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Coloured Vinyl

WRWTFWW Records is absolutely honored to announce the release of Kenji Kawai’s complete soundtrack to Mamoru Oshii's 1993 superb political thriller science-fiction mecha anime PATLABOR 2: The Movie, available on vinyl for the first time ever and housed in a beautiful heavy gatefold sleeve with obi, as well as on digipack CD. Both versions come with liner notes by the great Masaaki Hara.
A true soundtrack maestro, Kenji Kawai is behind the legendary soundscapes of cult animes and movies such as Ghost in the Shell, Avalon, Ring, Ip Man, and Seven Swords among numerous others. PATLABOR 2: The Movie (Original Soundtrack) is one of his most experimental offerings, an outstanding palette of emotion-filled ambient atmospherics and percussion mastery breathing beautifully through Kawai’s minimalism meets modern classical approach. His symphony of moods paints a delicate picture of urban isolation, a central theme in the movie, but doesn’t hide hints of hope for a joyful future.
PATLABOR 2: The Movie (Original Soundtrack) is an ideal companion to Kenji Kawai’s Ghost in the Shell soundtrack, already available on WRWTFWW Records.

The Mission are an English gothic rock band formed in 1986, after founders Wayne Hussey and Craig Adams left their previous band The Sisters of Mercy. The band were initially known as The Sisterhood, but changed their name quite early. Aside from Hussey, the line-up has changed several times during the years but remains iconic in its genre. The Mission have released ten studio albums to date and have announced a new tour kicking off in the spring of 2022.

To coincide with their tour, Music On Vinyl proudly presents the Collected compilation album in collaboration with Universal Music. Collected is a compilation featuring The Mission’s greatest songs so far and is a career-spanning 2LP featuring all their hit singles, such as “Wasteland”, “Tower Of Strength”, “Butterfly On A Wheel” and “Deliverance”.

The Mission - Collected is available as a career-spanning 2LP, housed in a gatefold sleeve and features liner notes and personal foreword by Wayne Hussey.

The start of the new "Live At Fabrik Hamburg" series on Jazzline in
cooperation with the legendary venue and NDR Kultur - is this previously
unreleased concert from jazz greats Freddie Hubbard and McCoy Tyner
from 1986
It will be released as a double CD in a three-part digipak and as a triple LP in a
triple gatefold cover that includes detailed Liner notes by Michael Laages. In the
Altonaer Fabrik in 1986, the master trumpeter Freddie Hubbard was a guest in the
trio of one of the most important pianists of contemporary jazz: McCoy Tyner,
whose extremely powerful attack always added percussive power of the most
energetic kind to his virtuoso playing.
McCoy Tyner died in March 2020, the recording from 1986 (he was 58 years old
at the time) show him at the height of the unmistakable jazz expression that
defined him. His piano and the enormous radiance of the Hubbard trumpet (born
in the same year as Tyner in 1938, but died in 2008) are the outstanding
protagonists. But the recording also features bassist Avery Sharpe, born in 1954
and with excellent acoustic and electrical credentials, as well as Louis Hayes, still
today the most indestructible of all modern drummers at well over 80 years of
age. Together they refine the nine titles of this two- hour concert on this truly
remarkable evening of music!

Second release of the new "Live At Fabrik Hamburg" series on Jazzline in
cooperation with the legendary venue and NDR Kultur - is this previously
unreleased concert from jazz great Gil Evans with a 16-strong all-star
cast from 1986
It will be released as a double CD in a three-piece digipak and as a triple LP in a
triple gatefold cover that includes detailed liner notes by Michael Laages. By the
1980s, the Gil Evans Orchestra's repertoire had developed into a distinctive blend
of Jimi Hendrix melodies, the band members' own compositions and occasional
references to Gil's older recordings. This concert in Hamburg contained four
songs by Hendrix, with only one ("Up From The Skies") being part of an original
studio album. The regular performances in Europe meant that the audience of the
band was getting younger and was also well acquainted with rock music.
A year and a half after this performance, Gil Evans passed away. He will rightly be
remembered forever for the brilliant albums he recorded with Miles Davis and
under his own name. In reality, however, he lived three quite contrasting musical
lives. As was the case with his Monday evening concerts in New York's Sweet
Basil, this Hamburg performance is a reminder of the lively late phase of Gil
Evans. Here a great all- star ensemble played an outstanding concert of eight
pieces in over two hours.

”Gateway” The opening track leads you through a universe of cosmic melodies and imagination into a new atmosphere. Deep kicks ride along bubbled bass lines, rave-y stabs, and sinister Detroit strings.*

"LIGHT SPAN" * Huge drum work and clever percussion take us further into the void covered with gorgeous arps & snappy snares. Definitely a sound of the time as well as the future, taking the listeners back to the 90's rave era with its massive bass stabs. Enjoyable journey music.

* "NEBULA 7" *A fine taste of Detroit techno string work and arrangement, the EP's ending track pushes the ear to the final elements of the journey. Haunting voices, funky space bass and futuristic cool. Well chilled and served perfectly as a completion of the EP, this track rounds out the 'Trilogy Wave' series concept of the group in this 1995 popular recording reissue.

In a career spanning more than three decades, composer and multi-instrumentalist Arjen Lucassen has established himself worldwide as a driving force in progressive rock. The multi-talented Dutchman is best known for his rock opera project Ayreon, but also regularly devotes himself to musical side projects that explore all different aspects of his musical personality

Lucassen is committed to maintaining a consistent vocalist lineup on Star One. For "Victims of the Modern Age," he reunited the high-powered cast of lead singers from the first album, "Space Metal" (2002): Russell Allen (Symphony X), Damian Wilson (Headspace, Threshold), Floor Jansen (ReVamp, ex-After Forever), and Dan Swanö (Nightingale, Second Sky, ex-Edge Of Sanity). The different vocal styles of these great vocalists, ranging from soaring power vocals to haunting melodic passages to brutal growls, give each song a stunning variety of vocal textures

As for the instruments, the Dutchman recorded the rhythm guitars, Hammond organ, Mellotron, Solina strings and analog synthesizers himself and invited drummer Ed Warby (Ayreon, Hail of Bullets, Gorefest) and bassist Peter Vink to provide the powerful rhythm tracks. He also enlisted the intimidating solo skills of former After Forever keyboardist Joost van den Broek and guitarist Gary Wehrkamp (Shadow Gallery), both of whom contributed characteristically blistering solos. In addition to this formidable lineup, Lucassen recruited three other vocalists - Mike Andersson (Cloudscape, Full Force, Silent Memorial), Rodney Blaze and former Black Sabbath frontman Tony Martin - for several bonus tracks on the album

For the first time, "Victims of the Modern Age" is available on vinyl as a gatefold 2LP+2CD & LP booklet, as well as a Ltd. 2CD digipack.

Rare Nigerian Afrobeat-Funk from 1976.

First vinyl reissue since 1976.

First Ever Release Outside Of The African Continent.
Comes With Insert/Liner Notes.
180g BLACK vinyl limited to 500 copies (w/obi strip) - Non-Returnable.
THE FRIIMEN MUZIK COMPANY (also known as FRIIMEN) was formed after the Biafran war in 1973-1974 in the town of ABA in the eastern part of Nigeria. Aba was the Number 1 Music Hub in the entire Eastern Region of Nigeria. While bands and artists like ‘Ofege’ and ‘Fela Kuti’ ruled the LAGOS scene, bands like ‘Friimen’ and ‘The Apostles’ were ruling the ABA scene.
Before forming the band, most of its members were already working together as freelance session musicians backing up solo artists on several recordings and concerts (or were playing in military bands that gradually became civilian bands because the war had just ended). FRIIMEN members’ credits were numerous and they played, wrote or performed on recordings from well-known acts like The Funkees, The Jets, The Apostles…and countless others.
When they started concentrating on writing their own songs, the group instantly took off and became an overnight hit that resulted in them doing multiple successful nationwide tours. FRIIMEN would go on to record three albums: Free Man (1976), We Can Get It On (1978) and Merry Man (1979). All three albums were released on the Aba based label Anodisc Records (THE key label to be on if you wanted your music heard and out there), Anodisc also released hit records by ‘Sweet Unit’ and ‘Voice Of The Cross’ but The Friimen Muzik Company was the label’s signature band.
The Friimen Muzik Company was so solid that every new group or artist wanted the Friimen to back them up in the recording studio. As a result, Anodisc Records received tons of demo cassettes from aspiring artists…the label would then first consult the Friimen members to see if these new acts were worthy of giving a chance to record and release an album for Anodisc. Over the course of the years the band went through several line-up changes…but in 1980 the band finally broke up and their story came to an end.
The album we are presenting you today (Free Man from 1976) was recorded at the famous Decca Studios in Lagos and comes swinging right out of the gate with a set of no less than EIGHT monster tunes. Expect nothing less than crazy afrobeat and over the top melodic funk influenced by a wide array of artists (both local and international). Mesmerizing solos, captivating grooves, impeccable sequences that turned many heads…everything you need to get a dancehall into a complete uproar. The musicians’ skills are just plain incredible! FREE MAN is a quintessential record that every serious collector or fan needs to have in his/her collection.
This reissue also comes with an insert featuring pictures of the band and extensive liner notes from band-member Arthur Freds.
Tracklist:
Release Yourself , Free Man , My Dreams , Funky Workshop , Word of the Lord , We'll Get Our Share , You Can't Change Anything , Gimme Some Time

Limited edition vinyl re-press. Hand-numbered gatefold sleeve with updated liner notes. Pressed to blue vinyl. Limited to 500. 4**** The Times 4**** MOJO ”Songs as gloriously haunted as the land that spawned them” – Q 4**** The Magnetic North is made up of Erland Cooper, Hannah Peel and Simon Tong.

Upgraded gloss 2xLP gatefold sleeve (original press was 2lp non-gatefold and standard weight) with new liner notes and printed sleeves.
With a career spanning two decades and 12 releases, L.A. hip hop duo
People Under the Stairs bid farewell with their final LP last year.
Their unique self-produced legacy earned them the designation “The Steely Dan of Hip-Hop” and built a fanbase of millions around the globe. Now, for the first time ever, they are re-issuing their long out of print, 2002 classic O.S.T. with a revamped gatefold gloss cover, updated liner notes and printed sleeves featuring 100+ print reviews from the original release date.
Almost two decades in the making and with the original vinyl constantly fetching over 125$ online this highly anticipated reissue is sure to please both new and old fans alike. .
Focused Facebook, Instagram and Twitter campaign to combined 150K followers with distinct purchase call to action and ad budget allotted, as well as
10K+ group email list.

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and
salient, these themes echo throughout the fifth album from Midlake, their first since ‘Antiphon’
in 2013.
 From the cover to the title and beyond, a longing to reconnect with that which seems lost and
seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse
Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He
was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I
reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t
take that lightly.”
 A desire to commune with the past and connect with present, lived experience asserts itself
from the opening of the album. ‘Bethel Woods’ sustains and develops that reconnection,
evoking the steadfast and contemplative urgency of ‘The Trials of Van Occupanther’ to back a
lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars
and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where
arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce
themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their
past as a seedbed of possibility.
 Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that
seem fragile. The ELO-esque ‘Meanwhile…’ draws inspiration from what happened when
Midlake paused after ‘Antiphon’, developing universal resonance as a song about the beautiful
growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s
soft-rock stylings for another song searching for hope, its keyboard line reaching out towards
an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the
difficulties of partings.
 On-hand was new collaborator John Congleton, who produced, engineered and mixed the
album, marking Midlake’s first record with an outside producer. “I can’t say enough just how
much his influence brought our music to another sonic place than we would have,” says Pulido.
“I don’t want to record without a producer again. Part of that is the health of the band, because
as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s
going to be this way!’ It’s hard to do that with your friends.”
 The result is a powerful, warming expression of resolve and renewal for Midlake, opening up
new futures for the band and honouring their storied history. Formed in the small town of
Denton, with roots in the University of North Texas College of Music, Midlake delivered an
auspicious debut with 2004’s ‘Bamnan and Slivercork’. For the follow-up, they looked further
afield and deeper within to deliver 2006’s wondrous ‘The Trials of Van Occupanther’, a modern
classic pitched between 1871, 1971 and somewhere out of time: between Henry David
Thoreau and Neil Young’s ‘After the Gold Rush’, between 1970s Laurel Canyon thinking and a
longing for something more mysterious.
 Confidence bolstered by a growing fanbase and a developed sense of their own far-reaching
abilities, Midlake - a band acutely attuned to seasonal shifts - then embraced change. In 2010,
they visited darker psych-folk thickets for ‘The Courage of Others’ and backed John Grant on
his lustrously spiky breakthrough album, ‘Queen of Denmark’. When singer Tim Smith departed
Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory
‘Antiphon’, teasing out singular routes through vintage electric-folk pastures.
 In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result
is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of
intimacy at its heart: an album to break bread and commune with, honour the past and travel
onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On ‘For the Sake of Bethel
Woods’, those seeds are lovingly nurtured, taking rich and spectacular bloom.
 LP pressed on 180g vinyl in a gatefold sleeve printed on matt card and printed inner sleeve
with lyrics and digital download card.

