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Repress!

Back for a limited edition 12” single from The Future Sound of London comes the iconic original ‘12TOT17R’ collection of “Papua New Guinea” mixes. Mixes alongside the classic 12” Original include the full length Andrew Weatherall Mix, reissued here for the first time since 1992. Andrew Weatherall (1963-2020) was one of the key DJs on the acid house dance scene and this mix is one of his most highly regarded works next to Happy Mondays, New Order and Bjork. This edition is a limited edition to only 2000 copies only.

ŽUR (‘Zhure’, party) is absolute cult and one of the most rare Yugoslavian disco funk albums, originally recorded in 1981, reissued on Everland Music for the first time since the original vinyl came out more than 40 years ago. The album was carefully and brilliantly remastered by grammy nominated sound engineer Jessica Thomson.

Boban Petrović is a legend of Belgrade's sophisticated disco funk scene from the late 70s and early 80s.
Back in the second half of the 70s Boban started one of the first disco clubs in Belgrade and he was one of the biggest organizers of private house parties.

The finest balance between Boban Petrović's big-hearted party-maker-turned-philanthropist personality and his hustler one was achieved on Žur.
On Žur, he is at home, in his safe place, since the parties, the music and the people are the first out of many things he had completely figured out in his life. He is at the top of his game, occasionally bothered by a casual heartbreak, but always feeling himself, coming out playful and fundamentally peaceful, satisfied and ready to transcend himself in order to put the rest of the world in the limelight. In fact, Žur isn’t about the party, music, lyrics or its, hands down, beautifully balanced sonics. It’s about Boban and the funk he lived thoroughly. The funk before, but the funk he lived after this album even more so. All the ups and downs that he faced since the moment the first needle dropped on a Žur record to this very day are on this album as the unwritten destiny of that lighthearted character he played.

In short, ŽUR represents the essence of underground club life in Belgrade from the late 70s, when the album was recorded.
The quality of this trust is confirmed by the fact that Boban Petrovic's music is still actively listened to today, not just anywhere, but at the finest club events.
High end production and extremely authentic arrangements outside the mold of classic disco music, and lyrics that literally convey the vibe of his already jet-set lifestyle in Belgrade at the time.

Shortly after his musical career, Boban Petrovic became a businessman of the conscious class. He was living in Spain on his own luxury yacht for years, he had a private airplane, a car park. But all this time living on highest class level he never lost his identity. In all his offices, yacht, airplane and everywhere was playing loud funk music and he was dressed like a musician who just finished or need to start a gig.
Along the way Boban also wrote two books: Rokanje 1 & 2 describing the time when the album ŽUR was created.

The ŽUR album is one of the the holy grails of disco funk music releases on a global level.

Pop music history is littered with albums whose provocative covers promised something steamy and sensual inside but delivered a musical cold shower instead. This is not one of those albums. Fresh from arranging/conducting such Broadway shows as The Wiz and also forging a successful career penning jingles for such clients as McDonald’s, Pan Am Airlines, Boone’s Farm Wines, Kool Aid, and Coca Cola, composer/keyboardist Wheeler released this 1975 cult classic, a soulful, slinky masterpiece of bedroom jazz-funk. It’s Wheeler’s only album, but it may have been singly responsible for an increase in the mid-‘70s birth rate…light some candles and break out the lotion for this one. First reissue in any format, available in orange with black swirl vinyl limited to 750 copies!

It’s a tough call which is the bigger cult classic, the Tank Girl movie or its accompanying soundtrack, but on balance, we’d have to go for the soundtrack. Yeah, the film had a cast composed of some of the most colorful characters (Iggy Pop, Ann Magnuson) and character actors (Malcolm McDowell, Ice-T, and of course the almighty Lori Petty!) in show biz.

And, its dystopic, resource-starved desert setting, intense action sequences, and lead female character mark it as a feminist (albeit funnier) precursor to Mad Max: Fury Road. But check out the soundtrack’s bona-fides: assembled by Courtney Love herself, it features a Who’s Who of ‘90s female rock including Hole, Björk, L7, Veruca Salt, and Belly among others. Plus, it even has tracks that were exclusive to its release, like a unique version of Devo’s “Girl U Want,” “Mockingbird Girl” by The Magnificent Bastards (a side project of the late Scott Weiland of Stone Temple Pilots), and a duet of “Let’s Do It, Let’s Fall in Love” between Joan Jett and The Replacements’ Paul Westerberg. In short, if there ever was a score that needs to be on wax, this would be it. We’ve done it right, too, with a gatefold jacket featuring the trademark comic book art and stills from the film, and neon coral vinyl pressing for its 30th anniversary!

Here’s another one of those great early-‘90s glam metal albums that got lost in the grunge explosion. And because it came out in 1992, Capitol never bothered releasing it on vinyl in the U.S. So this one’s been a long time comin’…and as soon as you hear the opening cut “Hang On Lucy,” you know you’re in for a ride. Fans of Dokken, RATT, Skid Row, and Mötley Crüe will flip over Under the Influence…and lead vocalist Drew Hannah is in the grand tradition of Vince Neil et al. Trivia note one: Wildside ruled the Sunset Strip (and were the subject of a bidding war between Capitol and Polygram) under the name Young Gunns but was forced to change their name when Lionsgate Films came out with their Young Guns movie. Trivia note two: this was the first non-Van Halen record recorded at Eddie Van Halen’s 5150 home studio, engineered by famed Led Zeppelin producer Andy Johns! We’ve had this lost classic remastered for vinyl to make sure it pops…fire orange pressing housed in a deluxe gatefold jacket!

ŽUR (‘Zhure’, party) is absolute cult and one of the most rare Yugoslavian disco funk albums, originally recorded in 1981, reissued on Everland Music for the first time since the original vinyl came out more than 40 years ago. The album was carefully and brilliantly remastered by grammy nominated sound engineer Jessica Thomson.

Boban Petrović is a legend of Belgrade's sophisticated disco funk scene from the late 70s and early 80s.
Back in the second half of the 70s Boban started one of the first disco clubs in Belgrade and he was one of the biggest organizers of private house parties.

The finest balance between Boban Petrović's big-hearted party-maker-turned-philanthropist personality and his hustler one was achieved on Žur.
On Žur, he is at home, in his safe place, since the parties, the music and the people are the first out of many things he had completely figured out in his life. He is at the top of his game, occasionally bothered by a casual heartbreak, but always feeling himself, coming out playful and fundamentally peaceful, satisfied and ready to transcend himself in order to put the rest of the world in the limelight. In fact, Žur isn’t about the party, music, lyrics or its, hands down, beautifully balanced sonics. It’s about Boban and the funk he lived thoroughly. The funk before, but the funk he lived after this album even more so. All the ups and downs that he faced since the moment the first needle dropped on a Žur record to this very day are on this album as the unwritten destiny of that lighthearted character he played.

In short, ŽUR represents the essence of underground club life in Belgrade from the late 70s, when the album was recorded.
The quality of this trust is confirmed by the fact that Boban Petrovic's music is still actively listened to today, not just anywhere, but at the finest club events.
High end production and extremely authentic arrangements outside the mold of classic disco music, and lyrics that literally convey the vibe of his already jet-set lifestyle in Belgrade at the time.

Shortly after his musical career, Boban Petrovic became a businessman of the conscious class. He was living in Spain on his own luxury yacht for years, he had a private airplane, a car park. But all this time living on highest class level he never lost his identity. In all his offices, yacht, airplane and everywhere was playing loud funk music and he was dressed like a musician who just finished or need to start a gig.
Along the way Boban also wrote two books: Rokanje 1 & 2 describing the time when the album ŽUR was created.

The ŽUR album is one of the the holy grails of disco funk music releases on a global level.

Vinyl Only / Original artwork / Black Vinyl / 400 mcn paper / 30x30 cm insert with notes by Tony Higgins and graphic elaboration printed on 250 gram G.F. Smith Colorplan / PVC outers


Personnel:
Jorge Ruiz Lopez – Double Bass
Roberto Fernandez Trumpet
Leandro "Gato" Barbieri - Tenor Sax
Ruben Lopez Furst – Piano
Pichi Mazzei - Drums

Notes:
Jorge López Ruiz is one of most versatile of musical talents to emerge from Argentina. As a bass player, composer, performer and arranger he has worked across many genres including jazz, pop as well as stage productions and feature films.

