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There's something spellbinding about Rhythm Rhyme Revolution’s seductive intensity and it’s all cleverly wrapped up in this rather sterling EP.

Summertime (nuacidfunk) slowly builds and changes tempo into a disco crescendo, in the style of Love Hangover, with Dan Lipman’s glorious jazz flute/sax weaving in and out of Gareth Tasker’s fantastic coral sitar riff that wouldn’t sound out of place on a Stylistics record.
The flipside - Sunshine Girl’s slinky Afro percussive groove builds pace as DJ Tabu merrily coos about making love in the sunshine and Barrie Sharpe’s vocal hooks chime in agreement:
bolstered by crisp guitar and Kenny Wellington’s jazzy mute trumpet darting around the sonic pool like a magnificent dragonfly. The arrangement has first class interplay and ensemble work too and the funky clavinet and bluesy electric piano really add to this slick
vibe.

Also on the flipside is the already established original version of Summertime from RRR LP #1 - which I can only compare to the Motown classics.

Sharpe is the master tease who builds a grand mood and positively revels in it. You will too,suffice to say, find this record is a real touch of class.

Emrys Baird (Blues & Soul)

Middle Eastern psych, funk, disco, and Japanese folk and pop, converge to create a mesmerising new sound on "Kokoro", Sababa 5 and Yurika"s collaborative debut album for Batov Records, collecting four acclaimed singles and four brand new songs.

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Lost somewhere between the mysterious alleys of 70s Istanbul and the scorching sun and crystal blue sea of Jaffa, Tel Aviv, Şatellites self-titled debut album is set to be released on Batov Records on April 1st.

The Şatellites’ sound shimmers between traditional Turkish folk and instrumentation, ethereal psychedelic guitar leads and groovy dance floor baselines. The resulting concoction of songs draws on cross continental influence yet at its core is a desire to illuminate the vivid qualities of classic Turkish music, honouring the Anatolian folk and psych artists from this golden era of music. From the funky disco beat of Disko Arabesque to the celestial lead guitar in Yağmur Yağar Taş Üstüne, the band add fire and flair to time-honoured pieces of Turkish music giving them new meanings. Covering important tracks such as female singer Kamuran Akkor’s track Olurmu Dersin, and musician and guitarist Zafer Dilek’s Yekte, the album covers an array of original pieces of different musical styles and sounds, that once have and continue to flow out of Turkey. The band boasts six members; Ariel Harrosh (Bass) Lotan Yaish (Drums), Yuli Shafriri (Vocals), Tsuf Mishali (Keys and Synths), Tal Eyal (Percussion) and Itamar Kluger (Diwan saz, both electric and acoustic, electric baglama, Greek 4 double string bouzouki). They came together some years after band leader Itamar Kluger discovered the saz whilst travelling the Kaçkar mountains in Turkey’s eastern region. The saz being a long necked, plucked stringed instrument native to the rural areas of the country, which remains an integral part of Şatellites’ union, and plays predominance throughout the bands’ album and music.

In the same way the guitar was electrified in the 1930s, the electrification of the saz in the 1960s led to an explosion of rock music dredged in middle eastern influence, a musical genre fittingly called “Anatolian Rock” and based on the principles of Anglo-American and psychedelic rock music, yet incorporating the style, rhythm, and scales of traditional Anatolian folk music.

As such, throughout the creation of the album, the band conceived the idea of intertwining differing elements such as the groove of funk, the rhythm of disco, and reverb of psychedelic, with traditional middle-eastern rhythm and structure, opening up the wealth of Turkish music to the western world, so that anyone and everyone can relate to something from the album. With that said, Şatellites emphasise that their music is not fundamentally Turkish music, on the contrary, they merely try to sound as close to the genre as possible. Their sole aim is to honour this amazing culture and to present it to the world in a more accessible and attainable form.

'One of the rarest and most sought after South African recordings of the early 1970s, available again for the first time since its original South African release – the swinging township groove of The Jazz Clan’s 1973 debut LP, Dedication

Die-hard fans of South African jazz speak about The Jazz Clan in hushed tones. One of the dozens of South African groups who styled themselves as ‘jazz dignitaries’ – like the Jazz Giants, the Jazz Ambassadors, or the Jazz Ministers, for instance – their two widely separated studio albums for Gallo (Dedications and Makwenkwe, released in 1973 and 1976 respectively) are extremely hard to find, and were never repressed after their initial runs. Until now their work has graced neither re-release nor compilation. But they were no also-rans. They may have left a small recorded footprint, but it was an impressive one, epitomised by their hard-swinging 1973 debut, Dedication – a tough, swinging soul-jazz set with distinct African touches which is counted by those in the know as among the best South African jazz recordings of the era.