Loss and hope, isolation and communion, the cessation and renewal of purpose. Timeless and
salient, these themes echo throughout the fifth album from Midlake, their first since ‘Antiphon’
in 2013.
 From the cover to the title and beyond, a longing to reconnect with that which seems lost and
seek purpose in its passing sits at the record’s core. The cover star is keyboardist/flautist Jesse
Chandler’s father, who, tragically, passed away in 2018. As singer Eric Pulido explains, “He
was a lovely human, and it was really heavy and sad, and he came to Jesse in a dream. I
reference it in a song. He said, ‘Hey, Jesse, you need to get the band back together.’ I didn’t
take that lightly.”
 A desire to commune with the past and connect with present, lived experience asserts itself
from the opening of the album. ‘Bethel Woods’ sustains and develops that reconnection,
evoking the steadfast and contemplative urgency of ‘The Trials of Van Occupanther’ to back a
lyric steeped in yearning for a paradisal time and place of hope and optimism. Soaring guitars
and atmospheric noise effects extend a sonic scope further developed by ‘Glistening,’ where
arpeggios dance like light glancing off a lake. In just three songs, Midlake reintroduce
themselves and reach out into fresh territory with a richly intuitive dynamism, honouring their
past as a seedbed of possibility.
 Elsewhere, the prog-enhanced funk-rock of ‘Gone’ seeks to find hope in relationships that
seem fragile. The ELO-esque ‘Meanwhile…’ draws inspiration from what happened when
Midlake paused after ‘Antiphon’, developing universal resonance as a song about the beautiful
growths that can emerge from the cracks and gaps between things. ‘Dawning’ draws on 1970s
soft-rock stylings for another song searching for hope, its keyboard line reaching out towards
an uncertain future while everything seems to collapse around it; ‘The End’ reflects on the
difficulties of partings.
 On-hand was new collaborator John Congleton, who produced, engineered and mixed the
album, marking Midlake’s first record with an outside producer. “I can’t say enough just how
much his influence brought our music to another sonic place than we would have,” says Pulido.
“I don’t want to record without a producer again. Part of that is the health of the band, because
as you get older you get more opinionated and you kind of need that person who says, ‘No, it’s
going to be this way!’ It’s hard to do that with your friends.”
 The result is a powerful, warming expression of resolve and renewal for Midlake, opening up
new futures for the band and honouring their storied history. Formed in the small town of
Denton, with roots in the University of North Texas College of Music, Midlake delivered an
auspicious debut with 2004’s ‘Bamnan and Slivercork’. For the follow-up, they looked further
afield and deeper within to deliver 2006’s wondrous ‘The Trials of Van Occupanther’, a modern
classic pitched between 1871, 1971 and somewhere out of time: between Henry David
Thoreau and Neil Young’s ‘After the Gold Rush’, between 1970s Laurel Canyon thinking and a
longing for something more mysterious.
 Confidence bolstered by a growing fanbase and a developed sense of their own far-reaching
abilities, Midlake - a band acutely attuned to seasonal shifts - then embraced change. In 2010,
they visited darker psych-folk thickets for ‘The Courage of Others’ and backed John Grant on
his lustrously spiky breakthrough album, ‘Queen of Denmark’. When singer Tim Smith departed
Midlake in 2012, Pulido stepped up to the lead vocal role for 2013’s freshly exploratory
‘Antiphon’, teasing out singular routes through vintage electric-folk pastures.
 In reuniting, the bandmates were adamant that Midlake needed their absolute focus. The result
is an album of tremendously engaged thematic and sonic reach with a warm, wise sense of
intimacy at its heart: an album to break bread and commune with, honour the past and travel
onwards with. In ‘Bethel Woods’, Pulido sings of gathering seeds. On ‘For the Sake of Bethel
Woods’, those seeds are lovingly nurtured, taking rich and spectacular bloom.
 LP pressed on 180g vinyl in a gatefold sleeve printed on matt card and printed inner sleeve
with lyrics and digital download card.

Magic spells, time-traveling futurists, sword-bearing horse riders, mountain-residing sorcerers, possessed journeyman,

ominous warnings: Demons and Wizards lives up to its title as a collection of fantasy-based narratives rooted in dreamy,

gothic-minded arrangements. Universally recognized as the finest effort of Uriah Heep's four-decade-plus career, the 1972

LP also perseveres as a prog-rock landmark that influenced countless of bands ranging from Metallica to Styx. And now, it

sounds better than ever on this extremely cool green-vinyl gatefold pressing from Wax Cathedral.

The first album on which founding members Mick Box, Ken Hensley, and David Byron are joined by staple drummer Lee

Kerslake, Demons and Wizards captivates by way of taut songwriting and instrumental execution. Rather than function

as the primary attraction, make-believe lyrical themes augment a formidable assembly of folk-derived melodies, sharp

medleys, and powerful hooks. Acoustic guitars weave webs of finite textures through which crackling, church-like organ

passages and space-conscious bass lines maneuver. Songs come across with an ethereal, powerful feel.

Glowing with old-fashioned tube-amp warmth, concise and punchy fare like 'The Wizard,' 'Traveler In Time,' and the hit

'Easy Livin'' touch upon garage-rock basics. Epics such as 'Circle of Hands' and 'Paradise/The Spell'—a multi-part sonic

excursion whose choral grace and spiritual glide evoke distant lands, misty cloud forests, and peaceful eternities—cling to

a sensitivity underscored by deft piano touches. No wonder Uriah Heep spent the remainder of its lifespan trying to again

capture such a balance.

Colin Blunstone and Sundazed Music celebrate the 50th anniversary of
Colin's post Oracle opus One Year with an expanded edition! The half,
itself titled, That Same Year, gives you a deeper introspective look into
that time in his life
The album largely features Colin singing accompanied solely by his acoustic
guitar.That Same Year includes beautifully sparse demo versions of three songs
from One Year including 'Caroline Goodbye' and 'Let Me Come Closer To You'
where Colin is joined by fellow Zombie Rod Agent on piano. Three songs have
Colin joined by Zombie bassist Chris White on classical guitar. Beyond the three
familiar songs you will find Colin's familiar voice and wit come through on eleven
completely unheard compositions all penned for the One Year album; including
'Sing Your Own Song' where sings of reading about his own death in Rolling
Stone.One Year is an album that somehow manages to be both lush and sparse
at the same time and always deeply intimate. That Same Year finds a way to
bring your listening experience to a deeper level of intimacy.In addition to penning
most of the album, Colin also penned the liner notes that fill the gatefold jacket
along with unseen photos from that year. The notes go track by track through One
Year along with some background on That Same Year.

To celebrate the 35th Anniversary of the debut album "Hipsway" PNFG
will remaster and repackage this frankly outstanding debut album in
gatefold glory
Originally released in 1986, the album spent 23 weeks in the UK charts, spawned
the hit single "The Honeythief" and should have been hit singles "Ask The Lord"
and "Long White Car" whilst also contributing "Tinder" to a long- running lager
commercial.The album will be remastered for vinyl by Paul McGeechan (Love &
Money) and will feature extensive new liner notes.

"Hall Of The Mountain King" marks the beginning of the successful
relationship with producer Paul O'Neill.

Considered a turning point in the band's musical identity, the album shows the beginning of their progressive tendencies as they explore new forms of expression in their music, distinguishing between the old and new Savatage.
Mastered for vinyl and reissued with the original cover design, enhanced artwork and extensive liner notes by Clay Marshall, the album will become available as a 180g Black Vinyl Gatefold Edition and as a Strictly Limited Heavyweight Collector's LP Edition on Golden Vinyl which includes an exclusive 7" Vinyl Single featuring the song "This Is Where You Should Be" on Side A and a 1987 live version of "Hall Of The Mountain King" on Side B.

"Hall Of The Mountain King" marks the beginning of the successful
relationship with producer Paul O'Neill.

Considered a turning point in the band's musical identity, the album shows the beginning of their progressive tendencies as they explore new forms of expression in their music, distinguishing between the old and new Savatage.
Mastered for vinyl and reissued with the original cover design, enhanced artwork and extensive liner notes by Clay Marshall, the album will become available as a 180g Black Vinyl Gatefold Edition and as a Strictly Limited Heavyweight Collector's LP Edition on Golden Vinyl which includes an exclusive 7" Vinyl Single featuring the song "This Is Where You Should Be" on Side A and a 1987 live version of "Hall Of The Mountain King" on Side B.

- Followup to 2015's Insides. - RIYL: Jacques Greene, Leon Vynehall, DJ Seinfeld, Project Pablo - Features cover art by Salvador Dalí protégé Steven Arnold. - Silver halide (gray + black marble) vinyl limited to 1,500 copies worldwide - Vinyl is housed in a black dust sleeve inserted in to a matte varnish jacket with metallic silver spot color // After a run of critically-acclaimed singles and EPs, British producer Michael Greene, aka Fort Romeau, returns to the full-length format with Beings of Light, the long-awaited follow-up to 2015's Insides and his second LP on Ghostly International. While a prolific DJ who orients many of his productions for the dancefloor, Greene still sees the album as the ultimate statement of intent, "a space to stretch out, to speak in full paragraphs rather than stunted sentences." He has explored several stylistic fragments in recent years (including the summer 2018 anthem "Pablo," hailed a Best New Track by Pitchfork), but when faced with the extended pause to the dance community in 2020, Greene felt compelled to focus on a larger body of work. Embracing a back-to-basics mentality, he amassed over a dozen hours of sounds, asking himself throughout the sessions: "Does the music move you? Is it honest?" He came out the other end with Beings of Light, an expressive collection traversing rainy day ambient, moonlit disco, and dream-like techno in pursuit of the power found within our subconscious. Album opener "Untitled IV" ushers in a sprinting tempo in its exploration of the human voice, a recurring device in the Fort Romeau project. Greene uses it as a compositional layer, disembodied with its context often opaque or reduced to a single phrase. Here the voice is scattered in percussive twitches, colliding with a kick drum to induce a near state of hypnosis as horns sound off in the distance. Propulsive standout "Spotlights'' is Greene's ode to the romanticised New York City that lives in our hearts, nocturnal and carefree. A vocal snippet repeats the title with a breezy poise, reminiscent of classic house cuts. "Ramona'' honors the beloved Robert Johnson club in Offenbach, Germany. Hazy, spacious, and sustained, Greene designed the beat with their system in mind, "also with a strong nod to the more modern lineage of exceptional minimal house music from Frankfurt," he says. Two ambient pieces surround the track, "(In The) Rain" sets the scene and "Porta Coeli" (a Latin phrase which loosely translates to "heaven's gate") soundtracks the comedown. The album's closer, the title track, is an arc constructed with atmospheric textures, euphoric swings of percussion, and a well-placed piano refrain, "Beings of Light" is adaptive; one could imagine it reverberating from a club, scoring the emotional apex of a film, or radiating through the realm of dreams.

A rarities album of the first incarnation of Marc Bolan’s Tyrannosaurus Rex featuring Steve Peregrine Took. • The First LP collects all the tracks from the early first two sessions from the summer of ’67 • The second LP collects rare and unused alternate versions recorded over the following two years until the departure of Steve Took.• Presented in a deluxe gatefold sleeve with unpublished photos licenced from photographer Pete sanders ( who was responsible for 3 of the 4 Tyrannosaurus Rex LP covers + the first T. Rex LP cover ) • In depth Liner notes by Andrew J Gardner and all royalties go to The Light of Love Foundation for the Marc Bolan School of Music & Film

For his 1973 debut album as a bandleader,
Lonnie Liston Smith assembled a killer
band of Cecil McBee on bass, George
Barron on sax, James Mtume and Sonny
Morgan on percussion, David Lee, Jr. on
drums, Badal Roy on table, Geeta Vashi
on tamboura, and Joe Beck on guitar.
Such a multifaceted ensemble was
perfectly suited to explore the spiritual
jazz that Smith had encountered while playing
with Pharoah Sanders (“Let Us Go into the House of the Lord” appears here
and on Sanders’ 1970 album Summun Bukmun Umyun which featured Smith),
all presided over by Flying Dutchman label owner and former John Coltrane
producer Bob Thiele. We’ve re-created the original gatefold artwork with Nat
Hentoff’s liner notes…one of the great jazz albums of its era!

(Deluxe Gatefold Vinyl 2LP, 12-page booklet with liner notes, lyrics in Spanish / English, rare photographs from that era + DL code). This compilation brings together 24 iconic songs from that era, with a focus on the theme of love songs (A + B side) as well as social political songs (C + D side), highlighting the emotions that this music brought to the popular working classes of Lima, nationwide and the diaspora.