BA Jazz was originally released in 1961 on Vik Records as the debut album from Lopez Ruiz featuring a mix of covers and original material. Alongside Ruiz Lopez are Roberto Fernandez on trumpet, Ruben Lopez Furst on piano, Pichi Mazzei on drums and a young musician called Leandro Barbieri on tenor sax. Leandro became better known at Gato Barbieri, who went on to build an international reputation working with Charlie Hayden, Don Cherry, Dollar Brand and Carla Bley and recording for Impulse! Records, Flying Dutchman and A&M Records.
The BA Jazz album has been a rarity for years and original pressings attract huge amounts from collectors. It's rarity is matched by the fantastic music contained with its grooves. It's a genuinely important record in the development of jazz in South America. (Tony Higgins)

Remastered from the original tapes & pressed on loud double vinyl! Hot of the success of Jay-Z’s Reasonable Doubt, producer extraordinaire Ski was on fire when he flipped Dynasty’s “Adventures In The Land of Music” for Camp Lo’s breakout 1996 smash single “Luchini aka This Is It”. The same year saw Camp Lo opening shows for De La Soul during their Stakes is High tour. Combine that with the fact that Ish aka Butterfly from Digable Planets had cosigned for the group’s reputation and would appear on of the tracks (in addition to Trugoy from De La), there became a huge buzz around their debut album Uptown Saturday Night. Fast forward a few months to January 1997 and the heavily anticipated release of Camp Lo’s first record, which did not disappoint. It struck the perfect balance between club tracks and underground bangers for the mixtape crowd. Critically acclaimed and fan approved, this late 90s must-have was complimented by the incredible cover art illustrated by legendary NYC graffiti artist Dr. Revolt that paid homage to Marvin Gaye’s 1976 classic I Want You. It’s hard to believe in the time of Puffy’s heyday, Camp Lo had developed and delivered a style of Hip Hop that was not only fresh and creative, but also straight up dope. Flipping intricate rhyme styles over some of Rap’s finer beats, the fact that Camp Lo got main stream radio play and love from big time club DJ’s is a testament to the essence of what Hip Hop was once about: raw talent and originality!

Southern-bred, alternative R&B singer-songwriter Mereba artistically embodies self-understanding on The Breeze Grew a Fire, her grandest work and first release on Secretly Canadian. To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. Surrounded by the gentle Breeze of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture her childlike wonder. Mereba gracefully shines on the follow-up to her bounteous 2019 debut, The Jungle Is the Only Way Out. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba's creative output has always relied on her innermost reflections and ideas on whatever was happening around her; but in motherhood, the singer's perspective widened while her inspiration became more focused, and more individually powerful. "Even though I'm fully an adult, I had to grow up in a way overnight when he my son came," Mereba explains. "The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life." The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album's rich production, which parallels its folk-like warmth. Although Mereba is a true double Earth sign-Virgo and Virgo rising-the development of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album's fluid nature. While nowhere near the end of her musical trek, The Breeze Grew a Fire is a loving, inspiring return to origin, one where Mereba frees a painful past, eases into future possibilities, and goes with life's flow.

Southern-bred, alternative R&B singer-songwriter Mereba artistically embodies self-understanding on The Breeze Grew a Fire, her grandest work and first release on Secretly Canadian. To hone in on this latest album, it was necessary for Mereba to reconnect with her whole many-sided self, from her inner child to her inseparable relationships. Mereba peacefully transmutes her beginnings, looking upon her closest kinships and friendships with a keen understanding of their steadying, inspirational force. Surrounded by the gentle Breeze of these relationships and recollections, Mereba is empowered as both an artist and mother, while also being reminded to nurture her childlike wonder. Mereba gracefully shines on the follow-up to her bounteous 2019 debut, The Jungle Is the Only Way Out. In escaping the Jungle, Mereba faced the paradigm shift of birthing a son in 2021 and getting accustomed to a rapidly changing self-outlook. Mereba's creative output has always relied on her innermost reflections and ideas on whatever was happening around her; but in motherhood, the singer's perspective widened while her inspiration became more focused, and more individually powerful. "Even though I'm fully an adult, I had to grow up in a way overnight when he my son came," Mereba explains. "The process of watching him open up to the world, learn how to engage with the world, it is very tender. I feel like it's the most reminded I've ever been of when I was a child and the first memories I have of life." The transformation brought Mereba to the intimacy of DIY recording sessions, providing an honest and organic foundation to Breeze. Mereba tapped her longtime production collaborator Sam Hoffman to co-assemble the album's rich production, which parallels its folk-like warmth. Although Mereba is a true double Earth sign-Virgo and Virgo rising-the development of Breeze was anchored by experiences and memories that span from Atlanta to L.A., Addis Ababa to Greensboro, an intention that speaks to the album's fluid nature. While nowhere near the end of her musical trek, The Breeze Grew a Fire is a loving, inspiring return to origin, one where Mereba frees a painful past, eases into future possibilities, and goes with life's flow.

Other Voices is a studio album by English singer Paul Young. The gold certified album was originally released in 1990 and peaked at #4 on the UK Albums Chart. Other Voices combines cover versions with original songs and includes the singles “Calling You”, “Softly Whispering I Love You” and “Heaven Can Wait”. On this album, Paul Young collaborates with many well-known musicians such as Stevie Wonder, Chaka Khan, Nile Rodgers, Steve Winwood, Dave Gilmour and Anne Dudley. In 2012, a deluxe expanded edition of the album was released on CD. This vinyl release of Other Voices presents this
expanded edition for the very first time available on vinyl, including 10 bonus tracks containing 12” mixes, B-sides and live performances.
This release does not include the track “Trying To Guess The Rest”, but instead includes a live performance track of the song
“That’s What Christmas Means To Me”.

Other Voices (Expanded Edition) is available on vinyl for the first time as a 35th anniversary edition of 1000 individually numbered copies on silver coloured vinyl and includes an insert.

Do Your Own Dance! VARIOUS ARTISTS
Chic’s Nile Rogers is lauded as an international star and the recently departed Patrick Adams is acknowledged as one of the most important pioneers of disco music, but behind them were an army of lesser-known musicians, producers, and arrangers including one of the founding-fathers of New York Dance, the enigma Lonnie Johnson.
Scorpgemi Records and Lonnie Johnson, the man behind the label, will be unknown to most, but he was an important figure at the birth of dance music. His label featured work by several leading voices of the New York scene and provided one of New York’s most instantly recognisable dance music records— “Keep In Touch (Body To Body)”—one of the greatest club cuts ever.. But Johnson himself leaves hardly a trace, a behind-the-scenes person, and a friend of Patrick Adams who is only known to those who study the small print on record labels.
So, Lonnie Joel Johnson proves to be both highly influential, and almost completely elusive. A backroom person, who created an anthem across the Atlantic from his home base in New York. A man who was instrumental in the development of Patrick Adams’ career from producer of vocal groups to the go-to producer for dancefloor gold. Yet, for all this there are no biographical details, no interviews and almost nothing left behind except for a small but fantastic catalogue of music.
The first ever curated works of the Broadway based Scorpgemi label Produced by Lonnie Johnson, one of the founding-fathers of New York Dance Dancefloor Gold from the enigma that is Lonnie Joel Johnson, the man behind the career of the legendary Patrick Adams.

