shadows of new, sleepy buildings appear, drawing you in, yet leaving you torn between approaching or retreating. You dont want to go towards them, but neither do you want to leave.

As Odysee celebrates its 30th anniversary, the label’s original founder Atila Kemal (T-Mirage) steps up to deliver this jaw-dropping E.P.

In 1994, Tilla was just 17 years old, and an integral part of the original St Albans collective that comprised Jim Baker & Phil Aslett (Source Direct) and Rupert Parkes (Photek), when he set up the Odysee imprint and released the first Source Direct record (Future London/Shimmer). With a follow-up release from Photek (Phaze 1/Try A Style) and a second from Source Direct, the profile of the label began to grow exponentially.

It was the 3 Mirage releases however that really put the label on the map. These tracks were engineered by Jim Baker but heavily co-produced by Tilla himself with a major focus on his keen ear for dark 70’s Noire samples and eerie abstract electronica pitted against soulful R&B vocals. In hindsight, the impact of this rather different soundscape on the Source Direct material that followed is unmistakable.

The A side track Dark Rhodes is a showcase of T-Mirage’s production skillsets. From the opening atmosphere of utter menace and spacious percussion, to the trademark call and response between the different breaks and speaker shaking subs; this track will take the listener straight back to that infamous dark 1995/6 sound that emerged from both the Odysee & Source Direct studios. What is particularly noticeable is the distinctive pairing of sets of samples to form unique sections within the piece, whilst maintaining the consistent rolling energy of the drums & bass. This was a clear stylistic trait the earlier tracks like Feel My Dreams, and is very much on display in Dark Rhodes; leaving us in no doubt that we are listening to the work of one of the OG St Albans Jungle masters!

One of the most important aspects of each Odysee release was to demonstrate versatility on the B side tunes. As a label that was an important part of the mid 90’s Atmospheric scene, it would be remiss not to revisit that style on this seminal E.P. The first of the two B-side tracks is the incredible Existence.

Everything about this piece is a pure distillation of Tilla’s musical style; from the intricacy of the break work and the depth of the subs, to the masterful dovetailing of the 70’s Noire and Jazz samples that build a cohesive arrangement drawing the listener deeper into the tune’s narrative- “A piece of music that’s just a pure expression.... A celebration of existence!” There is no need to re-invent the wheel, or to force groundbreaking new tricks when the strength of this classic sound is so overwhelmingly persuasive!

With the final track Flawless, Tilla delivers an absolute heart-breaker of a tune that rivals the very best of the original Odysee & SD B-sides. Misty-eyed pads and Jazzy rides launch the crisp rolling Think breaks. The deep melodic sub line and haunting guitar riffs draw the listener in, then hold the listener in suspense for a moment before dropping down in the body of the track. The gorgeous guitar motifs are paired with achingly gorgeous vocal ad-libs and avant-garde electronica, emerging orchestral flutters with that unmistakable 70’s Noire flavour. Once again it is

Tilla’s ear for those ‘special sounds’ that really sets this track apart, and as if that wasn’t enough, some 4 minutes down the track Flawless nonchalantly unveils another primary motif; well worthy in of itself of being the tracks centrepiece!
Absolutely stunning heritage-style Atmospheric Jungle at its finest!

How did Dexter make a TV audience sympathize with a serial killer? No question, it took an ingenious premise, great writing, great direction…and a stellar ensemble cast headed by lead actor Michael C. Hall. But long-time viewers of the show know there was another “character” that played a huge role in the series: the soundtrack. From Rolfe Kent’s unforgettable title theme to the well-chosen Latin-tinged tunes that fit the Miami setting to composer Daniel Licht’s brilliant themes, the score of Dexter commented on the action even as it amplified its emotional power. Special mention must be made of the late Licht’s work, which employed Latin and electronic elements to portray Dexter’s warm and cold sides; among the favorites here are “Astor’s Birthday Party” and the haunting “Blood Theme” that played over the credits in every episode. In 2007, the Milan label put out a CD and a truncated single-LP soundtrack album containing music from the first season; now, for the first time, we at Real Gone Music are offering all of the music that appeared on the CD in an expanded double-LP edition, pressed on blood with white swirl vinyl and housed inside an appropriately gory gatefold. Don’t miss Michael C. Hall’s spoken word pieces, either…perversely pleasurable listening, limited to 1500 copies!