‘The Afro Modern Seventies Sounds of Soweto’s First Nightclub

• Over ten years in the making, this is the first compilation from South African vinyl re-issue specialists Matsuli Music

• Ten track double gatefold album journey through jazz, funk, fusion and disco, detailing the incredible story and sounds behind the Soweto nightclub during the height of apartheid

• Uniquely South African take on the trans-Atlantic sounds of Philadelphia, Detroit and New York City

• Cover artwork by Zulu Bidi (of Batsumi fame) with unseen photographs, and liner notes by Kwanele Sosibo featuring interviews with key musicians, players and a former president of South Africa

• Audio mastered and cut for vinyl by Frank Merritt at The Carvery with heavyweight 180g vinyl pressed at Pallas in Germany

A night-time haunt in the backstreets of Soweto run by a well-known bootlegger should have been a prime zone for nefarious underworld activities. Instead, it nurtured an underground of a different kind. Soon after its opening in 1973, Club Pelican became a spot where musicians steeped in the tradition of South African jazz began to cook up experimental sounds inspired by communion, competition and the movements in funk and soul blowing in from the West. Located in an industrial park on the western edge of Orlando East, Soweto, Club Pelican was off the beaten track, among a matrix of railway and industrial infrastructure. In a different time and place, this would have been a prototypical nightclub location, except there was no local precedent to follow. This was Soweto’s first night club.
In the intervening years, this location has served to heighten the now-defunct spot’s legendary status as a singular venue, one that ruled the night in the Seventies. Initially called Lucky’s and established in 1973, the Pelican’s impact on the Soweto cultural landscape was immediate. Lorded over by a charismatic figure known as Lucky Michaels, the club became the jewel in a nondescript collection of family businesses. It boasted a diverse pool of talent in its succession of house bands and an A-list of ghetto-fabulous singers as

its cabaret stars. Its VIP section was a veritable who’s who of Soweto society and its stage, hosting a mix of the day’s pop culture infused with the creativity and individual histories of the musicians, the Pelican filled a live music vacuum.
One Night in Pelican captures the halcyon seventies period with a single nightclub embodying an indomitable spirit of its troubadour players. While schooled and rooted in “standards” and local forms, the music could take any direction, at a moment’s notice. This compilation features all the key groups and players of the time: Abacothozi, Almon Memela’s Soweto, The Black Pages, Dick Khoza and the Afro Pedlars, The Drive, Ensemble of Rhythm and Art , The Headquarters, Makhona Zonke Band, the Shyannes and Spirits Rejoice.’

Gonzalo Benitez and Luis Alberto Valencia were kingpins of the musica nacional movement in Ecuador. Check them out on the cover, on a rooftop in Quito’s Old Town, surveying their dominion. In 1970, when Valencia collapsed onstage during a performance of the yaravi Desesperacion — ‘My heart is already in ashes’ — and died four days later, aged 52, his coffin was carried through those city streets on the shoulders of his fans.

They began singing as a duo in their mid-teens. During twenty-eight years together they recorded more than six hundred songs, for Discos Ecuador, Nacional, Granja, Ortiz, Rondador, Onix, Fuente, Real, Tropical, Fadisa, RCA Victor — and of course CAIFE.

Their exquisitely romantic harmonising is a sublime blend of collected forbearance and abject self-annihilation, underpinned and elaborated by the heart-piercing, improvisatory guitar-playing of Bolivar Ortiz. Effectively the third member of the group. ‘El Pollo’ sets the tone and intensity for everything that follows: listen to his soloing at the start of our opener, Lamparilla.

Musically a pasillo — a cross between a Viennese waltz and the indigenous yaravi rhythm — Lamparilla draws its verses from a poem by Luz Martinez from Riobamba, written in 1918 when she was 15, under the influence of Baudelaire and Mallarme. Another pasillo here, Sombras is one of the best-loved songs in the musica nacional canon, setting lines about undercover sex and loss by the Mexican poet Maria Pren, which were considered pornographic on publication in 1911.

And Benitez & Valencia looked back still further, to the indigenous roots of Ecuadorian music, as the key to its future. Carnaval de Guaranda is their take on a song dating back to the era of the Mitimaes, a broad group of Bolivian tribes conquered by the Incas and displaced to Ecuador. ‘Impossible love of mine / I love you for being impossible / Who loves what is impossible / Is the truest lover.’

Lovingly presented in a gatefold sleeve with spot-gloss, and printed inners, with stunning photos and expert notes. Excellent sound, drawn from original tapes, by way of Abbey Road, D&M and Pallas.

- The Complete Film Score by Tom Holkenborg aka Junkie XL - 180 Gram Neon Pink Vinyl (Disc 1) and Neon Yellow Vinyl (Disc 2) - New Artwork and Design by Oliver Barret - Exclusive Liner Notes by Director Zack Snyder - Deluxe "Zeus Zombie" Tear Away Front Cover with Triple Gatefold Jacket // Tom Holkenborg is a Dutch composer, multi-instrumentalist, DJ, producer, and audio engineer. He has worked with Hans Zimmer and his company Remote Control Productions on Man of Steel and Batman v Superman: Dawn of Justice, as well as composing the scores for Zack Snyder's Justice League, Mad Max: Fury Road, Deadpool, Tomb Raider, Terminator: Dark Fate, Sonic the Hedgehog, and Godzilla vs. Kong. Waxwork Records is thrilled to present the score music to ARMY OF THE DEAD as a deluxe double LP album featuring never-before-seen interactive packaging with new artwork and design by Oliver Barrett. Listeners must tear open the screaming visage of Zeus, the film's zombie leader, to reveal a locked vault door. The packaging then expands into a neon pink and yellow soaked triple gatefold which unlocks the vault to reveal a horde of Las Vegas zombies inside. As the listener continues opening the album packaging, and all zombies are killed, you'll be greeted by Valentine, the film's beloved (and first-ever?) zombie tiger! The score has been pressed to 180-gram neon pink and yellow vinyl and the album features exclusive liner notes by director Zack Snyder.

Kiefer Sutherland, mostly known as an Emmy and Golden Globe Award-winning actor, producer, and director, began pursuing a secondary musical career in the 2000s and 2010s by forming the Ironworks label. He signed Rocco DeLuca, Ron Sexsmith and started his own rootsy Americana outfit called the Kiefer Sutherland Band. Fast forward to 2021, Kiefer Sutherland returns from his UK Top 10 album, 2019’s ‘Reckless & Me’ with a brand new record, 'Bloor Street' coming out on 21st January 2022. Opening track "Bloor Street" (1st Oct) explores the sense of home both externally and within yourself. Lead track "Two Stepping in Time" (5 Nov) showcases Kiefer's classic fire sparking americana tune. Additional focus tracks include "Lean into Me" (31Dec) and "Chasing The Rain" (21 Jan).

First released by Britain’s then foremost folk label, Transatlantic Records in 1970, Storyteller’s first album is a forgotten gem of Psychedelic Folk Prog Rock. Warm and silky production courtesy of Andrew Bown and Peter Frampton, fabulous dual vocals and a wistful arrangement of top-drawer UK Folk Prog, make Storyteller a diamond worth digging into. Around 1969, after being a part of the band The Other Two on Decca Records, working with people like Chuck Berry, Duane Eddy and Jerry Lee Lewis, and touring with Chuck Berry and The Animals, Caroline Attard joined a new band that was being formed; Storyteller. A quintet who followed their own inclination, ignoring current fashions and just doing what seemed to come naturally, Storyteller is a crate-digger’s delight. Up there with Fairport Convention, Jefferson Airplane and Steeleye Span, Storyteller were steeped in folklore tales such as on ‘Ballad Of The Three Laps’, bringing the true spirit of folk alive in their own unique way. With songs written primarily by Roger Moon, and Terry Durham as muse of inspiration with his paintings and wonderful Yorkshire stories, Storyteller’s debut has the authentic and honest vibe of the real McCoy. No longer confined to being coveted by collectors and those in the know, this lush remastered reissue via Svart Records comes on gatefold vinyl with updated liner notes and interview. If you treasure Folk, Prog and Psychedelic Rock, make sure this is a tale you don’t miss out on!

2 x 180 gr heavy weight vinyl in deluxe matte-finish Gatefold cover + Download Card) Flowers From The Ashes is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. Silvia Kastel, Andrea Belfi, Marco Shuttle, Ninos Du Brasil, Alessandro Adriani, Chevel, Lucy, Lory D, Caterina Barbieri & Neel Flowers From The Ashes is the latest multi-artist project to bear the acclaimed Stroboscopic Artefacts imprimatur. There is a sensibility of decadence and corroded grandeur etched within its four album sides, reminding us that historically 'decadent' times have nonetheless resulted in some of the boldest acts of individual and collective creativity. Like the 'floral' theme that has remained a consistent feature of S.A.'s graphic presentation, the music here equally presents fragility and intensity in a way that really drives home this visual metaphor for good, while still holding out the promise that similar creations will be seeded in the near future.Though many of the artists involved have set of residence outside of their native Italy, all contribute here to make a captivating portrait of a shared spirit and cultural memory. The album opens with 'Errori,' deceptively fragile sonic ornaments crafted and suspended in space by Blackest Ever Black artist Silvia Kastel. This is followed closely by the mellifluous, warming glow of percussionist Andrea Belfi's 'Spitting & Skytouching,' and then by the resolute electric bass patterns and luminous fog of 'Lux et Sonus,' from Eeri label head Marco Shuttle. Hospital Productions alumnus Ninos du Brasil open the B-side with a similarly dense, amorphous construction built from tribalistic chants and rhythmic patterns, to be followed by Mannequin label boss Alessandro Adriani's 'You Will Not Be There For The End,' showcasing his distinctive take on the 'paranoiac breakdance' aesthetic of classic EBM. S.A. veteran Chevel rounds out the first record in the program by interlacing several percolating synth lines together into a richly conversational piece.The journey continues with 'Starving The Mind,' an undulating mini-epic from S.A. founder Lucy that is animated by his signature balance of seductiveness and concentration. The bright, biting acid synth tones of 'PRV-HH3-X', by Lory D, then takes a sharp right turn into an invisible metropolis ruled by reflective high fashion and hidden intrigue. The imposing architecture of 'Virgo Rebellion,' designed by modular synth futurist Caterina Barbieri, acts as an excellent companion piece, and sets up the closing '4G' from Spazio Disponibile co-founder Neel - a crepuscular serenade that accurately sums up much of the foregoing activity.

Buckle in for an orgasmic Italo trip, courtesy of Argentinian duo Furor Exótica. The result of a sweaty and shaky journey in their Buenos Aires studio, here they deliver two stir-crazy babies, crafted for dancing lovers worldwide.

The title track ‘Macchina Bum Bum’ builds energy gradually from minimal beginnings, adding spine-tingling vocoder vocals, shimmering synth melodies and a familiar sample as it builds towards a euphoric climax. Prime sunset material.

Meanwhile ‘Fractal’ is a hot and heavy chugger, with its throbbing bassline, trippy vocals, and euphoric synth melodies swelling and swirling together. You can practically smell the sweat on leather.

On remix duties, Donald’s House kick things off with a brilliant reimagining of ‘Macchina Bum Bum’, complimenting the vocals with a squiggly, wiggly, funky and propulsive retro-futurist instrumental. Just try not to throw your hands in the air when the synth melody comes in around the halfway mark! A certified stone cold banger, ready for peak-time deployment.

Bringing things home, label founders Kayroy and GREETINGS deliver a dreamy, psychedelic rework of ‘Fractal’. The vocals are transformed into a trippy, gated refrain, taking center stage alongside mellow, warm synth lines, and underpinned by a robust 808 kick. The track ends in a final crescendo, which should please dancers in a club or lovers in a broom closet alike.

‘Marathon’ continued SAGA’s long musical tradition and highlighted that more than 25 years into their career, the classic line-up consisting of Gilmour, Negus, vocalist Michael Sadler and the Crichton brothers Jim and Ian sounded as vibrant and exciting as ever. It’s in SAGA’s DNA that the new album nevertheless featured several surprises and exciting digressions. On the one hand, ‘Marathon’ included another three ‘chapters’ with more information about the story that was so popular with the fans and yet remained open to interpretation. At the same time, ‘Marathon’ sees SAGA celebrate once again the noble art of atmospheric songs, for example on ‘Rise And Shine’ or ‘Blind Side Of Your Heart’, which combine delicate melodies with an emotive instrumentation. Never been released on vinyl before, ‘Marathon’ will finally become available as 2LP Gatefold edition on heavyweight vinyl. The album is reissued with enhanced artwork and personal liner notes by Ian Crichton and will also been released as a CD Deluxe Edition.