Generally regarded as the first true 'new age' record, Steve Halpern's 1975 private press LP has long been in demand by collectors. In particular, the very first pressing of the album included an extraordinary long-form jazz funk track called 'Something for Every Body Suite' that was removed from subsequent versions. Eating Standing is proud to reissue Halpern's classic long-lost original version of the album, officially licensed from Halpern himself that includes this heavy groove-laden masterpiece. This is the very first ever full reissue of the first press album with full reproduction of the artwork. Original copies cost over $700 (assuming you can even find one) but now this incredible landmark album is available once more to enjoy. "Reissued for the very first time since 1975 in its original format and track listing, a legendary album that is considered a game-changer in music. Steve Halpern's landmark album 'Christening For Listening (A Soundtrack For Every Body)' is considered by many to be a crucial and defining album that pointed the way ahead. Predating the ambient/experimental work of Brian Eno, Steve Hillage and even Mort Garson's 'Plantasia', Steve Halpern's 'Christening For Listening' was the first album to explore what became known as 'new age' or ambient music, exploring the effect of tones and rhythms on the human body and mind as well as plants and other organisms. Originally issued as a private pressing in 1975, the very first issue of this album had an extraordinary extended jazz funk track on the B side, a DJ/Samplers delight – DJ Gaslamp Killer is a huge fan. This track, 'Something For Every Body Suite', was never included on any of the subsequent represses making the very first pressing incredibly rare and almost impossible to find. It's reissued here for the very first time, with full repro of the original artwork plus a Q&A by Tony Higgins with Steven Halpern himself.

Blawan returns with ‘BouQ’, the follow-up to his acclaimed 2023 “Dismantled Into Juice” EP; one that was heralded by Pitchfork as “dazzling… part of a long, proud tradition of UK club tracks that turn the dancefloor on its ear” and Resident Advisor as “mind-melting… truly unchartered territory.” “Fires”, the first single revealed from his freshly-announced new EP, has received global support from the likes of Four Tet and Skrillex over the summer, and sees Blawan push his distorted, syncopated productions into a new broken-pop lane, his own vocal creating an intense, visceral hook that rips through the track's multi-layered, pulsing beats.



a A1 NPCs Making Hot Dinner 2m 35s
b A2 Fires 3m 39s
[c] B1 Done Eclipse [3m 30s]
[3m 23s]

Mutant, in partnership with Netflix, are proud to present Graham Raynold’s score to Richard Linklater’s film HIT MAN.

A Romantic Comedy Noir, loosely based on the true story of a nebbish philosophy professor named Gary Johnson who moonlighted as an undercover police officer, HIT MAN is Richard Linklater and Glen Powell’s meditation on identity. Linklater, a filmmaker who has shapeshifted many times over his storied three decades of storytelling, has reteamed with his frequent music collaborator Graham Reynolds, to produce a jazzy, romantic, dark, and playful score.

Reynolds has worked in each of these modes before with Linklater, but never all at the same time. It stands defiant in contrast the version of the Gary that we meet at the beginning of the film - allowing the character to meet the score on its level by the time we approach the twisted finale. This score proves that genre, like identity, can be a limitation placed on both films and film music.

This physical release is limited to 500 copies worldwide, and features a forward by Graham Reynolds and packaging designed by Mutant co-founder Mo Shafeek.

Franco Rosso’s epic cinematic opus of reggae social commentary, Babylon, landed in November of 1980. Moving through the film’s opening frames of grey dreary London, two spars – Blue and Ronnie – run with unrestrained anticipation to link with their Ital Lion Sound System brethren. Simultaneously the rest of the crew does what sound crews have done from time: Load them boxes up in the van and trod with vigor to the dance.

But that bassline…The soundtrack notes that carry the celluloid movements of the film’s opening scenes…That bassline…Upside down…Jazzy…Dubby…A bassline like no other reggae bassline the Ital Counselor has ever heard. The hook that got me deep into UK roots music from the band that is my number one inspiration.

If there is bassline that represents the core imperative of Ital Counselor Records, it would have to be Aswad’s Hey Jah Children. It seemed therefore only fitting to bring its absolutely resplendent glory to a new generation. Lovers of sounds and blues, it is time for the dread ital lion sound to once again rise to meet the day. So it is with the deepest of gratitude and respect to the legacy of Aswad (RIP Drummie Zeb) and Franco Rosso, that we present a deeper than deep next cut…Christened here…the Ital Lion Serenade.

In line with all IC releases, we have enlisted top tier session musicians and studio men. Long time IC collaborator, Inyaki BDF, is at the center of the action as the musical maestro. Hopping on the BDF sonic lorry are Aratz Diez on Trombone and James Zugasti on the dub mixes. This crew bring the original composition up-to-date with a heady dubwise weight. Syndrums ricochet while Inyaki’s bassline rumbles teetering as it does somewhere between a modern dubstep warble and its core roots-wise influence in Tony Gad’s original playing.

Diez’s trombone playing comes across like an x-ray of the Aswad Horn Section and keeps intact the jazzy abstraction of the original. In turn, Inyaki goes full 70s synth on the psychedelic dubwise of the B-side’s Operation Swamp 81. UK history buffs better you know the reference in that title and its thematic echoing significance from the UK depicted in Rosso’s film and carried on in remembrance on this here hotter than hot 12”.

A warning: the Zugasti dub cuts are devasting to speaker boxes.

Needle Mythology, the label founded by music writer, author and broadcaster Pete Paphides, is thrilled to announce the release of SENSITIVE the first ever vinyl anthology to cover the indiepop scene of the 1980s. SENSITIVE features 30 songs in total by artists who defined the indiepop aesthetic, among them The Jesus & Mary Chain, The Sea Urchins, Primal Scream, The Pastels, Talulah Gosh, Orange Juice, The Field Mice, The Primitives, The Wedding Present, Miaow, Razorcuts, Dolly Mixture, The Bodines, Shop Assistants, The Soup Dragons, The Loft, The Chills, That Petrol Emotion and The Railway Children. SENSITIVE takes its name from the single released by The Field Mice, and marks the first time that The Field Mice have allowed one of their songs to be used on a compilation released by any label other than Sarah Records, who released all their records at the time. Also features on SENSITIVE is Dying Day from Orange Juice’s hugely influential debut album You Can’t Hide Your Love Forever – marking the only time that Edwyn Collins and his wife and manager Grace Maxwell have given permission for an Orange Juice song to be featured on an anthology. Many of the records featured on SENSITIVE have become highly sought-after collectors’ items since their original release. The Sea Urchins’ Pristine Christine changes hands for up to £400. Original mint copies of April Showers’ only single Abandon Ship command up to £380. If you were to try and individually buy all the records featuring the songs on SENSITIVE, you can expect to pay something around £1150. SENSITIVE features 10,000 words of extensive track-by-track notes and an essay by Pete Paphides, who was and remains an avid proponent of the indiepop scene that this collection chronicles. All the songs on SENSITIVE have been newly mastered at Abbey Road by Miles Showell. SENSITIVE will be released on double LP and double CD Needle Mythology Records.

REPRESSED !!

Vibraphone and keyboard player, master arranger and bandleader, Mulatu Astatke is one of the all-time greats of Ethiopian music and the creator of his own original music form, Ethio jazz. Through the acclaimed Ethiopiques album series and through featuring on the soundtrack to the Jim Jarmusch film Broken Flowers, his music has belatedly reached a global audience and a new, younger generation of fans. In November of last year, he recorded an inspired new album with London psych jazz band The Heliocentrics for Strut's 'Inspiration Information' studio collaboration series. Now, Strut are proud to present, for the first time anywhere, the definitive Mulatu career retrospective covering his landmark 60's and 70's recordings.
Mulatu is a true pioneer of African music. He was the first Ethiopian musician of his generation to travel extensively and to record abroad - he studied in the UK in Wales and at Trinity College Of Music in London, cutting his teeth on the buoyant London jazz scene of the early 60's. He became the first African student to attend Harvard and he lived and recorded in New York, developing a unique sound that fused Western jazz with traditional Ethiopian melodies.
Tracing the progression of his Ethio jazz experiments with full access to all of the labels for whom he recorded, Mulatu Astatke: New York-AddisLondon is the essential Mulatu. Covering his first recordings in the UK during 1965, his groundbreaking fusions for the small Worthy label in New York and his key '70s recordings back in Addis on Amha, Phillips and Axum, the album features comprehensive sleeve notes by Miles Cleret, boss of the excellent Soundway Records imprint, and rare, previously unseen photos from Mulatu's personal archive.

The Dutch band Time Bandits, formed by Alides Hidding, had national and international success. In 1981 the Time Bandits scored a big dance hit with “Live it Up”, which ended up in the number 1 spot of the American Dance Charts.