In C and Rainbow in Curved Air get all the ink (inc?), but its own somewhat subtle way, 1980’s Shri Camel, the last of the three brilliant albums Terry Riley recorded for CBS, is every bit as groundbreaking as its hallowed predecessors. Not content to rest on his laurels as a minimalist master, Riley studied with Hindustani classical singer Pandit Pran Nath during the ‘70s; by blending that Eastern influence with his own experiments in just intonation (where tuning is dictated by equal mathematical intervals rather than the “tempered” tuning familiar to Western music), Riley made an album whose shimmering textures (played through a specially modified Yamaha organ) seem to change with one’s own breath or thought, like the reflection of rippling water on rock. And while Shri Camel is far more demanding and ultimately rewarding than any “New Age” recording, one definitely gets the sense that its ever-evolving, ecstatically hypnotic rhythmic and harmonic patterns are massaging the brain’s neural circuitry, leaving one refreshed, relaxed, and, yes, maybe even a little smarter than before listening. First LP reissue and long overdue!

This band featured Justin Marler and Chris Hakius from Sleep, their first music venture after leaving the former. In between, Justin was an Orthodox monk for 7 years. Different musically as the band rocks hard and fast.

"_Syd Barrett fronting Queens Of The Stone Age- surefooted, inventive and buzzing with surprises." - The Guardian "A refreshingly bold alt-rock sound." Alfitude NJ White - aka WHITEY - explodes out of the shadows with the announcement of his highly anticipated double LP MENTAL RADIO, out on 3rd October 2024. Pulling in influences from across decades of sound and putting it through the Whitey blender to create something musically fresh, MENTAL RADIO is an album that in turn is furious, raw, amused, politically razor sharp and poignant... a satirical take on 21st Century life, a musical pop art collage. As an individual, Whitey prefers to speak via his work, and has eluded all interviews for well over a decade - leading one journalist to describe him as 'the musical equivalent of Bigfoot'. Despite this elusive stance, his music continues to rack up many millions of plays and draw fans from all ages across the globe. Across a string of acclaimed albums, Whitey's music has made its mark, from rock'n'roll clubs to electronic dance floors, fashion catwalks to movie soundtracks, television to computer games, from Breaking Bad and the Sopranos to Grand Theft Auto. Whitey has built a strange home in the shadows between mainstream entertainment and the vanishing underground, an outsider who celebrates his outsider ethos in his work- and yet whose music is embraced by both popular and alternative culture. Whitey is a prominent spokesperson for independent music - his viral letter about 'fair fees for artists' was shared 500,000+ times; and made Newsweek, The Times, BBC Worldwide and the front editorial of Music Week. Whitey's back catalogue has previously received praise from the likes of The Independent, The Guardian, Record Collector, Uncut and Rock Sound to name a few. Available as a Double Vinyl LP, CD and cassette through NO! LABEL, published globally by Mute Song and repped for live by William Morris Entertainment- this is set to be a benchmark album of 2024. Housed in a Gatefold Sleeve (Gloss Finish plus Silver Foil Trim) Including two Printed Inner Sleeves (Gloss Finish).

Dixie Dregs' private press debut album / Original recordings of Dregs classics that would be re-recorded for their Capricorn and Arista albums / First-ever LP reissue / White Vinyl - STEVE MORSE - Guitars / ANDY WEST - Bass Guitar / ALLEN SLOAN - Violin / ROD MORGENSTEIN - Drums - The Great Spectacular is Dixie Dregs' original 1975 demo debut album, recorded at the University of Miami as a class project, pressed independently by the band, and distributed locally in limited quantities. Yet The Great Spectacular also functions as a greatest hits of sorts, debuting tracks which would later be re-recorded across Dixie Dregs' classic 1977-1980 Capricorn and Arista albums, as well as during guitarist/band leader Steve Morse's stint in Kansas. It includes the first recordings of key Dregs tracks including "What If," "Leprechaun Promenade," "Holiday," "Refried Funky Chicken," "Country House Shuffle," and more. Original copies of The Great Spectacular are rare collectors' items. For its first-ever LP reissue, the album has been pressed on white vinyl.