WRWTFWW Records is absolutely honored to announce the release of Kenji Kawai’s complete soundtrack to Mamoru Oshii's 1993 superb political thriller science-fiction mecha anime PATLABOR 2: The Movie, available on vinyl for the first time ever and housed in a beautiful heavy gatefold sleeve with obi, as well as on digipack CD. Both versions come with liner notes by the great Masaaki Hara.
A true soundtrack maestro, Kenji Kawai is behind the legendary soundscapes of cult animes and movies such as Ghost in the Shell, Avalon, Ring, Ip Man, and Seven Swords among numerous others. PATLABOR 2: The Movie (Original Soundtrack) is one of his most experimental offerings, an outstanding palette of emotion-filled ambient atmospherics and percussion mastery breathing beautifully through Kawai’s minimalism meets modern classical approach. His symphony of moods paints a delicate picture of urban isolation, a central theme in the movie, but doesn’t hide hints of hope for a joyful future.
PATLABOR 2: The Movie (Original Soundtrack) is an ideal companion to Kenji Kawai’s Ghost in the Shell soundtrack, already available on WRWTFWW Records.

Blue Note founder Alfred Lion considered pianist Herbie Nichols to be a composer who was as original and important as Thelonious Monk. Little-known in his time, recognition has grown in recent years for Nichols’ unique compositions like “The Third World,” “2300 Skidoo,” and “Step Tempest” which were presented on The Prophetic Herbie Nichols, Vol. 1 and Vol. 2 featuring Al McKibbon on bass and Art Blakeyon drums. The two 10” LPs are combined here onto a single 12” LP presented in a gatefold with the Vol. 1 cover on the front, the Vol. 2 cover on the back and liner notes on the inside. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

"UMC celebrate the 50th anniversary of The Band’s classic fourth album, Cahoots, with an assembly of newly remixed, remastered and expanded 50th Anniversary Edition packages, including a multi-format Super Deluxe 2CD/Blu-ray/1LP/7-inch vinyl box set along with a 2CD and 180-gram half-speed-mastered black vinyl. All the Anniversary Edition releases were overseen by principal songwriter Robbie Robertson and sport a new stereo mix by Bob Clearmountain from the original multi-track masters. The box set and CD configurations boast a bevy of unreleased recordings, including Live at the Olympia Theatre, Paris, May 1971, a rousing bootleg partial concert consisting of 11 tracks culled from the initial throes of a European tour that found The Band perched at the top of their live game; and early and alternate versions of “Endless Highway” and “When I Paint My Masterpiece” along with six other early takes, outtakes, instrumentals, and stripped-down mixes.
Exclusively for this box set, Clearmountain has also created new Dolby Atmos and 5.1 surround-sound mixes of both the album and four bonus tracks, presented in high resolution on Blu-ray, alongside the new stereo mix. Every new audio mix has been mastered by Adam Ayan at Gateway Mastering. The lift-top box set also includes an exclusive reproduction of the Japanese pressing of The Band’s 1971 7-inch vinyl single for “Life Is A Carnival” b/w “The Moon Struck One” in their new stereo mixes; a 20-page booklet with new notes by Robbie Robertson and extensive insider liner notes by Rob Bowman; three classic photo lithographs, one each by Barry Feinstein, Richard Avedon (his infamous eyes-closed group portrait from the back cover) and noted New York artist/illustrator Gilbert Stone (who painted the still stunning stretched-out portrait of The Band on the album’s front cover); plus a wealth of additional material and other historical data from the original recordings sessions. The limited-edition 180-gram black vinyl release that features a tip-on jacket also contains a photo lithograph by Barrie Wentzell that’s unique to the package."

Blue Note founder Alfred Lion considered pianist Herbie Nichols to be a composer who was as original and important as Thelonious Monk. Little-known in his time, recognition has grown in recent years for Nichols’ unique compositions like “The Third World,” “2300 Skidoo,” and “Step Tempest” which were presented on The Prophetic Herbie Nichols, Vol. 1 and Vol. 2 featuring Al McKibbon on bass and Art Blakeyon drums. The two 10” LPs are combined here onto a single 12” LP presented in a gatefold with the Vol. 1 cover on the front, the Vol. 2 cover on the back and liner notes on the inside. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

All Them Witches have built a career out of playing music that cannot be pigeonholed into one specific genre.

‘Nothing As The Ideal’ was recorded in Studio 2 at the world famous Abbey Road with the help of longtime mixing engineer Mikey Allred. The history and vibe of that setting laid the groundwork for what was to come.

The band’s signature psychedelic blues riffs, relentless drums, melodic basslines and non-linear lyrics are all present.

The resulting album is a thought provoking headbanger that is the band’s most cohesive album to date.

140g black vinyl gatefold LP.

Westbound 1976 Funk classic - Featuring an all-star Parliament/Funkadelic line-up - Limited 180g TANGERINE COLOR Vinyl Edition (400 copies) - Comes in Deluxe Gatefold Jacket with Obi Strip - Comes with liner notes // A co-founder of the P-Funk movement, Clarence Eugene "Fuzzy" Haskins was born in West Virginia in 1941 and started as a singer in the doo-wop vocal group The Parliaments, led by George Clinton in the late 1950s. He was a founding member of the groundbreaking and influential 1970s funk bands PARLIAMENT-FUNKADELIC. Fuzzy Haskins toured and appeared on P-Funk albums as a singer, and occasionally as a guitarist, throughout the 1970s. He is a member of the Rock and Roll Hall of Fame, inducted in 1997. Despite the success of Mothership Connection, Fuzzy Haskins was growing frustrated that his songs were no longer being featured on albums by Funkadelic and Parliament. He also watched as Bootsy Collins, a relative newcomer to the family, embarked upon a solo career. This added to Haskins' frustration and at the height of P-Funk's popularity, Fuzzy left the ensemble to pursue a solo career. Fuzzy Haskins released his first solo album, A WHOLE NOTHER THANG, in 1976. The album features funk `all-stars' from the likes of Bernie Worrell, Donald Austin and Bootsy Collins. Haskins wrote eight of the nine songs and served as producer, singer, songwriter, guitarist and even drummer. The result was an album that oozed quality. With his brand of earthy and heavyweight funk, Fuzzy Haskins' solo work fits right in with many of the other great P-Funk side projects. Also featured on the album is the track "Cookie Jar", which was later recorded by Prince. Despite the quality of music, the album didn't sell in vast quantities and didn't find the audience it deserved. `A Whole Nother Thang' is a true gem to funk fans, mint vinyl copies are hard to find and pricey these days. If you are a Funkateer_this one's for you. Originally released on Westbound Records in 1976, now back available as a limited deluxe 180g TANGERINE COLORED vinyl edition packaged in a gatefold jacket featuring the original artwork and liner notes.

Long Awaited Double Gatefold Release!

Omar Lyefook MBE is without doubt, one of the greatest soul music talents the United Kingdom has produced in the last 40 years. If anyone has doubts about that, then they might want to consider the list of legendary artists who happily line up to collaborate with him musically, or simply sing his praises - from Stevie Wonder, the late Leon Ware, Erykah Badu, Common, through to Carleen Anderson, D'Angelo, and Soul II Soul's Caron Wheeler, Angie Stone and U.K. artists Courtney Pine, Rodney P, Kele LeRoc, Natasha Watts and Estelle, all appreciate his truly original and unique voice, musicianship and songwriting talent.

When asked to reflect on his long, successful, critically acclaimed and deeply influential career that shows no signs of slowing up, Omar said "I feel blessed. I try to keep things moving and evolving, and when I finish an album, I always put my heart and soul into it. I'm looking at it from an outsider's point of view, because I never really see myself making the music. It's like I'm the vessel and somebody's controlling what I do, I just happen to be the one that gets the praise for it".

That modest statement just re-enforces the fact that Omar is simply a one off, a genuinely unique artist. That is a bold claim, but his sound is so immediately identifiable, that you will know you are hearing an Omar track within seconds - and that is the stamp of true originality.

This collection features many of his classic collaborations, from his evergreen worldwide anthem There's Nothing Like This, It's So, the dancefloor destroying banger inspired by the amalgam of sounds Omar heard at The Notting Hill Carnival.

The Montreux Album was released in 1978 as the fifth studio album by English rock band Smokie. It was named after Mountain Studios in Montreux, Switzerland, where the album was primarily recorded. Recorded at the hight of the band’s popularity, this is the last album made in partnership with Nicky Chinn and Mike Chapman. Three singles of the album were released: “For a Few Dollars More”, “Oh Carol”, and “Mexican Girl”, all of which charted well across Europe.

It includes 4 bonus tracks: Smokie’s “Roll On Baby” and “Love’s A Riot”, and two duets by Smokie’s lead singer Chris Norman and Suzi Quatro, the #1 hit-single “Stumblin’ In” and “A Stranger With You”. Also included: liner notes in the gatefold sleeve and a beautifully etched d-side.

As the album title suggests, SAGA completed an imaginary circle with their 13th studio album "Full Circle" in 1999. Tracks such as "Remember When (Chapter 9)", "The One", "Timebomb" or "Uncle Albert's Eyes (Chapter 13)" continue the conceptional and musical success formula of their first five releases stylistically. "Full Circle" marks another great album especially for those who love classic SAGA as it features plenty of creative songs, a powerful delivery and that special unique characteristic of SAGA. "Full Circle" is a real charmer – available on vinyl for the first time ever, the album will be released on heavyweight vinyl as a gatefold edition as well as a Deluxe Digipak edition with enhanced artwork and personal liner notes by Jim Gilmour.

Apart from a series of successful studio albums and worldwide hit-singles such as ‘Wind Him Up’, ‘On The Loose’, or ‘How Long’, it’s mainly been SAGA’s haunting concerts that have inspired their fans and – as a direct result – have been the reason for the outstanding success of their live albums. ‘Detours (Live)’ was recorded over the course of eight shows in Germany, Austria and France, using a mobile recording studio. It was originally released in 1999 as a truly worthy SAGA live album that captures the fantastic atmosphere at the concerts and leaves nothing to be desired thanks to its captivating set list. For the first time ever, this brilliant live album is now available on vinyl – as a 3LP gatefold edition on heavyweight vinyl. The reissue also comes with enhanced artwork and personal liner notes by Jim Crichton.

Restlessly awakening from the depths of a feverish slumber, doomed heavy metal masters KHEMMIS return to reveal their fourth full length studio album, DECEIVER, arriving via Nuclear Blast Records in November 2021. Six tracks of desolate, soul-awakening heaviness encapsulate a project that has been nearly three years in the making. With a title that reflects the internal struggles that many of us battle in our daily lives, DECEIVER is a ferociously honest and appetizingly raw piece of musical artistry.
The first single LIVING PYRE signifies far more than just the beginning of another musical endeavour for the band; it is a substantial benchmark for emotional struggle and growth. “When it comes to my own mental health, when I’m in a bad place, I can’t access the part of me that creates art. After reaching that understanding of myself, the bulk of this song came out in one sitting. I was feeling stable. I was feeling hopeful–even though so much outside in the world was not exactly inspiring. All of us needed a reason to feel a glimmer of hope,” recounts Hutcherson. With a big, quintessentially KHEMMIS chorus embellished by a swampy sorrow, this song incorporates familiar elements of the band’s sound with a touch of Swedish death metal in its latter half. “The reason that this was the song that came first lyrically was because I was juggling all the things that were happening with the inside and outside world intersecting. All the lyrics for me feel very ‘of the time.’ So much was happening in this world, and they were just my efforts to contend with it,” explains Pendergast. “Like Ben, this was a breakthrough moment for me. Once I got the song out, it allowed me to write other songs for the album. It’s less about the fire metaphor implied by the title than about the fact that in order to escape fire you have to find water. You find the deepest, darkest cavern…you just want to stay there forever. It slowly fills up and you eventually drown.”
HOUSE OF CADMUS was another deeply collaborative writing effort between all three members of KHEMMIS. “I thought the opening riff had this cool almost-swing to it...but evil,” recalls drummer Zach Coleman. “I was drawn to the atmosphere of that first riff, and it felt like it needed to be a song that was dark the whole way through. Ben and I discussed getting some New Orleans-style sounds somewhere on the album, and I think this is where we were able to sneak some in to tie together other aspects of the song.”
“I knew that I wanted the lead guitar line in the second half of the song to tie two very different parts together,” explains Hutcherson, “but the idea was all really abstract until we were in a room together. It wasn't until we jammed out that big funeral/death doom bridge and the slow, sad coda that we found out what we wanted that lead line to be: memorable and emotive. It was a very honest musical moment together.” The writing and recording processes of HOUSE OF CADMUS were so emotionally driven that even producer Dave Otero of Flatline Audio (Cephalic Carnage, Cattle Decapitation, Act Of Defiance) encountered his own deeply personal and intense connection with the song. “With the lyric turn at the end, I was inspired by Dave’s imagery,” says Pendergast. “This idea of a person leaving some important part of themselves behind as they float away and leave the thing they love on the shore. The sound of this song is like a lighthouse beam cutting through the fog in a dark night on the ocean.”
While the lyrical themes of DECEIVER;sorrow, pain, longing for hope, will no doubt be familiar to longtime fans, these six songs display a broader collection of musical influences than on any other KHEMMIS record to date. “It being our 4th album, especially after the transition between the last two albums, it felt really freeing. We felt that we could really do anything on this record,” explains Coleman. “There’s a lot here that we’ve never done before,” adds Pendergast. “In some areas it gets darkly psychedelic. I think we found a cool way to mutate things using transitions that feel really natural. There is a subtle symmetry between the first and last songs which is one of the things that makes listening to the full album a satisfying holistic experience. It builds from almost nothing, becomes very dark, and then you slowly crawl out of that lowest circle of hell.” KHEMMIS’s DECEIVER is a beautiful, musically ambitious journey from beginning to end drenched in impassioned melody and complex, unrestrained variations of sonic savagery adorned with chilling, intensely tragic cover art by frequent collaborator Sam Turner.