Characteristic of the Time Bandits is the professional sound of funk, disco, soul and rock and the unmistakable voice and guitar sound of Alides Hidding. In 1983, the song “I’m Specialized In You” came in second in the dutch top 40. It was a monster hit with more than 90,000 copies sold in the Netherlands and 450,000 in France. The following single “Listen To The Man With The Golden Voice” also made it to the top 10.

In October 1983 the single “I’m Only Shooting Love” reached the top 10 while the band also continued to break through internationally. The single did very well in France, Portugal, America and Australia and reached the number 1 spot in the New Zealand single charts. The Time Bandits went on tour to Australia and New Zealand and another string of hits followed.

The “Endless Road” music video was filmed in Australia during the band’s 1985 tour. The video has been viewed over 2,5 million times on Youtube.

The vinyl edition of Greatest Hits features all their hits, various remixes and 3 fan-favorite bonus tracks; “Reach Out”, “Dancing On A String” and “Endless Road (High Energy Dance Mix by Ben Liebrand)”.

This is limited edition of 500 copies, pressed on transluncet pink coloured vinyl. This 2-LP set includes an insert.

Oceanside Countryside is the latest of Neil Young’s great “lost” albums to be released as part of his Analog Original Series (AOS). The album was recorded from May to December 1977, preceding the release of Comes A Time in 1978. The two albums share the same country/folk sound, and three songs (“Goin’ Back,” “Human Highway” and “Field of Opportunity”) appear on both albums.

The vinyl release of Oceanside Countryside includes some tracks that are on the CD of the same name in Neil Young’s Archives Vol. III. However, this track list is how Oceanside Countryside was originally planned to be released and finally will be made available on vinyl for the first time ever. Recorded on tape, these are the original mixes done at the time of recording.

As Young states, “This analog original album, recorded in 1977, was unreleased at the time. These songs are the original mixes done at the time of the recordings. I sang the vocals and played the instruments on Oceanside, in Florida at Triad studios and Malibu, at Indigo studio. I sang the vocals and recorded with my great band of friends at Crazy Mama’s in Nashville on Countryside. I hope you enjoy this treasure of an Analog Original recording as much as I do.”

It’s written in the Agreement Terms. There’s no getting out alive in Life. And yet, mankind keeps striving for eternal life; through art, through power, through cryogenics, through singularity. In that misguided quest against the inevitable, we all fall into the category of lost travellers. No one is exempt. In that understanding, Confucius MC and producer Bastien Keb offer no misgivings about the destination on the somber “Time Will Come”: Time will come for all of us / try to take your time.

Songs For Lost Travellers is a collaborative album by Con and Bastien Keb that merges unexplored pathways between rap, folk, and jazz into a spiritual triumvirate. Each genre is a balancing force within the record. The result is an album unlike either artist have made previously, possibly unlike any record in existence. Songs For Lost Travellers opens with bedtime stories and fairytales. Both “Tell Me Lies” and “Fairytale” present the creature comforts that trick us into forgetting the truth. Con’s first words spoken are “tell me lies ‘til I swear I can’t remember” over Keb’s lo-fi plucking that feels like it was lifted from a handheld recorder capturing a nursery mobile above a crib. Third track “Time Will Come” resets the album after acknowledging on “Fairytale” there’s “no nourishment in half-truths / no sustenance in eating lies.”

Honest and direct, Con and Keb imbue Songs For Lost Travellers with knowledge and truth from their lived experiences. There is grief hidden in the notes, an inherent sadness that is balanced with an awareness that grief is a protest against the social machinery of remaining numb. The record lingers in a meditative state, unafraid of restlessness and embracing solitude, with the expectation that peace is just as imminent as death.

The production contains a complimentary authenticity. Neither Con nor Keb bothered much with the professional studio in making Songs For Lost Travellers. Instead they opted for the raw state of their home recordings and first takes, matching the intimacy of being alone and reflective in their creative energies. Room static on “Tell Me Lies” makes it feel like you’ve entered their apartments. The immediacy continues on “Gutters,” as Keb plays guitar while watching the tele and Con hums along to the vocal melody in search of the proper pocket for his verse. Someone snaps their finger to mark a cue, but the snap never returns to the mix to keep time.

More drawn to Keb’s recent folk recordings on the Songs For Lilla EP than his funk roots circa Dinking In The Shadows of Zizou or the cinematic soul of The Killing of Eugene Peeps, Con leaned into the spacial freedom he heard in Keb’s lo-fi production cobbled from field recordings and voice notes. Both artists placed their families into the tableau. Con wrote “Little Man” for his son, hoping to add a positive contribution to the canon of parental rap songs. Later, his son appears at the end of “Paramount” to deliver a passage from Kahlil Gibran’s The Prophet. Keb secretly recorded his mum playing saxophone and sampled his cousin playing sax as well. The result is a near-drumless album (save for “Toulouse” and light tapping on “It Would Speak”) in which Keb’s raw production (plus a few sessions with Kofi Flexxx) gave Con a liminal zone, unencumbered by beats per minute, to craft melodies that turn his philosophical rhymes into mantras.

Perhaps there’s a message in the presence of family? It would be one of many. Con and Keb’s reflective, somber approach to Songs For Lost Travellers does not wallow in the mire. Music is action and it’s taking them through a portal to the other side of grief. We are welcome to join (which is also in the fine print of the Agreement Terms), but first there’s a password in the final song, a single request to answer: Tell me what you care about.

Biography by Blake Gillespie
credits

I’m Not In Love“ ist der unverkennbare Song von 10cc. Innovativ, unverwechselbar und der Katalysator, der
die Band zu internationalen Superstar machte. Der Song stand 1975 zwei Wochen lang an der Spitze der
britischen Single-Charts und erwies sich als der Durchbruch von 10cc außerhalb des Vereinigten Königreichs.
Er erreichte die Spitze der Charts in Kanada und Irland sowie die Top 10 der Charts in mehreren anderen
Ländern, darunter Australien, Westdeutschland, Neuseeland, Norwegen und die Vereinigten Staaten, wo er
auf Platz 02 landete.
Der Song erfreut sich anhaltender Beliebtheit und wurde seit seiner Veröffentlichung über drei Millionen Mal im US-Radio gespielt. 1976 wurde er mit drei Ivor Novello Awards für den besten Popsong, den
internationalen Hit des Jahres und das meistgespielte britische Werk ausgezeichnet. Der Song wurde in
zahlreichen Filmen und Fernsehsendungen gespielt, darunter The Virgin Suicides und Guardians of the
Galaxy.
Nun hat die BBC „I’m Not In Love“ zum „größten Liebeslied aller Zeiten“ gekürt, das nächstes Jahr
sein 50-jähriges Jubiläum feiert. Die 7“ erscheint am Valentinstag auf passend romantischem rotem Vinyl
und enthält die Single in voller Länge, sowie die Original-B-Seite ”Good News”.

South-London, British-Bengali musician Tara Lily shares her debut album 'Speak In The Dark'. The LP is about "speaking your truth" and combines alternative R&B, jazz, electronica and traditional Indian sounds into a unique fusion. The record, produced by Dom Valentino, features American jazz trumpeter Theo Croker, UK rapper Surya Sen, and Archy Marshall (aka King Krule) on guitar.

Growing up in Peckham as part of a British Bengali family has given Tara Lily a unique perspective on music and global culture. She has spent her life absorbing a multitude of sounds and genres from her surroundings, ranging from electronica to jazz and RnB to traditional Bengali folk music. From training at the Trinity Laban Conservatoire of Music (where she studied jazz piano and voice) to learning Indian classical music and being the first act signed to Motown Records UK. Tara is a musical anomaly.