Re-issue alert!

Whirlpool Productions "Fly Hi/Gimme" appeared first in 1993 on the one time and made up label 5th&Madison. The fascination that a young Justus Köhncke had for the then bubbling sounds, strictly rhythms and nu grooves of New York house music sparked the idea to join in the chant with a production of his own. Add his co-producer Fred Heimermann, the buzzing DJ and brilliant music journalist Hans Nieswandt and a visitor from San Francisco named Eric D. Clark, the singer Heather Sachs and samples by Mel Tormé to the flamboyant picture and you know why the records sounds like it does: swinging house music through the lenses of a colorful cast or how some German people thought New Jersey's Zanzibar would sound. Fly Hi embodies the sophisticated deep and soulful approach, while Gimme satisfies the more hysteric approach. Favoured and championed by DJs like Tony Humphries at the time, officially released by Snap's Logic Records and never vacated from Move D's record bag, it's re-issued in all its glory for the first time on Running Back. Additionally, Move D puts his fingerprint on it with a disco leaning and upbeat remix of "Gimme". Extensive liner notes by Hans Nieswandt upon request. Life is still in hi-fly!

In what many consider to be the birth of jazz fusion, Emergency!, led by Tony Williams (drums) with bandmates John Mclaughlin (guitar) and Larry Young (organ), is a true adventure in the beginning of the jazz-rock blend that would take shape in late 1960s and beyond. From the opening title track, the direction is decisive and commands attention as Williams leads his crew through a mixture of swing, rock and free jazz that cements its place as one of the most influential albums of the time. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Joe Henry’s 13th studio album “Invisible Hour”, recorded over four days in July 2013 at Henry's personal studio in California, tells a captivating story about resilience and the redemptive power of love.This record features several of his closest musical companions, including The Milk Carton Kids as well as Lisa Hannigan, who co-wrote the title track along with Henry and best-selling novelist Colum McCann. Now available on 180g black double vinyl for the first time, the 2024 reissue includes three special bonus tracks: Two alternate demo versions of “Slide” and “The Glorious Dead”, originally released on Henry’s 2017 record “Thrum”, as well as the previously unheard demo “News From The Great Wide World”.

Recorded quickly between John Cale producing Patti Smith's Horses and his going out on an Italian tour, Helen of Troy became Cale's third and final studio album for Island Records - This re-issue faithfully replicates the original 1975 Island Records UK release and is pressed onto high quality 180g vinyl. Helen Of Troy is a raw, fascinating listen. The title track with its horns and spoken word is one of Cale's best: after the sweet bubblegum of "China Sea", the album gets increasingly stripped down the acoustic guitar and piano of "Cable Hogue" and the punkish cover of The Modern Lovers' "Pablo Picasso" have long been favourites on the album. "Leaving It All Up To You" in which Cale becomes increasingly disturbed garnered controversy at the time and was actually removed from later pressings of the album because of its references to the Manson murders. Cale never lost his ability to shock. Taking its title from the opening line of Johnny Cash's "I Walk The Line", "I Keep A Close Watch", a track Cale would record again several years later, with its Robert Kirby-arranged strings and horns, is the closest Cale has veered toward a power ballad. It is a work of great beauty among all the jagged edges of Helen Of Troy.

Following on quickly from Fear, and capitalising on that album's energy Slow Dazzle is another fiery release by Velvet Underground founder John Cale - This re-issue faithfully replicates the original 1975 Island Records UK release and is pressed onto high quality 180g vinyl. Released in March 1975, initially, the album offers a false sense of mellow security: "Mr Wilson", a tribute to Brian, the leader of Cale's beloved Beach Boys starts the on a much sweeter note than "Fear Is A Man's Best Friend", as does "Taking It All Away"; by "Dirty Ass Rock'n'Roll" Slow Dazzle is off to darker terrain, business as usual. Cale, however, cannot resist a pop song and a ballad "Ski Patrol" is a great two-minute vignette, and "I'm Not The Loving Kind" is soul-baring. The album's reputation, however, rests on two tracks "Guts", a bald telling of Cale's wife's infidelity and his pitch-black cover of Elvis Presley's "Heartbreak Hotel". 50 years later, these songs still pack a tremendous punch.