Restlessly awakening from the depths of a feverish slumber, doomed heavy metal masters KHEMMIS return to reveal their fourth full length studio album, DECEIVER, arriving via Nuclear Blast Records in November 2021. Six tracks of desolate, soul-awakening heaviness encapsulate a project that has been nearly three years in the making. With a title that reflects the internal struggles that many of us battle in our daily lives, DECEIVER is a ferociously honest and appetizingly raw piece of musical artistry.
The first single LIVING PYRE signifies far more than just the beginning of another musical endeavour for the band; it is a substantial benchmark for emotional struggle and growth. “When it comes to my own mental health, when I’m in a bad place, I can’t access the part of me that creates art. After reaching that understanding of myself, the bulk of this song came out in one sitting. I was feeling stable. I was feeling hopeful–even though so much outside in the world was not exactly inspiring. All of us needed a reason to feel a glimmer of hope,” recounts Hutcherson. With a big, quintessentially KHEMMIS chorus embellished by a swampy sorrow, this song incorporates familiar elements of the band’s sound with a touch of Swedish death metal in its latter half. “The reason that this was the song that came first lyrically was because I was juggling all the things that were happening with the inside and outside world intersecting. All the lyrics for me feel very ‘of the time.’ So much was happening in this world, and they were just my efforts to contend with it,” explains Pendergast. “Like Ben, this was a breakthrough moment for me. Once I got the song out, it allowed me to write other songs for the album. It’s less about the fire metaphor implied by the title than about the fact that in order to escape fire you have to find water. You find the deepest, darkest cavern…you just want to stay there forever. It slowly fills up and you eventually drown.”
HOUSE OF CADMUS was another deeply collaborative writing effort between all three members of KHEMMIS. “I thought the opening riff had this cool almost-swing to it...but evil,” recalls drummer Zach Coleman. “I was drawn to the atmosphere of that first riff, and it felt like it needed to be a song that was dark the whole way through. Ben and I discussed getting some New Orleans-style sounds somewhere on the album, and I think this is where we were able to sneak some in to tie together other aspects of the song.”
“I knew that I wanted the lead guitar line in the second half of the song to tie two very different parts together,” explains Hutcherson, “but the idea was all really abstract until we were in a room together. It wasn't until we jammed out that big funeral/death doom bridge and the slow, sad coda that we found out what we wanted that lead line to be: memorable and emotive. It was a very honest musical moment together.” The writing and recording processes of HOUSE OF CADMUS were so emotionally driven that even producer Dave Otero of Flatline Audio (Cephalic Carnage, Cattle Decapitation, Act Of Defiance) encountered his own deeply personal and intense connection with the song. “With the lyric turn at the end, I was inspired by Dave’s imagery,” says Pendergast. “This idea of a person leaving some important part of themselves behind as they float away and leave the thing they love on the shore. The sound of this song is like a lighthouse beam cutting through the fog in a dark night on the ocean.”
While the lyrical themes of DECEIVER;sorrow, pain, longing for hope, will no doubt be familiar to longtime fans, these six songs display a broader collection of musical influences than on any other KHEMMIS record to date. “It being our 4th album, especially after the transition between the last two albums, it felt really freeing. We felt that we could really do anything on this record,” explains Coleman. “There’s a lot here that we’ve never done before,” adds Pendergast. “In some areas it gets darkly psychedelic. I think we found a cool way to mutate things using transitions that feel really natural. There is a subtle symmetry between the first and last songs which is one of the things that makes listening to the full album a satisfying holistic experience. It builds from almost nothing, becomes very dark, and then you slowly crawl out of that lowest circle of hell.” KHEMMIS’s DECEIVER is a beautiful, musically ambitious journey from beginning to end drenched in impassioned melody and complex, unrestrained variations of sonic savagery adorned with chilling, intensely tragic cover art by frequent collaborator Sam Turner.

Digging deep into the catalog of Cramps records, Dialogo returns with another stunning entry in their reissue series dedicated to the seminal imprint, the Croatian composer Martin Davorin Jagodić's 1975 masterstroke, "Tempo Furioso (Tolles Wetter)". A bristling work of monumental scale at the vanguard of electroacoustic composition and musique concrète, its stunning two sides, created by his sinfully under-recognized associate of Groupe de Recherches Musicales, reshapes history at every turn. Issued by Dialogo in a limited edition of 300 copies on black vinyl, with fully remastered audio, housed in a gatefold sleeve that beautifully reproduces the original design, and complete with brand new English translations of the original liner notes.

Portico Quartet announce Monument, the electronic driven follow-up to their acclaimed ambient-minimalist suite Terrain, presenting the band at their most direct

It's rare that a band releases two albums within six months of each other, rarer too that while both are so different, they are both as epochal in terms of the band's output as Terrain and Monument are to Portico Quartet. The irony is that Monument, a stripped-back, intentionally direct album, was the album that the band set out to write in May 2020, before the dream like long-form Terrain came into focus. Briefly they were two halves of the same record, but the band ended up developing these two distinct bodies of work concurrently. And although they were written side-by-side and recorded at the same sessions, they are records best understood as distinct from each other, each with opposing ideas and forms.

Monument is one of Portico Quartet's most accessible, direct records to date. If Terrain addressed the darker side of how Duncan Bellamy and Jack Wyllie made sense of the pandemic, then Monument resonates as an ode to better times. If not quite a dance record, it nonetheless pulses with an energy, radiance and a scalpel sharp focus. Jack Wyllie explains: "It's possibly our most direct album to date. It's melodic, structured and there's an economy to it that is very efficient. There's not much searching or wastage within the music itself, it is all finalised ideas, precisely sculpted and presented as a polished artefact."

Bellamy expands "Monument sits somewhere between our albums Portico Quartet and Art in the Age of Automation. It has perhaps a more overtly electronic edge to its sound – there are more synthesisers and electronic elements than we have used before and the music is often streamlined and rhythmic".

After the ethereal, stage-setting of Opening, the album kicks into overdrive with Impressions, a short energetic track that pairs a club influenced groove with hang drum and close, delicate saxophone. It's the balance between these elements that push and pull the track through a selection of melodic and rhythmic re-configurations, contrasting human touch with a machine-like focus. Ultraviolet is a kaleidoscopic, krautrock inspired track with a haunting introduction and an insistent pulse. The wistful Ever Present builds from a simple piano refrain; a nostalgic melody line floats over the top as drums and bass groove insistently underneath, before reaching a euphoric peak. The title track Monument builds around a looping vocal sample, drums and an enigmatic melody, the ending giving way to a gauzy, weaving synth line. The power here is in its economy and luminosity. AOE flips back and forth, like a dial that's been switched. Mining the tension between a pastoral inflected cello and saxophone melody, with an abrupt shift to jilted live drums, wailing delayed saxophone and a flickering synth line. Warm Data comes straight from the same Portico Quartet tradition as older tracks like Current History and Laker-Boo. It's a marriage of instrumental minimalism with drum machines and synths. Finally, the album closes with On The Light, a track that transmits a sense of suspense and freedom, driven by the twitching drums of Bellamy and evocative sax of Wyllie. It offers the perfect bitter-sweet and evocative ending to Portico Quartet's latest Monument.

Portico Quartet announce Terrain, a three-part suite drawing on American minimalism and ambient music alongside their own rich heritage as they explore new musical vistas

When Duncan Bellamy and Jack Wyllie – the driving force behind Portico Quartet got together in their East London studio in May 2020 and started work on the music that would become their new album, the world, or most of it, was in the midst of the first lockdown. The unique impact of the events of 2020 became the backdrop to their time composing and recording; causing them to take stock, re-think, and plot a new musical path.

Indian novelist Arundhati Roy expressed the sense of grief and rupture from the pandemic as "a portal, a gateway between one world and the next", and as they created the music that would become Terrainthey were drawn towards longer, slowly unfolding pieces, which are perhaps the most artistically free and also the most beautiful they have ever made.

These are compositions more in the lineage of Line and Shed Song (Isla/2009), Rubidium (Portico Quartet/2012) and Immediately Visible (Memory Streams/2019). Wyllie expands: "We've always had this side of the band in some form. The core of it is having a repeated pattern, around which other parts move in and out, and start to form a narrative. We used to do longer improvisations not dissimilar to this around the time of our second record Isla. On Terrain we've really dug into it and explored that form. I suppose there are obvious influences such as American minimalism, but I wasparticularly inspired by the work of Japanese composer Midori Takada. Her approach, particularly on 'Through the Looking Glass', where she moves through different worlds incorporating elements of minimalism with non-Western instruments and melodies were at the front of my mind when writing this music".

Terrain I, II & III are all subtly different, but a short rhythmic motif that repeats is the starting point in all three movements. There is a sense of a shared journey to all these pieces, they move throughdifferent worlds, with a sense of horizontal movement that lends the music real momentum. Terrain I was the first piece they worked on and it started with a hang drum pattern, improvised by Bellamy, who added cymbals and synthesiser. From there on it grew, Wyllie adding saxophone, another synthesiser section, strings. For Bellamy "It felt more like filmmaking than music making, a bricolage of conflicting, shifting signs, subtle tension and multiple narratives. Andrei Tarkovsky's 'Mirror' and British artist John Akomfrah's incredible 'Handsworth Songs' were pivotal points of reference for me." Wyllie expands the point. "There is a sense of conversation between us both, in that someone presents a musical idea, the other person responds to it with something else, which would then be responded to again... until it feels finished. These responses are often consonant with each other but there is also a dissonance to some of this work. The music slowly evolves through these shared conversations."

It is this sense of dialogue, both between the composers, and between tranquillity and a subtly unsettling melancholy, that makes Terrain such a powerful statement. One that speaks to both our interior and exterior worlds, to our own personal landscape, to our Terrain.

Black Truffle is thrilled to announce ViewFinder / Hide & Seek, a new release from acclaimed American experimental composer David Behrman, presenting recordings made in collaboration with Jon Gibson and Werner Durand between 1989 and 2020. Last heard from on Black Truffle as part of the collaborative art song/live electronics madness of She’s More Wild, these recordings find Behrman continuing the pioneering work in interactive electronics that have established him as one of the major living experimental composers.

Side A presents excerpts from two live realisations of Unforeseen Events (1989), the fourth in a series of pieces focussing on the interactions between instrumental performers and responsive software. Like the classic earlier works in the series, On the Other Ocean (1977), Interspecies Smalltalk (1984) and Leapday Night (1986), Unforeseen Events is an “unfinished composition” in which a computer system listens for and responds to specific pitch cues from an instrumentalist. Performed by the composer on electronics and Werner Durand on soprano saxophone in Berlin in 1989, the first realisation immediately ushers the listener into an environment of long soprano notes, lush, sustained synth harmonies, randomised percussive interjections and distantly burbling arpeggiated patterns.

The 1999 realisation recorded in New York with Jon Gibson on soprano shows how much room for the instrumentalist to affect the course of the music exists in Behrman’s interactive pieces, in which, as he notes, ‘performers have options rather than instructions’. Beginning in a roughly similar area to the version with Durand, this later recording eventually becomes substantially more active, as polyrhythmically layered arpeggios and percussive patterns respond to fast chromatic lines and dynamic phrases from the saxophone, moving Gibson in turn to respond with cycling figures and moments of extended technique that touch on the soprano languages pioneered by players like Steve Lacy and Evan Parker. Yet even at its most active, the lack of conventional forward movement in the music allows it to retain what Behrman’s friend Jacques Bekaert called its ‘fragile tranquillity’, as episodes of activity appear only as momentary disruptions of an underlying calm.

On the B side, we are treated to a new collaborative work from Behrman and Werner Durand, building on the 2002 installation work ViewFinder, in which a camera detecting physical motion triggered changes to electronic sound. The piece presented here is a long-distance studio construction, recorded by Behrman in the Hudson Valley and Durand in Berlin, offering up an expansive duet between Behrman’s lush, gliding synth tones and the alien, untempered tones of Durand’s invented and adapted wind instruments. Presented in a stunning gatefold sleeve with art from Terri Hanlon, archival photographs and new liner notes from Behrman and Durand,ViewFinder / Hide & Seek is an essential release showcasing the continuing vitality of a legendary figure in experimental music.