Debut album from South-London, British-Bengali musician and rising star Tara Lily, featuring American trumpeter Theo Croker & UK rapper Surya Sen
LP produced by Dom Valentino with additional contributions from Bad Sounds, Jaz Lee, Archy Marshall, Chiranjeeb Chakraborty, Akash Parekar, Mei Kerby, Ian Stratford
European Tour supporting JP Cooper (1st week of October, 2024)
UK Tour w/ Juabi - Manchester, Barbican (London) - Sept 2024
Artwork by Jay Vaz (Dreaming Vinyl)
"No Way Out" video shot in association with The North Face in the Himalayas, Nepal. Directed by Siddanth Ghosh
Press support - The Guardian, Evening Standard - "One to watch", Wonderland, ID, Notion, Clash
Radio support - 'Double Time' was track of the week on BBC Radio 1, other spots plays - BBC 6Music, Jazz FM (playlisting), BBC Asian Network, NTS
Recipient of the FAC x Amazon Music - Step Up Fund
Tours - UK, India (Echos Of Earth / Vh1 Supersonic festival / Jazz
Weekender), Nepal, Bangkok, Hong Kong, EU
Festivals - Glastonbury (3 sets - BBC introducing - Televised / Leftfield B2B Billy Bragg / PRS), We Out Here, Shambala, Daytimer Dialled In, Wilderness, Cross The Tracks
Career highlights - SHAKTI JAZZ NTS show, joined King Krule on stage at Apollo Theatre and supported RAYE at the Royal Albert Hall, Jazz Cafe w/ Mahalia, playing live on TV on BBC2 (The Kia Oval)

Major-label debut by You Me At Six, Hold Me Down, was released on Virgin Records in January 2010, after the success of their debut album Take Off Your Colours - Released on vinyl for the first time, hear the album that cemented their reputation pressed on high-quality 180g vinyl. Taking their name from an abbreviation of the time they would meet, You Me At Six were formed in Weybridge, Surrey in 2004 by vocalist Josh Franceschi, guitarists Max Helyer and Chris Miller, and bassist Matt Barnes. Drummer Dan Flint joined in 2007. They first broke through at 2007's Slam Dunk Festival with their brew of heavy, melodic, emo-tinged rock, and after two self-released singles, the band signed to Slam Dunk Records. By 2010, they had signed to Virgin. Working with producers John Mitchell and Matt O'Grady, the band crafted 12 new tunes for Hold Me Down, including the singles Kiss And Tell, Underdog and Liquid Confidence which won Best Single at the 2010 Kerrang! Awards. The album reached No 5 in the UK chart, and fully established them on the vibrant UK rock scene. With a stable line up since 2007, You Me At Six have become one of Britain's most-loved bands, and announced recently that they will be splitting up after playing the Slam Dunk Festival in 2025, with Franceschi stating "Let's have the opportunity to say goodbye properly, versus slipping out the back door."

Original artwork / Black vinyl / 400 mcn paper / Gatefold Sleeve / 4 page 30 x 30 cm insert printed on 300 mcn Shiro Eco paper with condensed interview to Riccardo Randisi and exclusive pictures / Exclusive poster printed on 90 mcn Fedrigoni Constellation Snow Vergato Paper.

Personnel:
Enzo Randisi - Vibrafono e Percussioni
Riccardo Randisi - Rhodes Piano e Sint. A.R.P.
Giuseppe Costa - Basso Elettrico
Enzo Palacardo - Chitarra Elettrica
Franco Lotà - Batteria e Percussioni
Mimmo Cafiero - Congas e Percussioni

Notes:
This is the lost gem, this is the most secret album coming from the ancient land of Sicily No Holy Grails here, we are not at the crusades, but in the presence of one of the busiest ensembles on the Italian scene during the 70s and 80s of the last century. Enzo Randisi and his son Riccardo, who signs the only unreleased song on the album, take us into a world of visionary jazz, ambient atmospheres of the track Windows, an opening towards a modern vision, a watershed between the live performances of standards American music at a new rate also in tracks like the 3/4 "Etna Sud" written by Riccardo Randisi for the album with digressions into Jazz Rock Rhythm à la Gary Barton and Bloody Funk which has its peak in the cover of the Czech musician Karel Ruzicka and his "Probu Zeni" a killer cub track that will smash your audio set-up! The very last mystery from Italian jazz scene available for the first time in a precious gatefold sleeve handcrafted in Italy with special insert and Poster for the first 100 copies.

Black vinyl / 505mcn paper / 30 x 60 cm Insert with Liner Notes by Tony Higgins printed on 250 mcn Lenza Top Recycling Paper / Condensed interview to Spata Sisters and exclusive pictures.

Personnel:
Enzo Randisi - Musser Percussion Keyboards
Riccardo Randisi - Acoustic Piano, Rhodes, ARP & Korg Keyboards
Marcello Pellitteri - Drums
Giuseppe Costa - Acoustic Bass & Electric Bass Guitar
Mimmo Cafiero - Congas & Percussions
Sandro Palacino - Tenor and Soprano Saxes
Loredana Spada - Vocalist
Cinzia Spata - Vocalist
Mary Lo Giudice - Vocalist
Mariella Gueli - Vocalist

Notes:
Did someone say Summer? Sicily is what Cuba is to the Caribbean, sun, sea, easy and friendly people with lots of troubles! You won't find anything better around that identifies the summer more than this album by Enzo Randisi who at the beginning of the 80s put together a Swing Ensemble as a tribute to that "cheerful" movement of Jazz music. But Enzo and his fellas just couldn't stay on track and put in the best that the alternative Palermo area could offer in that historical period, like the sisters Cinzia and Loredana Spata, who brought the production to a next level in the vocal version of All Blues or in Chic Corea's Spain. But what really struck us was Charles Cables' version of "Quite Fire" (here missspelled as "Quite Fair"), released a few months earlier only in Japan and which would only become famous in the 90s with the Acid Jazz movement, and this tells us a lot about how hungry Enzo and Riccardo were of musical knowle, to be able to find some pearls in a city with basically no record shops and isolated...well...it's on an island! For this re-press we enlisted Tony Higgins, who recently finished a very long commitment and greenlight to delight us with his polished English...Welcome back Tony!

Black Vinyl / 350 mcn double white coated paper / Poster sleeve / PVC outers / Original artwork / Exclusive 30x30 cm insert with Q&A by Tony Higgins with Ole Matthiessen printed on on 250 gram Gardamat coated paper. Archive picture from original recording session printed on 350 gram Gardamat paper. Archive pictures printed on 375 gram Vintage Bindakote Monolucido. All papers are acid free an printed with food based inks.

Personnel: 

Jesper Nehammer - tenor saxophone
Ole Mathiessen – piano
Jon Finsen – drums
Henrik Hove - bass

Notes:
Danish jazz band founded in 1969. Band line up: Henrik Hove on bass, Ole Mathiessen on piano, Jesper Nehammer (later Thors Hammer, Alrune Rod and Entrance) on tenorsax, and Jon Finsen on drums. Played for a while every Monday in the famous Jazzhouse Montmatre in Copenhagen.
Tordenskjolds Soldater only made this record (1970).
The small record label Spectator Records was founded in 1969 by Jørgen Bornefeldt a former journalist from Danmarks Radio in coorporation with the jazz musician Carsten Meinert. Meinert recorded two albums on the label. He only joined the company in the beginning. Cindarellaistudiet The studio was destroyed august 6th 1972 by a major fire. And that was the end of Spectator Records. From 1969 to the end, the label recorded at least 23 lp albums and 9-11 singles/EP's. The picture shows Henning Kragh Pedersen from Cinderella in Spectators studio. The great Danish rock band Gasolin recorded their first single – Silky Sally - on Spectator Records. It was no success and sold only 155 copies. Silky Sally is now one of the most sought after Gasolin singles among collectors and is of course very expensive.
The music from Spectator Records is mostly jazz, progressive rock and hippie free style. But they also made strange records for children, education etc. Most records were issued in very small numbers (300-500). Some of the best progressive rock in Northern Europe was recorded here.
Quality of vinyl was often poor - even new looking records can have audible problems. Covers and labels are primitive and cheap. On the other hand the creativity could be outstanding - check the Furekaaben cover gallery or the artwork of William Skotte Olsen from Green Grass. Several record from the labels are cult today. A perfect copy of certain records costs a fortune.
Master tapes was never found after the fire in 1972. Unofficial reissues and bootlegs are therefore made on the base of the original records. Recordings that never made it to the vinyl got lost in the fire. Both Cinderella and The Copenhagen based band, Lines lyst, had material readdy for lp's which was never recorded. (Tony Higgins)