Ever wish you could travel back in time and be in the thick of the 1960s rock explosion? Well, until an actual TARDIS is perfected, this album is the next best thing. Recorded in the wee hours of May 26, 1966, A Session with the Remains is a no-holds barred romp through their club set, captured live-to-tape in Capitol Records' studios. Recorded as an audition for the label, the albums seethes and snarls, twists and shouts, rocks and rolls and generally embodies the force of nature that was the Remains. Performing a mix of originals and current hits, the band is in command at every step, rocking one minute and pausing to kibitz between songs the next.

In attempting to describe this album, reviewers have used words like "blazing," "explosive," "delirious" -- but honestly, none of these descriptions comes close to what is contained in the grooves. It's like trying to tell a stranger 'bout rock & roll, ya know? All you really need to do is listen. After all, one guitar lick is worth a thousand words.

This BLAZING, EXPLOSIVE, DELIRIOUS album was painstakingly sourced from the one-and-only original two-track analog mono master tape and wrestled onto high-quality vinyl and compact disc for your review. I'd like to thank you on behalf of the group and Sundazed for listening and I hope they pass YOUR audition!

"A religious totem of all that was manic and marvelous about mid-'60s pop." - Rolling Stone

"Blazing through a mix of originals and covers, the Remains explode in a torrent melody, searing guitar leads and furious drumming. This quartet's ability to play with such delirious abandon yet still nail the tunes' sharp hooks and abundant vocal harmonies marks it as one of rock's more talented and incendiary units. - Chicago Tribune -

Für das Box-Set zu seinem neuen Album Nimmerland hat RIN sich etwas ganz Besonderes einfallen lassen: Die streng limitierte Ljubav-Box kommt im Design des weltbekannte Schuhkartons in charakteristischem Rot und mit stylishem Ljubav-Swoosh. Neben dem neuen RIN-Album Nimmerland befindet sich in der Box auch ein hochexklusives T-Shirt (Größe L) mit Ljubav-Swoosh in Schwarz, das es nirgendwo sonst zu kaufen geben wird. Die Liebe von RIN und Nike macht deutlich: Ljubav heißt nicht nur Liebe, sondern macht Kreativität über alle Grenzen hinweg möglich. Denn nur gemeinsam ist man stark. Bleibt dran, mehr Infos folgen!

Classic free jazz album reissued for the first time since the 70s. Old-style gatefold sleeve LP, with liner notes by Ed Hazell.

Noah Howard, an alto saxophonist and composer, was known for weaving intricate and innovative musical patterns, often likening his work to "sound paintings." His 1971 album Patterns, the first LP he self-produced on his Altsax label, stands as a testament to his experimental and spiritual approach to music. In interviews, Howard frequently used visual terms like "patterns" and "shapes" to describe his compositions, emphasizing the importance of melody and structure even in highly improvisational settings. For Howard, patterns and melodies were essential to guiding listeners through his explorations without alienating them, maintaining a balance between innovation and accessibility. Howard's quest for an original sound was deeply influenced by jazz greats like Charlie Parker, Ornette Coleman, and Jackie McLean. While he admired these legends, Howard avoided imitation, striving instead to develop his own distinct voice. His sound was unmistakably his own, and he felt a deep obligation to carry the jazz tradition forward through personal expression, not by mimicking others. His music was also rooted in spirituality, a legacy he traced to his upbringing in the Black Baptist Church. He believed jazz had always contained a spiritual essence, from Louis Armstrong to John Coltrane, and his work aimed to channel this cosmic, spiritual energy.

Patterns was recorded in the Netherlands during Howard's second stint in Europe, where he found a more open, less racially charged environment compared to the U.S. For the album, Howard collaborated with Dutch musicians such as Misha Mengelberg (piano), Han Bennink (drums), and Earl Freeman (bass). Despite the challenges faced by guitarist Jaap Schoonhoven, who felt out of place in the session, the album came together as a powerful mix of blues, jazz, and classical elements.