Swedish power trio MONOLORD return with their highly anticipated new album, Your Time to Shine. Recorded by MONOLORD drummer Esben Willems at Studio Berserk, Your Time to Shine sees the trio looking inward, cultivating the elements that take their monstrous, heavy riffing to new heights with a darker edge. A five-track journey that spans across crushing doom rock to more spacey, groove laden opuses, Your Time to Shine is MONOLORD at their most unfiltered and focused. Out of the gate, MONOLORD kick-off a wild ride with the soaring, fist-raising opener “The Weary” and its insanely catchy melodies. Elsewhere, the stop/start switch between sweetness and abrasiveness of “To Each Their Own” showcases a new element to the band’s repertoire. MONOLORD embraces the power of the riff with pulsating chugs on “I’ll Be Damned” and the mind-expanding title-track, whose final section brings back some of the band's spaced-out rock n’ roll beginnings. Everything culminates in their new epic, “The Siren Of Yersinia”, whose lonesome call can be heard in each feedback-ridden note and in each pained, buried vocal line. Your Time to Shine is yet another turn for MONOLORD. While the band clearly stays on “Riff Street”, they are poised to find darker avenues.

Swedish power trio MONOLORD return with their highly anticipated new album, Your Time to Shine. Recorded by MONOLORD drummer Esben Willems at Studio Berserk, Your Time to Shine sees the trio looking inward, cultivating the elements that take their monstrous, heavy riffing to new heights with a darker edge. A five-track journey that spans across crushing doom rock to more spacey, groove laden opuses, Your Time to Shine is MONOLORD at their most unfiltered and focused. Out of the gate, MONOLORD kick-off a wild ride with the soaring, fist-raising opener “The Weary” and its insanely catchy melodies. Elsewhere, the stop/start switch between sweetness and abrasiveness of “To Each Their Own” showcases a new element to the band’s repertoire. MONOLORD embraces the power of the riff with pulsating chugs on “I’ll Be Damned” and the mind-expanding title-track, whose final section brings back some of the band's spaced-out rock n’ roll beginnings. Everything culminates in their new epic, “The Siren Of Yersinia”, whose lonesome call can be heard in each feedback-ridden note and in each pained, buried vocal line. Your Time to Shine is yet another turn for MONOLORD. While the band clearly stays on “Riff Street”, they are poised to find darker avenues.

A Svart Mondo release. The original vinyl of “Harvest Time”, the debut album by the Finnish band Elonkorjuu (which means ‘Harvest’ in Finnish), has been the among the most valuable collector’s items in Finnish rock: its average prize in 2021 is over 1200 euros, and even over 2000 euros have been paid for a mint copy. Recorded almost entirely live and originally released in 1972, Elonkorjuu’s “Harvest Time” is a best kept secret for many Scandinavian Prog aficionados. With music inspired by groups like Cream and Free with more progressive and free-jam style, Elonkorjuu is one of the few bands that successfully progressed the whole heavy Blues/Psych Rock style in a way that made them a little unique and ahead of their time. Drawing initially from the schools of bands like Sabbath and Colosseum but expanding on those influences with soulful church organ and cutting guitar from leader Jukka Syrenius, “Harvest Time” is entirely worth it’s reputation as a sought after treasure. A killer album from beginning to end. Heavy guitar work all over and great vocals sung in English,which is rare for a Finnish band of this era.
Finally receiving a worthy reissue from the vinyl obsessives at Svart Records, “Harvest Time” sees the light of day again on gatefold vinyl, including new liner notes. If you have an ear and place in your heart for the shadowy and mysterious world of early heavy progressive rock, then it’s probably “Harvest Time” for you!

Their eleventh studio recording “Generation 13“ saw SAGA release a concept album for the first time in their career. Inspired by the book ‘13 Gen Abort Retry Ignore Fail’ by Neill Howe and Bill Strauss, keyboardist Jim Crichton developed the (fictitious) story of young Jeremy, a member of what is known as the 13th Gen – the generation born between 1961 and 1981, identified as the 13th generation in the US since the founding fathers – whose future prospects, according to Strauss/Howe, were full of uncertainties despite the nation’s huge wealth, and whose daily life would be marked by violence and chaos. The result was a versatile album featuring haunting rock songs and an ambitioned story full of social criticism. Reissued as a Double Heavyweight Black Vinyl Gatefold Edition, “Generation 13” will be available for the first time ever on vinyl and features the acclaimed 1991 single „Gotta Love It“ as an exclusive bonus track as well as personal liner notes by Jim Crichton.

On “Pleasure & The Pain”, the band’s 12th studio album, SAGA presents a much more edgy and tougher side than on their preceding albums. For SAGA quite unusual, the guitar as the leading instrument dominates most of the tracks, powerful riffs take the place of former extensive keyboard parts. At that time, the band was searching for a new contemporary SAGA sound while sticking to their trademark components. “Pleasure And The Pain” is clearly among the most exceptional works of SAGA. Reissued as a Heavyweight Black Vinyl Gatefold Edition “Pleasure & The Pain” will be available on vinyl for the first time ever and features the stunning cover version of Peter Gabriel’s „Solsbury Hill“ as an exclusive bonus track as well as personal liner notes by Ian Crichton.

Wagram compilation of 50s and 60’s Miles’ classic tracks.

Music Legends is the collection made to rediscover the history of modern musics in nice gatefold sleeve single vinyls with liners notes written by journalits. Music Legends, is proud to present a new volume. This new title focusses on one of the greatest jazz maestro of all time : Miles Davies. Often seen as the most influential artist in the Jazz Music field, his legacy will continue to influence the new musicians for years. The LP features 8 of his most famous tracks (So What, Milestones, Round Midnight…)

Horacio Vaggione (born 21 January 1943) is an Argentinian composer of electro-acoustic and instrumental music whose music is regularly played worldwide in major centers and festivals of contemporary music. "La Maquina de Cantar" (1978) is his first solo recorded work; originally released on the Italian Cramps Records label as the 18th volume of the Nova Musicha series dedicated to contemporary avant-garde composers, "La Maquina de Cantar" is now made available again on Dialogo in a faithful reproduction of the original gatefold cover artwork, including also an inner sleeve with the English translation of the liner notes

Limited Edition 2 x LP vinyl with 13 remixes and more than 78 minutes of music, comes in gatefold double colour sleeve with exclusive photographs from the film, extensive liner notes and japanese style OBI strip. The score for a film by Oscar winning director Dusan Vukotic 'Visitors From The Galaxy' from 1981 (FOX001LP) was remixed by 11 artists from 9 countries. All original tracks from Visitors From The Galaxy (alternative titles: Gosti Iz Galaksije; Monstrum Z Galaxie Arkana; Gaeste Aus Der Galaxis; I Visitatori Della Galassia Arcana; Goscie Z Galaktyki Arkana; Los Visitantes De La Galaxia) are arranged, composed, conducted and produced by Tomislav Simovic. This compilation includes additional screen sounds from the unpublished tapes of composer Tomislav Simovic also featured in Dusan Vukotic film. With courtesy of Tomislav Simovic estate artists were given complete creative freedom to remix, reinvent and re-imagine the futuristic soundscape of first science-fiction film in Yugoslavia that was scored in analog, abstract, electronic and synthesised music. Alen & Nenad Sinkauz, Ali Renault, Anatolian Weapons, Credit 00, Drvg Cvltvre, Goran Vejvoda, Heinrich Dressel, Repeated Viewing, Security DJ, Tapan and Timothy Fife got the sounds from Tomislav Simovic score and embarked on a musical journey that had no rule or predetermined direction or genre; it was only their creativity inspired by Visitors From The Galaxy sound that led them to a new pieces, more or less experimental, abstract or dance floor friendly. The diversity of music goes wide and deep, it is modern and made by the stars of today paying homage to a composer who always retreated in being a star. As the remix projects of this kind are still very rare and include famous names like Ennio Morricone, Steve Reich or Peter Thomas Orchestra, Tomislav Simovic is now finally, one might say, at home.

The Pineapple Thief, are one of the leading lights of Europe’s experimental rock domain, led by post-progressive mastermind Bruce Soord & reinforced by Gavin Harrison (King Crimson) on drums.
Following the release of their latest studio album ‘Versions Of The Truth’ in September 2020, the band were preparing to start the album’s live campaign, when like so many other artists, their plans were put on hold by the continuing global pandemic.
Eager to still perform & connect with their fans across the globe, in April 2021, The Pineapple Thief filmed an extravagant on demand live event entitled ‘Nothing But The Truth’ directed by band videographer George Laycock (Blacktide Phonic/Visual).
Bruce Soord explains” “The Pineapple Thief is equally about the studio & the stage, so it was hugely disappointing that we were unable to tour, especially as we were excited to be able to perform the
new album ‘Versions Of The Truth’ live for everyone. Being able to do this film, especially under the circumstances, was invaluable. We all knew we did not want to shoot a film of us standing on stage staring at an empty room. We wanted something special, something ‘cinematic’ so we have created something unique & something very, very special that I am proud to have been a part of. I can’t wait for people to hear it.”
Drummer, Gavin Harrison adds “Nothing But The Truth” is a highlight for this band in terms of captured performance.
The Pineapple Thief’s 2018 anthemic release ‘Dissolution’ garnered worldwide acclaim from both media & fans, earning them their first UK Top 40 album, #1 UK Rock & Metal album & #22 on the German album charts. It took them on two extensive sold-out European headline tours & their first ever tour of North America.
‘Versions Of The Truth’ raised the standard yet again by delivering, quite possibly, one of the most important rock albums of 2020.
‘Nothing But The Truth’ captures The Pineapple Thief at their very best performing songs from their illustrious catalogue including for the first time live, songs from ‘Versions Of The Truth’.
The release will coincide with the rescheduled UK & European live shows this autumn & continue into 2022 with more dates to be announced.
The soundtrack to ‘Nothing But The Truth’ will be released on a gatefold black vinyl double LP with an 8-page printed colour booklet.

LP
- Gold vinyl
- Gatefold with gold foil
- Download card with 34 tracks: remastered album, rarities and new remixes

- To celebrate twenty years since the release of Sugababes' iconic debut album 'One Touch', the band have a special anniversary edition of the album on the 1st October including rarities, demos and new remixes.
- In 2020 One Touch remains a blueprint for genre-hopping mainstream music and a byword for effortlessly stylish British pop. Original band line up (Keisha Buchanan, Mutya Buena and Siobhán Donaghy) back together to support this release
- New remixes by MNEK, Metronomy, Blood Orange and Majestic
- Featuring the hit singles 'Overload', 'Run For Cover' and 'Same Old Story'
- Remastered and expanded editions including unheard demos, rarities and classic/new remixes

From the first show the Grateful Dead played in St. Louis in 1968 – when “St. Stephen” made its debut – local fans knew the Gateway City’s rich musical heritage had a unique way of coaxing the best out of the band. One of the shortest-lived iterations of the Grateful Dead was the band that existed December 1971 through March 1972. Jerry, Bob, Phil, Bill, Pigpen, and Keith formed a formidable version of the Dead that only played a few shows together before Donna Jean joined as vocalist, and before Pigpen would depart the stage for good in June 1972. What this sextet lacked in quantity of shows it made up for with creativeness, power, and inspiration.

When Pigpen re-joined the Dead on December 1, 1971, after a few months off during which Keith had joined as piano player, the band was now an unstoppably powerful live juggernaut it hadn't been since the height of the Primal Dead era in late 1968-1969. Widely considered one of the best shows from the Pigpen-Keith era of the Grateful Dead, December 10, 1971 in St. Louis has it all: Pigpen singing lead on four songs including an 18 minute version of Good Lovin' and a very rare performance of Run Rudolph Run; a deep dive into the Dead's psychedelic recent past with a monster version of The Other One; plus plenty of the new material from earlier in 1971 like Bertha, Loser, Sugaree, and Playing In The Band. They also hit upon much of the music that would appear the following year on Europe '72, such as Jack Straw, Tennessee Jed, Mr. Charlie, and One More Saturday Night. And no Dead show of this vintage would be complete without the "hits": Truckin', Sugar Magnolia, and Casey Jones all make appearances. This is truly one of the deepest, most dynamic, exciting, and accessible live shows in the entire Grateful Dead canon.

THE PALE FOUNTAINS - LONGSHOT FOR YOUR LOVE (Marina Records) New enhanced, remastered vinyl edition of the long-deleted, much sought-after Pale Fountains compilation "Longshot For Your Love" - originally released in 1998 - covering the band's early years from 1982 to 1984. "Longshot For Your Love" is a collection of rarities, radio sessions and previously unreleased tracks by Liverpool's second best band ever - fronted by Michael Head ("Our greatest living songwriter" - NME). Seven cuts are released here for the first time ever - incl. the superb John Peel and Old Grey Whistle Test BBC Sessions ('82/'83). The album comes with enhanced artwork - in a beautiful gatefold cover plus inner sleeve feat. lots of unseen band photos and extensive linernotes by former Pale Fountains manager Patrick Moore. On Marina Records.