As soon as Martin Circus was born in 1969, the band laid foundations for the French "Pop Musique" genre, deliberately turning its back on both French yéyés and rock'n'roll to better embrace psychedelia and the French language. In 1971, they were a pioneering, innovative group moving as fast as a speeding train, building upon everything they found on the way. However, faced with band members changing often, management issues and music evolution, Martin Circus ended up trying to fit in every style: soul, R&B, glam rock, disco, new wave, 80s mainstream music. To follow their journey is to listen to the world shifting along music charts. Behind the scenes, since the very first days of the band, one man had been pulling all the strings. Manager and artistic director Gérard Hugé used to work for both the band and the label - this has never been good news. What he cared about the most was getting records out, no matter who played on them. In the mid-70s, he registered the Martin Circus name, granting himself full power over the band. Deciding that it no longer had either a lyricist or a composer, he made the remaining musicians embark on a series of American 60s hits adaptations. As a result, they made tons of money : "Marylène" was a huge hit and gave them a new impulse. The Martins adopted a new look by wearing shiny Courrèges-style suits and platform boots, and on stage they performed dance moves choreographed by the eccentric Amadeo. They completely fit into the disco craze which was about to take over. Still, their music blended doo-wop and rockabilly with glam rock and funk music. They eventually hit disco with a soundtrack in the mannerof French disco groups such as Space and Voyage. Effortlessly, they released the epic 14- minute "Disco Circus", a track which was to become a real underground gem. DJ and remixer François Kevorkian then released it on the American Prelude label in a self-edited version, shortened to 7 minutes while retaining all the dazzling passages of the original track. It came to be a hit in the clubs of New York and Chicago, making a lasting impression on everyone who heard it. It got sampled on at least 40 tracks over the following decades and featured in dozens of bootlegs and prestigious compilations - by Laurent Garnier, Carl Craig, Juan Atkins, Joey Negro, The Beatnuts, The Rapture, and by Danny Krivit in the DJ culture film Maestro. As the 80s arrived, Martin Circus once again changed the way they looked and their style. Inspired by Devo and their cold dance music, by Buggles' synthpop and Plastic Bertand's postpunk. Throughout their career full of ups and downs, Martin Circus nonetheless managed to keep up with one stable element: contrary to what they seemed, the musicians never took the easy way out. Their playing and arrangements were consistently flawless and polished, they relentlessly dedicated themselves to playing quality music and this can only compel admiration. As Coco Chanel once said, "Fashion goes out of fashion, style never does."

Mantar erreichten mit ihrem letzten Album Pain Is Forever... (2022) Platz 2 in den Offiziellen Deutschen Charts!- Year End "Best" Listen: Metal Hammer Deutschland, LAWeekly (US), Exclaim (CA), Terrorizer (UK)- Vorgestellt auf: All New Metal/Black & Dark Metal/The Pit/Metal Planet (SPOTIFY), Breaking Metal/New Music Daily/Optimus Metallum/Breaking Hard Rock (APPLE MUSIC)- Mantar hat 8,5 Millionen Streams auf Spotify erreicht- Massive Underground-Fangemeinde in Europa und Nordamerika, die auf einem jahrzehntelangen DIY-Ansatz und ausgedehnten Tourneen beruht- Vergangene Festivalauftritte: Hellfest, Download, Full Force, Oya Festival, Getaway Rock, Roadburn, The Fest (US), Wacken, Maryland DeathfestCharts (Pain is Forever...):Germany:#2 Official German Album ChartsAustria:#69 Official Album ChartsSwitzerland: #45 Official Album ChartsUS Billboard:#60 Current Hard Music Album#84 Top New ArtistsQuotes for Pain Is Forever and This Is The End (old):- Album of the Month - Metal Hammer (GER)"So präsentiert sich das räudige Doom-Duo auf PAIN IS FOREVER AND THIS IS THE END in Bestform. 'Art Is Hard', das wussten bereits die Indie-Rocker Cursive. Aber Mantar sind härter." - 6/7pts - Metal Hammer (GER)- Album of the Month - Metal.de (GER)- "Pain Is Forever.. skillfully keeps the balance between brute destructive fury and dense atmosphere in widescreen format with real underground hit potential." - 8.5/10 pts Rock Hard (GER)"So hält "Pain Is Forever..." gekonnt die Waage zwischen brachialer Zerstörungswut und dichter Atmosphäre im Breitwandformat und hat oftmals echtes Underground-Hitpotenzial zu bieten." - 8.5/10pts Rock Hard (GER)- "The blackened doom punk duo's biggest rock moment to date is not a betrayal, but an accomplishment" - Visions (GER)"Der bislang größte Rock-Moment des Blackened-Doom-Punk-Duos ist also kein Verrat, sondern eine Vollendung" - Visions (GER)- "A tremendous hit rate, as if we were not dealing with a regular longplayer, but with a "Best-of MANTAR". Very Strong!" - 8.5/10 pts Deaf Forever (GER)"Und so kann man "Pain Is Forever And This Is The End" eine enorme Trefferquote attestieren, so als ob man es nicht mit einem regulären Longplayer, sondern mit einer "Best-of MANTAR" zu tun hätte. Stark!" - 8.5/10 pts Deaf Forever (GER)"- "Compact and to the point interpretation of Black'n'Roll, which can not only split your skull, but also animate you to headbang and even sing along." - 9/10 pts Powermetal.de (GER)"Ein weiterer Volltreffer aus dem Hause MANTAR!" - 9/10 pts - Powermetal.de (GER) - "Auf dem neuen Album haben MANTAR nichts an Angriffslust und brachialer Wirkung verloren, ihr Repertoire jedoch eindrucksvoll erweitert, sind gewachsen und zu etwas in seiner grundlegenden Ehrlichkeit und massiven Härte unfassbar Schönem geworden, ohne auf ihren urgewaltigen Sound zu verzichten. " - 10/10 pts - Slam (AT/GER)- "Thicker grooves, anthemic refrains, head nodding rhythms and a greater exploitation of the fist-in-the-air-ology school of song writing." - 8/10 pts - Metal Injection (USA)- "...their latest studio album may be their best yet... a burning Molotov cocktail of black metal, sludgy hardcore and classic metal hooks..." - Decibel (USA)- "...they've made the album of their career so far; so buckle up and get ready for forty minutes of blackened punk that'll give you the kick up the ass you've been waiting for." - Distorted Sound (USA)- "I love how far my mind roams while listening to the same album on the repeat; the more I spin "Pain Is Forever And This Is The End", the more things I discover, driving me deeper into MANTAR's moving sand." - 10/10pts - Metal Kaoz (USA)- "Pain Is Forever... clearly takes some inspiration from their recent album of Grunge, Punk, and Riot Grrl covers by elevating this aspect of their sound a little more too, without dulling the unapologetically in-your-face edge of the music." - No Clean Singing (USA)