The music on Patterns is a high-energy fusion of American free jazz and Dutch improvisation. Howard's saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The album’s dynamic interplay, particularly between Mengelberg’s dissonant piano clusters and Bennink’s thunderous drumming, creates a vivid "sound painting" full of contrasting forms and colors. Patterns remains one of Howard’s most unique and celebrated recordings, showcasing his visionary approach to jazz.

Cat In The Bag 3x12" sales pack including:

CITP06 Park Sessions 06
CITP07 Park Sessions 07
CITP08 Park Sessions 08

The Tattooist of Auschwitz is a 2024 six-part TV miniseries based on the international bestselling novel by Heather Morris, inspired by the real-life story of Holocaust prisoners Lali and Gita Sokolov.

The story follows one man, Lali, a Slovakian Jew, who, in 1942, was deported to Auschwitz, the concentration camp where over a million Jews were murdered during the Holocaust. Shortly after
arrival, Lali was made one of the Tätowierer (tattooists), charged to ink identification numbers onto fellow prisoners’ arms. One day, he met Gita when tattooing her prisoner number on her arm, leading to a love that defies the horrors around them. The cast features Harvey Keitel, Melanie Lynskey, Jonah Hauer-King, and Anna Próchniak.

• 180 GRAM AUDIOPHILE VINYL
• INCLUDES 4-PAGE BOOKLET
• ORIGINAL SOUNDTRACK TO THE 2024 SKY TV MINISERIES STARRING JONAH HAUER-KING, ANNA PRÓCHNIAK, MELANIE LYNSKEY AND HARVEY KEITEL
• MUSIC COMPOSED AND PERFORMED BY LEGENDARY FILM COMPOSER HANS ZIMMER AND KARA TALVE
• SOUNDTRACK NOMINATED TWO TIMES AT THE PRIMETIME EMMY AWARDS
• FEATURING “LOVE WILL SURVIVE” PERFORMED BY BARBRA STREISAND
• BLACK VINYL

Music for the series was composed by multi Academy Award-winning composer Hans Zimmer and Kara Talve. The soundtrack also features the brand new song “Love Will Survive” by global music icon Barbra Streisand. The music for the show received 2 Primetime Emmy nominations, for “Outstanding Original Music and Lyrics” and “Outstanding Music Composition for a Limited or Anthology Series, Movie or Special (Original Dramatic Score)”

The Tattooist of Auschwitz is available on black vinyl and includes a 4-page booklet.

"Forever Spoken" is a powerful exploration of humanity's quest to leave a lasting legacy. This album delves into the trials, adversities, and struggles that shape our journey and challenge our ability to fulfill our destiny. Musically, it ventures into the realms of southern metal and sludge, featuring intricate riffs and heavy metal double bass rhythms that elevate its intensity and complexity. The album was recorded with the esteemed Phillip Cope (Kylesa, Baroness, Black Tusk), who returns to mix the record after his successful previous collaboration with us. To complement the depth of the music and lyrics, we enlisted the legendary Dan Seagrave (Morbid Angel, Gorguts, Suffocation) for the cover art. His iconic style perfectly captures the complexity and essence of "Forever Spoken," making this collaboration a significant milestone for us.

Yellow vinyl, limited to 400 copies. "Forever Spoken" is a powerful exploration of humanity's quest to leave a lasting legacy. This album delves into the trials, adversities, and struggles that shape our journey and challenge our ability to fulfill our destiny. Musically, it ventures into the realms of southern metal and sludge, featuring intricate riffs and heavy metal double bass rhythms that elevate its intensity and complexity. The album was recorded with the esteemed Phillip Cope (Kylesa, Baroness, Black Tusk), who returns to mix the record after his successful previous collaboration with us. To complement the depth of the music and lyrics, we enlisted the legendary Dan Seagrave (Morbid Angel, Gorguts, Suffocation) for the cover art. His iconic style perfectly captures the complexity and essence of "Forever Spoken," making this collaboration a significant milestone for us.

New York City organist/pianist, Brian Charette, has established himself as a leading voice in modern jazz. Charette's new album, You Don't Know Jack!, is a Jack McDuff tribute album conceived by Charette and Cellar boss Cory Weeds.

Both Weeds and Charette contribute original tunes here alongside McDuff originals and are joined by Jon Lee on drums and Dave Sikula on guitar on this killer album.