Neon Christ, the Atlanta hardcore luminaries founded by Alice in Chains singer William DuVall have announced the official release of 1984 for 17th September. This collaboration between Southern Lord Recordings/DVL Recordings was originally released on Record Store Day U.S.only, now to be made available more widely.

The package includes a full-colour gatefold sleeve and a 12-page oral history booklet featuring dozens of never-before-seen photographs. Heavyweight vinyl at 45 RPM for maximum fidelity.

Neon Christ formed in the fall of 1983 with William DuVall on guitar, Jimmy Demer on drums, Danny Lankford on bass, and Randy DuTeau on vocals. They made their debut in the early morning hours of New Year’s Day 1984. That March, they recorded their eponymous debut 10-song EP. Released in June ’84, the EP's songs exemplify the band's signature musical diversity, from DRI-style thrashers like "Parental Suppression" to the atmospheric improv of "After." A short east coast tour followed. On Labor Day 1984, the band recorded four tracks in the home studio of Nick Jameson, of Foghat fame. A few months later, "Ashes to Ashes" was included on the International Peace/War compilation released by MDC's R Radical Records, bringing the band worldwide exposure.

Neon Christ shared the stage with the luminaries of 80s hardcore including the Dead Kennedys, Circle Jerks, and Corrosion of Conformity. In 1985, the band added Shawn Devine on second guitar, as their sound and songs became slower, heavier, and more melodic. DuVall wrote an album's worth of songs in 1985, but only "Savior (Drawn In)" was ever recorded in what would be the band’s final studio session on December 26, 1985 (the master tapes were lost). Returning to the four-piece original lineup, the band played a handful of Atlanta shows and then took a break in March of 1986. A few months later, William moved to Santa Cruz, CA, to join BL’AST!, and Jimmy, Danny, and Randy formed Gardens of…William later founded jazz/punk/world improvisers No Walls. In 1999, he would form Comes With The Fall and move the band to Los Angeles, where he struck up a friendship and musical collaboration with Jerry Cantrell. William joined Alice in Chains as vocalist and guitarist in 2006. On February 2, 2008, Neon Christ reunited to headline the Ratlanta Punkfest 2.

To this day, the band members maintain a close friendship, as well as a desire to honour the legacy of the group. So when longtime fan Greg Anderson of Southern Lord contacted them about reissuing a deluxe edition of Neon Christ's 1984 sessions, "1984" quickly came to life. To remaster the original tapes using an all-analog process, William DuVall made multiple trips to Nashville to one of the few remaining studios maintaining the vintage technology to play and process the audio. Side one of "1984" features the original Neon Christ 7" EP, and side two contains the four songs of the Labor Day session

4LP & 2CD Genesis Hits package to coincide with the bands UK tour in September 2021 with 3 sold out shows at London’s 02 Arena. This will be Genesis’s first tour in over 13 years with the classic line up of Mike Rutherford, Tony Banks & Phil Collins. They have sold around 100 million albums worldwide with over 20 top 40 UK hits with songs such as Follow You Follow Me, Turn It On Again, Mama, I Can’t Dance and many more. Genesis have won awards over the years at the American Music Awards, Grammy Awards, Ivor Novello Awards and a Lifetime Achievement at the Progressive Music Awards. The track list is made up of the songs the band have been performing in rehearsals and will make up the majority of the setlist during the gigs, the title of the release is the same as the tour. 4LP set is to be housed in a hardback gatefold book-style package, this will include classic images of the band, rare and unseen images from their archive & images of the rehearsal and the stage used for the gigs.

Following on from the acclaimed Tiger Balm / Amazonia Dreaming / Immersion LP (BT028), Black Truffle is thrilled to present two major new instrumental works from legendary sound artist and experimental composer Annea Lockwood. Demonstrating the ever evolving and radically open nature of Lockwood’s practice, these two recent works were developed in close collaboration with their performers. ‘Becoming Air’ (2018), developed with and performed by trumpeter Nate Wooley, uses extended technique and electronics to interfere with Wooley’s virtuosic control over his instrument, pushing him into areas of fluctuating pitch and timbral instability. Motivated by a desire for ‘the letting go of sound to be itself’, ‘Becoming Air’ unfolds as a series of texturally distinct moments separated by pauses, each fixing on a particular approach to the instrument (long tones, upper-register whistles, breathy wooshes) and maintaining it in an essentially static fashion, focussing our attention on subtle changes and variations. Dipping into near-inaudibility in the fragile high tones of its opening section, the piece dramatically increases in volume and intensity in its final third, climaxing with a passage of roaring distortion, where the interaction between feedback and trumpet pitches calls up the shuddering interference effects of Robert Ashley’s Wolfman.

‘Into the Vanishing Point’ (2019) is a collaborative work developed with New York piano and percussion quartet Yarn/Wire, who have performed work by major contemporary composers such as Olivia Block, Catherine Lamb and Klaus Lang. Carrying on the ecological and environmental concerns of some of Lockwood’s previous works, ‘Into the Vanishing Point’ was inspired by a devastating news article on the global collapse of insect populations. Discovering that the four members of Yarn/Wire had also read this text, Lockwood mapped out a loose structure for the piece that would allow the composer and four performers to explore their ‘feelings about what is happening ecologically’. Working with a huge variety of instruments, objects and techniques of sound production, the resulting work is an alluringly lush, organically unfolding tissue of unorthodox textures and haunting tones. Though not intended to sonically represent ecological issues in any direct way, its unique sound world of rubbed piano strings, gently handled objects and chiming pitches often calls up natural images: of insects and frogs, wind rushing through trees, a bird’s wings in flight. Presented in a stunning gatefold cover with liner notes by Lockwood, Wooley and Yarn/Wire, Becoming Air/Into the Vanishing Point is a testament to the generosity and experimentation that continue to characterise the work of this extraordinary artist, active for over fifty years.

It was once said that listening to ‘Antiphonals’ was, “like listening to a
progressive rock album except it’s just the keyboard parts.” As the
second full-length LP on Late Music, Davachi offers here a slow and
sedate solo affair composed with the various horns and woodwinds of
the mellotron alongside organs, pianos, harpsichord and more quiet
delights.
CD in 4 panel gatefold lancing pack.
LP in standard 3mm spine printed sleeve, poly-lined inner bag and
digital download card.
As a composer and performer of both acoustic and electronic music,
Sarah Davachi’s work is concerned with the close intricacies of
intimate aural space, utilizing extended durations and simple
harmonic structures that emphasize subtle variations in texture,
overtone complexity, psychoacoustic phenomena and temperament
and intonation.
Similarly informed by minimalist tenets of the 1960s and 1970s,
baroque leanings toward slow-moving chordal suspensions and
experimental production practices of the recording studio
environment, in her sound is manifest an experience that lessens
apprehension of consonance and dissonance in likeness of the
familiar and the distant.
Davachi has toured extensively across the globe and has shared the
stage and collaborated with artists such as Grouper, William Basinski,
Ariel Kalma, the Bozzini Quartet, the London Contemporary
Orchestra, Oren Ambarchi, Donald Buchla, Suzanne Ciani, the BBC
Scottish Symphony Orchestra, Jessica Moss, Áine O'Dwyer,
Alessandro Cortini, James McVinnie, Ian William Craig, Kara-lis
Coverdale, Aaron Dilloway, Robert Aiki Aubrey Lowe, Ellen Arkbro,
Loren Connors and filmmaker Paul Clipson.
Between 2007 and 2017, Davachi had the unique opportunity to work
for the National Music Centre in Canada as an interpreter and content
developer of their collection of acoustic and electronic keyboard
instruments. In 2020, she established her own label, Late Music.

Mondo and Madison Gate are proud to present the premiere vinyl release of Leo Birenberg and Zach Robinson's incredible score to the Netflix streaming phenomenon COBRA KAI. This 3-disc vinyl set features music from the first 3 seasons of the hit series, curated by the composers into themed collections.

This exclusive retail version comes pressed on red, white, and blue marble discs. Also featuring all new artwork from the incredible Matt Ryan Tobin and liner notes from composers Leo Birenberg, Zach Robinson, star Ralph Macchio, and showrunners Josh Heald, Jon Hurwitz, and Hayden Schlossberg.

Music from the first 3 seasons of the series curated into three collections of music:
Disc 1: COBRA KAI - a curated mix of music scoring the most badass dojo in the Vallely
Disc 2: MIYAGI-DO - curated selections from the music scoring Laruso Family, and its ties to the Miyagi legacy.
Disc 3: FINAL FIGHTS - the music from all three of the explosive season finale episodes.

All of the music has been hand selected, and in many cases expanded from their original form for the most definitive Cobra Kai listening experience available.

Composer and saxophonist Brian Brown produced some of the most refined Australian jazz recordings during the 1970s. A versatile musician whose distinct impressionist music melded modern jazz with the outer limits of free experimentation. Considered to be his greatest work was the 1975 concept album Carlton Streets, an ambitious recording that romanticised the sights, sounds and the nostalgia of this once-bohemian Melbourne neighbourhood. Differing from his eco-jazz composition Wildflowers heard on the recent Roundtable compilation Pyramid Pieces, Carlton Streets explores the polar opposite, offering jazz impressions of the urban environment. Comparable to other pioneering jazz-rock groups such as Ian Carr's Nucleus and mid-period Soft Machine, the album is a mosaic of ecstatic jazz-rock groove, spirited free improvisation and expanded experimental textures. A potent fusion that owes as much to Australian 20th-century avant-garde composers as it does to the influence of the electric jazz innovators, specifically early Weather Report and Herbie Hancock's Mwandishi. The Roundtable are pleased to showcase this important artist and offer a new edition of this landmark Australian jazz recording. Restored from the original master tapes and presented in a gatefold sleeve including liner notes and rare photos. Released for Record Store Day 2021.

After recording debut album The Return of the Durutti Column with producer Martin Hannett in 1979, virtuoso guitarist Vini Reilly purchased a TEAC four-track recorder from Bill Nelson and began producing his own material. These evocative demos were perfected by Reilly at Graveyard Studio with co-producer Stuart Pickering, with additional drums and percussion from Bruce Mitchell. Originally released by Factory Records in November 1981, LC is a key album in a body of work described by David Stubbs of Uncut magazine as ‘unique in rock, with Reilly’s scampering, watercolour guitar style building a tentative bridge between post-punk and the chamber sketches of Debussy and Ravel.’
On this expanded Factory Benelux the original ten tracks are supplemented by no less than 9 bonus cuts, including rare Sordide Sentimental single Danny/Enigma, and the three tracks Reilly contributed to A Factory Quartet in 1980 - his last recordings with Hannett, which feature Donald Johnson of A Certain Ratio on drums.
The remastered double disc set is housed in a gatefold sleeve printed on matt reverse board, with liner notes and archive images. The package also includes an exclusive 7-inch single featuring live versions of Sketch for Summer and Requiem for a Father, recorded at Leeds Polytechnic in October 1980. These are the earliest surviving professional live recordings of Durutti Column in concert.

Behind The Dykes is a 2LP compilation presenting the best bands and artists the Dutch had to offer in the period 1964-1972. The Netherlands were the first non-English speaking country to storm the Billboard Hot
100 with a string of hit singles from bands such as Shocking Blue,
Focus, George Baker Selection, Golden Earring and Tee-Set. This
2LP presents the bands that followed closely behind, with singles and albums that internationally have become highly sought-after records. Some bands with a rich discography, others with no more than one or two singles under their belt. Original singles of many of these tracks are currently offered and/or sold for hundreds of Euros on Discogs, and many original pressings were so limited at the original time of release that they are impossible to find.

The album is released under the Decca brand with the classic logos and labels. The full color printed inner sleeves contain liner notes about each individual band with the original single artwork, while the inside of the gatefold sleeve contains photos of the artists featured on this album.

This is the first official re-release on vinyl under licensed courtesy of BMG Rights Management,UK, remastered from an original master copy out of the vaults of BMG, originally released in 1972 on Bronze Records.

Co-founder of Colosseum in 1968 with Jon Hiseman, he knew from his Jazz Club years as drummer for Georgie Fame, Dick ran through this group's hectic recording and touring schedule for over 3 years until November 1971, when it disbanded.

In his late 30s at that time, on top of his musical shape, he moved on to start recording on his first solo project, with material left over from Colosseum days (written by D. H.-S., Clem Clempson and Jon Hisemann) and new material jointly composed with well-known lyricist Pete Brown. He recruited the help of Colosseum mates, Hiseman, keyboardist Dave Greenslade and vocalist/bass player Mark Clarke, plus the brilliant ex-Elton John group Caleb Quaye (Hookfoot) on guitars and Rob Tait (ARC, Battered Ornaments) on drums; old pal G. Bond is featured providing remarkable moog work on 'Pirate's Dream', funky organ on 'Moses In The Bullrushourses' and sharing piano duties with Gordon Beck (G.B. Trio, Nucleus) on 'What The Morning Was After'; Paul Williams (Juicy Lucy) gets the lion share of vocal duties, and Chris Farlowe and Chris Spedding (Nucleus, Battered Ornaments) have respectively a sole vocal and a guitar spot on 'Pirate's Dream'.