Mantar erreichten mit ihrem letzten Album Pain Is Forever... (2022) Platz 2 in den Offiziellen Deutschen Charts!- Year End "Best" Listen: Metal Hammer Deutschland, LAWeekly (US), Exclaim (CA), Terrorizer (UK)- Vorgestellt auf: All New Metal/Black & Dark Metal/The Pit/Metal Planet (SPOTIFY), Breaking Metal/New Music Daily/Optimus Metallum/Breaking Hard Rock (APPLE MUSIC)- Mantar hat 8,5 Millionen Streams auf Spotify erreicht- Massive Underground-Fangemeinde in Europa und Nordamerika, die auf einem jahrzehntelangen DIY-Ansatz und ausgedehnten Tourneen beruht- Vergangene Festivalauftritte: Hellfest, Download, Full Force, Oya Festival, Getaway Rock, Roadburn, The Fest (US), Wacken, Maryland DeathfestCharts (Pain is Forever...):Germany:#2 Official German Album ChartsAustria:#69 Official Album ChartsSwitzerland: #45 Official Album ChartsUS Billboard:#60 Current Hard Music Album#84 Top New ArtistsQuotes for Pain Is Forever and This Is The End (old):- Album of the Month - Metal Hammer (GER)"So präsentiert sich das räudige Doom-Duo auf PAIN IS FOREVER AND THIS IS THE END in Bestform. 'Art Is Hard', das wussten bereits die Indie-Rocker Cursive. Aber Mantar sind härter." - 6/7pts - Metal Hammer (GER)- Album of the Month - Metal.de (GER)- "Pain Is Forever.. skillfully keeps the balance between brute destructive fury and dense atmosphere in widescreen format with real underground hit potential." - 8.5/10 pts Rock Hard (GER)"So hält "Pain Is Forever..." gekonnt die Waage zwischen brachialer Zerstörungswut und dichter Atmosphäre im Breitwandformat und hat oftmals echtes Underground-Hitpotenzial zu bieten." - 8.5/10pts Rock Hard (GER)- "The blackened doom punk duo's biggest rock moment to date is not a betrayal, but an accomplishment" - Visions (GER)"Der bislang größte Rock-Moment des Blackened-Doom-Punk-Duos ist also kein Verrat, sondern eine Vollendung" - Visions (GER)- "A tremendous hit rate, as if we were not dealing with a regular longplayer, but with a "Best-of MANTAR". Very Strong!" - 8.5/10 pts Deaf Forever (GER)"Und so kann man "Pain Is Forever And This Is The End" eine enorme Trefferquote attestieren, so als ob man es nicht mit einem regulären Longplayer, sondern mit einer "Best-of MANTAR" zu tun hätte. Stark!" - 8.5/10 pts Deaf Forever (GER)"- "Compact and to the point interpretation of Black'n'Roll, which can not only split your skull, but also animate you to headbang and even sing along." - 9/10 pts Powermetal.de (GER)"Ein weiterer Volltreffer aus dem Hause MANTAR!" - 9/10 pts - Powermetal.de (GER) - "Auf dem neuen Album haben MANTAR nichts an Angriffslust und brachialer Wirkung verloren, ihr Repertoire jedoch eindrucksvoll erweitert, sind gewachsen und zu etwas in seiner grundlegenden Ehrlichkeit und massiven Härte unfassbar Schönem geworden, ohne auf ihren urgewaltigen Sound zu verzichten. " - 10/10 pts - Slam (AT/GER)- "Thicker grooves, anthemic refrains, head nodding rhythms and a greater exploitation of the fist-in-the-air-ology school of song writing." - 8/10 pts - Metal Injection (USA)- "...their latest studio album may be their best yet... a burning Molotov cocktail of black metal, sludgy hardcore and classic metal hooks..." - Decibel (USA)- "...they've made the album of their career so far; so buckle up and get ready for forty minutes of blackened punk that'll give you the kick up the ass you've been waiting for." - Distorted Sound (USA)- "I love how far my mind roams while listening to the same album on the repeat; the more I spin "Pain Is Forever And This Is The End", the more things I discover, driving me deeper into MANTAR's moving sand." - 10/10pts - Metal Kaoz (USA)- "Pain Is Forever... clearly takes some inspiration from their recent album of Grunge, Punk, and Riot Grrl covers by elevating this aspect of their sound a little more too, without dulling the unapologetically in-your-face edge of the music." - No Clean Singing (USA)

„Life has never been easy, so keep moving“ is the opening line of Making moves, the title song of SANTROFI‘s new album. Four years ago their celebrated debut ‚Alewa‘ introduced this 8 piece Highlife collective powerhouse from Accra to the world.

After five solid years on the road, SANTROFI is now ready to release some fresh material. co-produced and mixed by four-time Grammy Award winner Jerry Boys (REM, Ali Farka Toure, Buena Vista Social Club, Orchestra Baobab, Kronos Quartet). The band has continued an intense tour schedule, with 2024 seeing their first shows in the USA as well as a Japan tour of with 13 sold out shows 2024. where.

Making moves is both a celebration of SANTROFI’s roots and a leap into the future of Highlife. The opening track Amina is a Ghanaian childhood game turned Highlife Funk. It draws from the past, pushing it into the future. The title song Making moves sees Santrofi team up with the current booming Afrobeatscene in Ghana: It features Ghanas Newcomers Kofi Jamar and Arathejay. The song talks about trying to survive on the sometimes crazy streets of Accra without loosing your mind. Su nkwa sees Santrofi celebrating their love for typical Sikji Highlife music. And the nostalgic No money, no honey sums up yet another common truth from the streets of Accra. From the opening Highlife funk of Amina to the Ghanaian-childhood-game-turned- boogie-banger Gyae me how, this record will get you dancing.

Led by producer-bassist Kojo Ofori, SANTROFI unites 8 of Accra’s most gifted musicians with a passion for both vintage highlife grooves and a hip hop sensibility. Members of the band have played with leading Ghanaian artists including Ebo Taylor, Pat Thomas, Ambolley, AK Yeboah and highlife pioneer AB Crentsil with whom they recorded just before he passed away - watch out for that!

SANTROFI have shared stage and studio with rising stars of Ghana’s vibrant urban music scene such as Kidi, Yaw Tog, Black Sherif, AratheJay and even Nigerian superstar Wizkid (who has made Accra his second home). The upcoming album sees the band teaming up with some of the most exciting talents in Ghana‘s such as AratheJay and Kofi Jamar.

If you think it is impossible to play a funk groove (or even drill) over a pulsing Highlife clave: SANTROFI will prove you wrong. Listen to the phrasing of SANTROFI‘s horn section, hear the Highlife clave running through every bar of their music. Santrofi are pushing Ghanas Highlifegrooves into the future without loosing its sweet soul. And don’t forget to come and see them Making moves live in your city.

"Victory of Bad Taste is the second solo album by Barry Hay. It was originally released in 1987, fifteen years after his first solo album release. Victory of Bad Taste includes two singles: ""Draggin' The Line"" and ""Jezebel"". The album contains original songs and a few covers from, amongst others, Frankie Miller and Tommy James. Hay gained worldwide fame in the 70s as lead vocalist and frontman of the popular rock band Golden Earring. Together with band member George Kooymans, Hay wrote the massive hit ""Radar Love"", released in 1973. Victory of Bad Taste is available as a limited edition of 750 copies on gold coloured vinyl and includes an insert with lyrics."

"Live Mind, is the first live album from rock supergroup, The Third Mind. With over an hour of performances, Live Mind was overseen and curated by Don Boles, Will Golden and Brett Brock from shows in February and March 2024 at the Troubadour in Los Angeles, Ventura Music Hall in Ventura, CA, and The Kessler Theater in Dallas, TX. Produced by Dave Alvin and Victor Krummenacher, the album was mixed and mastered by Craig Parker Adams at Winslow Court, Los Angeles, CA.

What started four years ago as a wishful music fantasy, the supergroup of “Californian Psychedelic Rockers” (Doom Charts) is now a reality. The brainchild of GRAMMY award-winning guitarist Dave Alvin and veteran alternative music bassist Victor Krummenacher (Camper Van Beethoven, Monks of Doom, Eyelids), The Third Mind’s two studio albums–The Third Mind (2020) and The Third Mind 2 (2023)–feature guitarist David Immerglück (Counting Crows, Monks of Doom, Camper Van Beethoven), drummer Michael Jerome (Richard Thompson, Better Than Ezra, John Cale) and vocalist Jesse Sykes from her critically acclaimed group, Jesse Sykes and The Sweeter Hereafter. The Third Mind live psychedelic improv performances include the addition of guest guitarist Mark Karan (Bob Weir's Ratdog, Phil Lesh, Delaney Bramlett) subbing for Immerglück."

Berlin based label "Matasuna Records" kicks off the new year 2025 with a soulful 7inch featuring songs by Barcelona's "The Blaxound" and singer "John Vermont". Their common love for vintage soul from the 60s and 70s brought them together for this project to compose and record classic soul sung in Spanish. This 45 shows that the concept worked out wonderfully: Spanish Soul at its best, sounding authentic and contemporary at the same time!

Matasuna Records, known for its reissues of musical treasures from the past, also has an eye for exciting new discoveries in contemporary music. With "The Blaxound & John Vermont" the label has once again found an interesting project for soulful & contemporary music that fits perfectly into the label's sound spectrum and will appeal to lovers of authentic soul music.