The album track by track:
Side one starts with 'Future Song', the track that really rises above the other tracks here. The guitar, vocals (by Mark Carke) and sax are great on this one. Killer sax 2 minutes during an excellent instrumental interlude. H.-S. sounds slightly eastern-influenced on his outstanding sax lines. Such an uplifting track with it's repetitive riff and hard, driving sound! Next is 'Crabs', starting off in a mellow way with Greenslade's piano and reserved vocals as the sax joins in followed by guitar and drums as it builds. Irresistable! Great vocals by Paul Williams. One could easily imagine both tracks on a Colosseum album. 'Moses In The Bullrushourses' is uptempo, owing just as much to jazz, blues and hard rock. Great groove! Lots of organ here to send shivers down your spine and perfect guitar playing. 'What The Morning Was After' opens with some sax excursions as the drums help out. Acoustic guitar by Quaye and powerful vocals by Paul Williams take over as the piano joins in. Our second favourite tune on here after the opener. A folky song really until it picks up half-way through.

Side 2 opens with the 11 minutes 'Pirate's Dream', with Farlowe on vocals and Spedding's initial rock blues riff, but soon evolving to a complex multi parted composition in the best spirit of Valentyne Suite, driven by Hiseman multi faceted drumming. D. H.-S. twin saxes soar on a calmer mid section with Spedding doubling the licks and the bass grumbling relentlessly behind; it slowly gains speed with moog, sax and vocalizations duelling and answering each others with dazzling, demanding and inspired phrasings on top a thundering rhythm section; after the lyrics resume it evolves into a majestic, grandiose finale. A bluesy clean guitar lick opens 'Same Old Thing', a swinging, calm heavily modulated twisted blues, with a punchy rhythm section, a soulful Williams on vocal, Quaye delivering an inspired sparkling solo and D. H.-S.'s sensitive fat sax enhanced with some double tracking on the solo part. A great ending to a great album.

Album comes with the reproduction of original gatefold cover sleeve, additional cover-sized insert with band story, lyrics and photos. A highlight! Highly recommended!

This summer, multidisciplinary producer, designer and 3D artist Raynor de Groot serves up Future Static, his debut full-length on Atomnation as Coloray. More than simply a collection of music, the record will be presented in an all-new virtual space where each track is a portal to a different world.

Dutchman de Groot has proven himself as an accomplished conceptual artist who draws together many different creative fields. He has released everything from lush synth-pop to deep techno, and has real songwriting ability. 2019's 'Can't Stop' in collaboration with Eagles & Butterflies proved that as it crossed over multiple scenes and became one of the year's standout tracks thanks to support from heavy hitters as diverse as Hunee and Four Tet. Âme & Dixon have also regularly supported Coloray's music and asked him to release 'Gazing Eyes' on their Innervisions label.

Two years after his Real Life Cinema EP on Atomnation, Future Static finds de Groot open a new chapter that explores a more conceptual sound. The album "translates the concept of man and computer creating a new reality where logic and emotion seems to be at odds with one another." Its 12 tracks have club-ready grooves, but also exquisite synth designs that are edgy and uptempo. They will be translated to a live show and interactive music experience in VR, on your phone and desktop. In the show, online visitors will be able to get lost inside the mind of an AI and watch and interact with a Coloray performance.

Presented with an artfully designed gatefold sleeve, Future Static is a groundbreaking project from Coloray that pushes creative boundaries while offering an immersive listening experience.

Multinational industrial black metal rising force Decoherence join Sentient Ruin again to bring you "System I", a 12" vinyl, digital and cassette tape full-length album/compilation of all the band's recent digital only singles and EPs, remastered to their final and ultimate form along with a glorious and previously unreleased cover rendition of Killing Joke's classic cut "The Wait". While these tracks were previously already digitally (self)released, don't be fooled or misled to think you're hearing any "b-sides" or otherwise "left over" material, rather, consider "System I" not only the righteous third official full-length album from the band, but also by far Decoherence's most visionary, cohesive, and imposing songs to date. Awe-inducing and ghastly in its enveloping immensity, the tracks on "System I" see the enigmatic multinational black metal band morph into their most defiant and commanding form yet, as they construct an impenetrable mechanized swarm of liquefying industrial hallucinations and swirling dissonance that eradicates the listener from their corporeal and terrestrial self to cast them at the edge of a light-devouring void. Stylistically "System I" sees Decoherence's sound still thrive and evolve within the familiar synthetic black metal deconstructionist framework of progenitors like Blut Aus Nord and Darkspace, but as the Killing Joke cover included unmistakably hints at, these tracks also reveal a marked shift for the band toward a more unintelligible, unpredictable, and ominous immateriality, as elements incorporated from post-punk and experimental industrial assume stronger delineations adding ulterior dimensions and identities to the band's already alien and otherworldly sound.

Interdimensional Extinction - EP The debut studio EP from this twisted Colorado death metal legion. Mixed and mastered by Damian Herring (Subterranean Watchtower). Eighteen minutes of Sci-Fi death metal for fans of Timeghoul, Demilich and other oddities. Re-released via Century Media Records the EP will be available as Ltd. CD Digipak and 180-gram black LP & poster + etching on side B. Starspawn After releasing the Interdimensional Extinction EP, BLOOD INCANTATION returned with a 30-minute cerebral whirlwind of powerful atmospheric death metal. The intense and otherworldly technical/ambient/funeral death metal of Starspawn leaves the listener feeling transcendentally disembodied at the end of an unknown dimension. Produced entirely in analog, the energy and magnetism of live BLOOD INCANTATION is tangibly melting through the speakers, and the songwriting, production and performance constellations have all fully aligned. Re-released via Century Media Records the album will be available as Ltd. CD Digipak and Gatefold 180-gram black LP & poster.

Golden Earring were active for 50 years from 1961 until 2021. Their final line-up still included two founding members George Kooymans (vocals and guitar) and Rinus Gerritsen (bass, keyboard) along with Barry Hay (vocals, guitar, flute and saxophone), a member since 1968, and Cesar Zuiderwijk (drums), a member since 1970. They have had over 40 hits and 30 albums, many achieving either gold or platinum status in their home country, The Netherlands. They are best known for their 1973 hit single “Radar Love” and their 1982 single “Twilight Zone”.

To The Hilt was released in 1976 and is considered to be one of their most complex albums. More than half of the songs are over 7 minutes long and musically the songs are very diverse. It is the last record that features Robert Jan Stips on keyboards. This reissue will come with a gatefold sleeve.

The album is available as a limited edition of 1500 individually numbered copies on silver coloured vinyl, and includes an insert.

Available on CD and 180gram heavyweight gatefold LP.
Noura Mint Seymali hails from a Moorish musical dynasty in Mauritania, born into a prominent family of griot and choosing from an early age to embrace the artform that is its lifeblood. Yet traditional pedigree has proven but a stepping-stone for the work Noura and her band have embarked upon in recent years, simultaneously popularizing and reimagining Moorish music on the global stage, taking her family's legacy to new heights as arguably Mauritania's most widely exported musical act of all time.
Arbina is Noura Mint Seymali's second international release. Delving deeper into the wellspring of Moorish roots, as is after all the tried and true way of the griot, the album strengthens her core sound, applying a cohesive aesthetic approach to the reinterpretation of Moorish tradition in contemporary context. The band is heard here in full relief, soaring vocals and guitar at the forefront, the mesmerizing sparkle of the ardine, elemental bass lines and propulsive rhythms swirling together to conjure a 360 degree vibe. Arbina refines a sound that the band has gradually intensified over years of touring, aiming to posit a new genre from Mauritania, distinct unto itself, music of the "Azawan."

Supported by guitarist, husband and fellow griot, Jeiche Ould Chighaly, Seymali's tempestuous voice is answered with electrified counterpoint, his quarter-tone rich guitar phraseology flashing out lightning bolt ideas. Heir to the same music culture as Noura, Jeiche intimates the tidinit's (Moorish lute) leading role under the wedding khaima with the gusto of a rock guitar hero. Bassist Ousmane Touré, who has innovated a singular style of Moorish low-end groove over the course of many years, can be heard on this album with greater force and vigor than ever before. Drummer/producer Matthew Tinari drives the ensemble forward with the agility and precision need to make the beats cut.
Many of the songs on Arbina call out to the divine, asking for grace and protection. "Arbina" is a name for God. The album carries a message about reaching beyond oneself to an infinite spiritual source, while learning to take the finite human actions to necessary to affect reality on earth. The concept of sëbeu, or that which a human can do to take positive action on their destiny, is animated throughout.

Lyrically, the Moorish griot tradition is complex and associative. Poetry is held in a continuum between author and audience in which a singer may draw on disparate sources, selecting individual lines here or there for musicality to form a lyrical patchwork expressing larger ideas via association. A griot may relate her own thoughts and poetry, sing poetry written for and about her by a third party, and transmit lines from one party addressing another in the course of a single song. With this ever-fluid narrative voice, stories are told.

Started a decade ago in 2011 with the first volume on Jakarta, Shuko and F. Of Audiotreats are now back with their final instrumental album "Cookies & Cream vol.5" on Shuko's For The Love Of It label. Both producers teamed up again to bring nothing else than smooth jazzy hip hop jams with some little bouncy touches here and there. A long journey comes to an end with a decade creating beats, writing songs and working with artists as diverse as Anderson Paak ("Jewelz"), B-Real, Talib Kweli, Nipsey Hussle, Ludacris or Chance The Rapper. "Cookies and Cream Vol. 5" is an album inspired by the grandmasters of beatmaking like Pete Rock, J. Dilla, Q-Tip or Hi-Tek. The limited vinyl is a special edition in gatefold sleeve with liner notes and some tracks that are not even available on streaming platforms.

A little over a year ago, Nathan Williams found himself back in San Diego, writing what would eventually become Hideaway, his seventh album as Wavves, in a little shed behind his parents’ house. It was also the place where he made some of his earliest albums, before he became known for his uncanny ability to write songs that sneered at the world while evoking pathos, sympathy, and a deep understanding of how sometimes we’re our own worst enemies, and that can be okay. Williams’ return to his childhood home was not just a symbolic attempt at jumpstarting creativity. It came as a result of a series of major life changes. A decade ago, Williams released King of the Beach on the maverick indie label Fat Possum. The album was a cocky collection of pop punk gems that catapulted him into the public consciousness, eventually prompting a jump from Fat Possum into the major label system, where he released two albums before becoming disillusioned by the lack of creative agency available to him. In 2017, Williams self-released You’re Welcome on his label, Ghost Ramp. Now, Williams has returned to Fat Possum with a barbed collection of anxious anthems that grapple with the looming sense of doom and despair that comes with getting older in an increasingly chaotic world. “He’ll always skew toward the Bart Simpson character,” says Matthew Johnson, founder of Fat Possum. “But that does not mean that he doesn’t have some commentary, and once in awhile, it’s totally spot on.” Across its brief but impactful nine tracks, Hideaway is about what happens when you get old enough to take stock of the world around you and realize that no one is going to save you but yourself, and even that might be a tall order. The album features Williams’ most universal and urgent songs yet. “Honeycomb” lopes along sunnily, as Williams sings affecting lines like “I feel like I’m dying, it’s cool, it’s great, just pretend I’m okay.” His directness is shocking, and proof that Williams is the kind of songwriter who can capture pain and uncertainty with resonant brutal force. “It’s real peaks and valleys with me,” Williams says. “I can be super optimistic and I can feel really good, and then I can hit a skid and it’s like an earthquake hits my life, and everything just falls apart. Some of it is my own doing, of course.” It’s this self awareness that permeates each of Hideaway’s songs, marking them each as mature reckonings with who he is. After realizing the material he’d been working on in the hideaway was starting to take shape, Williams, along with bandmates Stephen Pope and Alex Gates workshopped the songs in a series of now-abandoned studio sessions, before linking up with musician and producer Dave Sitek of TV on the Radio to help fully realize their new songs.

20th anniversary reissue of this classic 9 track album from Swedish metal/prog legends, released via Music For Nations. The deluxe CD hardcover book comes with a 24 page booklet, 40x40mm sticker + shrink-wrap marketing sticker. The booklet comes with updated liner notes, memories from the band, and exclusive never seen before content provided by Opeth fans. The booklet also features an extended acknowledgement section, featuring the names of the fans who submitted content to be included in the 20th anniversary edition. LP format icludes 2 x 12" heavyweight pure white vinyl LP's housed in gatefold sleeve with printed inner bags, shrink wrap and 80x80mm sticker. Promo/marketing activity.