The two songs "No Es Por Ti" and "Qué Más Te Da?" from their recently released album will be released for the first time as a 7-inch vinyl single on Matasuna Records. The instrumentation and the lovely harmonies are the ideal basis for John Vermont, who with his versatile voice, sometimes powerful, sometimes smooth - but always soulful - can fully develop his vocal spectrum and fill the songs with his presence. Instrumental and vocal arrangements are beautifully balanced and harmonious. Beatific!

Artist info


"The Blaxound" is a Barcelona-based music project with deep ties to the city's Funk and Soul sceney. The project started in 2003 under the direction of musician, songwriter and producer "Marta Roman". The Blaxound has released four studio albums between 2007 and 2024 on different labels.

Years ago, Marta focused on the idea of recording a classic soul album sung in Spanish, respecting as much as possible the original production and sound of the late 60s and early 70s. Luckily, she met singer "Ivan Espejo" aka "John Vermont", which was the turning point and led to the full vocal album "Déjalo Ir" released on "Love Soul Productions" in 2024.

All songs were composed, recorded and produced by Marta Roman in her own studio, Black Flamingo Recordings, in Barcelona, Spain.

Die Doves melden sich nach über 4 Jahren zurück mit ihrem neuen Album „Constellations For The Lonely“,
ein neues, intensives, filmisches und doch klassisches Doves-Album. Es enthält zehn neue Tracks des
mehrfach für den Mercury-Award nominierten Trios aus Manchester, die mit ihrer akribischen Stimmungsmanipulation in die Zukunft blicken.

Tricatel is releasing on gatefold vinyl a selection of tracks composed by Bertrand Burgalat for Ça, c'est Paris! the series directed by Marc Fitoussi, starring Alex Lutz, Nicolas Maury and Monica Bellucci.

Marc Fitoussi - extract from the sleeve notes
After collaborating on my film "Les Apparences", I knew he'd be the ideal man for this series. Someone who could make real revue music, like you'd hear at the Paradis Latin or the Alcazar, and who could also be resolutely contemporary, like when the troupe relaxes and dances in a bar to a hit of the moment.

Stéphane Lerouge - extract from the sleeve notes
It's a genre that dates back to the thirties, that of the backstage musical, a genre with well-defined codes: the struggle of a collective, a troupe of singers and dancers, to put on a show that, despite a tsunami of obstacles, will end in triumph and reveal a new star. A broad spectrum of films can be linked to this, from "Quarante-deuxième rue" to "Tous en scène", from "Chorus line" to "Trois places pour le vingt-six". And today, the original link in this long chain is the series "Ça, c'est Paris!", in which Marc Fitoussi strips away this tradition, reenchanting it, making it crackle with new energy. In the end, his mission is almost the same as that of his main character, Gaspard Berthille (Alex Lutz), heir to a cabaret, the Tout-Paris, for whom he must invent a present, or rather, a future. To carry out this delicate task, Gaspard Berthille needed an accomplice, invisible on screen: Bertrand Burgalat. His freedom, the way he juggles harmony and tonality, shines through in every measure, as if Marc Fitoussi's subject had triggered something decisive and essential in him.

Off the back of storming the UK charts once again with latest single 'White Noise feat AlunaGeorge' - DISCLOSURE are extremely excited to announce the title, artwork and release date for their eagerly awaited details of their debut album.
'SETTLE' - the brothers' first full-length recording - will be released on June 3 via PMR records (home to Jessie Ware and Julio Bashmore among others).
Leading the charge into the album is the single 'You & Me' featuring Eliza Doolittle, and as you'd expect, Disclosure continuously prove their ability in bringing the best out of their vocal collaborators, with Eliza's lustrous vocal immersed among Disclosure's trademark 2-step garage rhythms, once again showing beyond doubt their capacity in delivering yet another anthem alongside previous singles Latch and White Noise.

Having steadily built a name for themselves as purveyors of a standard of music production way beyond their tender years, they've spent a solid couple of years honing their already prolific output into what's sure to be one of the debuts of 2013 - in any genre.
Highlights:
'You & Me' was released on Sunday 28th April
The single was the week's HIGHEST new entry in the official chart midweeks at number (J) CD 10
Single remix roll out as below:
16th May Zane Lowe exclusive Baauer
w/c 20th May online exclusive Flume
'You & Me' Remix EP and 12' Vinyl available June 24th
R1 Zane Lowe Session (May 15th), R1 Zane Lowe Album Of The Week (May 27th) and Radio 1/1Xtra Live Lounge (June 5th) all confirmed

'Latch' featuring Sam Smith and 'White Noise' featuring AlunaGeorge have now sold over 650K combined (making both Silver certified singles).

White Noise' which entered the UK singles chart at #2 on release remained a Top 15 single for the consecutive 10 weeks.

Revolutionary DJ and producer Matador presents his exciting debut release for Hot Creations Wildside this July. It features two contrasting tracks that stay true to the ethos of the label synonymous with White Isle hedonism.

Wildside opens with spirited percussion of shakers and snare rolls, reverberating into a fuzzy and infectious bassline groove. The playful sample is looped over crazy effects and bright keys, before dropping into a final crescendo that will have feet stomping in unison. Sweet Release retains a classic deep house sound with dreamy chords and lush synth. The track develops with warm sub-bass, piano, arpeggiation and soulful vocals, resulting in a summertime anthem.

Matador has made his mark on the electronic music world since the very beginning, producing a BBC Radio 1 Essential Mix, becoming a brand ambassador for MODEL 1 and featuring in Resident Advisor’s ‘Top 20 Live Acts’ for three years in the early part of his career. In 2016 he launched his label RUKUS, releasing music from emerging and established artists alike. Spanning genres and formats he has made music for Sky TV and British Airways, his vinyl-only series Cyclone is firmly rooted in techno, whilst the stream only album Tuesday presents an exquisite take on ambient. His collaboration with Zurich’s Tonhalle Orchestra again highlighted his dexterity as a truly authentic musician. 2020 sees the launch of Matador’s podcast series focusing on studio gear and featuring interviews with touring artists. His new live performance ‘Live 2.0’ is also forthcoming and will feature hotly anticipated new music.

‘Insides is a cracking album of shifting ambient moods, riding on the cusp of technology without forgetting emotive credence’ 9/10 FUTURE MUSIC
Originally released in 2009 Insides is Jon’s third solo album and will be made available from the 18th December 2020 on the Just Music label, following on from his first two Just Music albums, Opalescent and Contact Note. It paved the way for both Immunity (his hypnotic breakthrough solo album) and Diamond Mine (his collaboration with King Creosote) which attracted Mercury nominations and for his recently released fifth solo artist album, Singularity.
The epic Light Through The Veins from Insides, which bookends Coldplay’s Viva La Vida album, is always a crowd favourite and is played by Jon as one of the closing tracks at almost all of his venue and festival shows. Small Memory, also from Insides has been streamed almost 57 million times on Spotify alone where Jon has 355, 462 followers and nearly 2 million monthly listeners.
Cited by The New Yorker as “One of the most celebrated electronic musicians of his generation”, electronic artist, producer and composer Jon Hopkins has forged a reputation for music that marries the dance floor to the devotional, and for live performances that are visceral, generous and charged with a rapt, sensuous beauty.
Jon has remixed artists as diverse as Flume, David Lynch, Moderat, Disclosure, Four Tet, Wild Beasts and Purity Ring. Other projects include collaborations with Natasha Khan of Bat For Lashes and Bonobo, as well as productions for London Grammar and Coldplay. His film credits include his Ivor Novello nominated score for the indie sci-fi classic Monsters, The Lovely Bones (scored with Brian Eno and Leo Abrahams), How I Live Now, Uwantme2killhim? and Rob and Vanentyna in Scotland. He also scored the National Theatre Live production of Hamlet and his work has appeared in many films and adverts.
‘Lilting piano and strings give way to industrial glitch with a calculated force, shifting the mood from tranquillity to terror’ 7/10 CLASH
‘Hopkins is a conjurer, an illusionist, symbolically combining imagery and sounds that shouldn’t work together, creating new dimensions of listening’ KRUGER