Once you dig down into the history of the group, this is no surprise: the players that comprised the Jazz Clan were veterans. And they thought big – their first incarnation during the 1960s had been as a 16-piece, and they had held down a residency at one of Nelson Mandela’s regular haunts, the Planet Hotel in Fordsburg. The original leader, drummer Gordon ‘Micky’ Mfandu, had been a regular on the Johannesburg jazz scene since the early 1960s and had recorded with figures including Gideon Nxumalo, and the famous Blue Notes; along with bassist Mongezi Velelo he had also been a member of the revered Soul Giants unit. Baritone player Cornelius Khumalo had also played with Chris McGregor and the Blue Notes in the pit band of the musical play Mr Paljas, and had also recorded with township legend Zakes Nkosi. Also in the line-up, and handling most writing duties on this disc, was the great trumpeter Peter Segona – a quicksilver hornsman, Segona later sought exile in Europe, where he played with musical luminaries across the continent including Chris McGregor’s Brotherhood of Breath, Cymande, and Manu Dibango.

By the 1970s Mfandu was dead, murdered in Soweto, and the group had consolidated as a septet – the late drummer is memorialised here on closer ‘Micky’. South African jazz was moving toward electrified funk and bump, and the new township style of Dollar Brand was just around the corner. But Dedication captures the acoustic jazz sound of the early 1970s in its pomp – a handful of tightly wound songs jostling for space, blending uptempo soul-jazz sensibilities with Latin influences and pronounced township jazz accents, the latter especially audible in Dimpie Tshabalala’s piano vamps, Jeff Mpete’s pattering hi-hat emphases, and the unmistakably South African swagger and dip of the horns on cuts like ‘Rabothata’. It is music on the brink of a transition, looking ahead but still dedicated to the sound of the golden years, and it could have been made nowhere else on earth but in Soweto.'

Transferred from the master tapes by Gallo in South Africa.
Mastered for release by D&M.
Pressed at Pallas.
Fully licensed from Gallo South Africa.

Japanese jazz and big band masterpieces re-released on clear green color vinyl!

Nio dances and pigeons dance. A mysterious melody that flows in a strong groove. Pursuing the possibilities of big band sound, this is the true essence of new hard and its climax.

New Hard, led by Toshiyuki Miyama, is one of Japan's leading big bands. Since the release of ``Perspective'' in 1969, they have opened up new horizons in big band jazz with their cutting-edge sound. This work "Niou to Hato" is one of the representative works of new hard released in 1972. Kozaburo Yamaki was in charge of the entire composition and arrangement, and deeply pursued one of his long-standing themes: "Japan." Japanese features, traditions, and scenes expressed through elaborate, multi-layered arrangements and performances. A profound and dynamic melody with a Japanese atmosphere that can be described as mysterious. Starting with "Seijinshiki," which is led by a strong groove, the album is lined up with songs full of deep flavor and great excitement. This is the true essence of new hard work and its climax.
text by Yusuke Ogawa (universounds/Deep Jazz Reality)

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Trailblazing instrumental synth pop experiments created to soundtrack Japan’s booming 1980s cartoon and comic industries. The brightly futuristic instrumentals on this collection reflect the mindset of composers and musicians who believed in a technological future where everything was possible.

In the late 1980s Japan experienced a brief but heady period where societal changes combined with new-found wealth to open up a world of possibilities. A huge influx of cash - artificially created by slashed interest rates after an agreement with the US to weaken the dollar relative to the yen - resulted in the inflation of real estate and stock market at a rapid pace. While the economic bubble it created was unprecedented and impossible to sustain, for a while money was in plentiful supply.

The musical genre City Pop reflected the aspirations of the country’s booming leisure class. Video games flourished with Nintendo's 1983 launch of their Family Computer (or FamiCom). Studio Ghibli was founded 1985 to later became one of the most famous and respected animation studios in the world, and Anime and Manga were established as major forms of entertainment for all generations of the Japanese public.

Music was no mere footnote to the anime and manga boom: the two forms of media often went hand in hand, and not simply through the presence of background melodies. With generous budgets available, even two-dimensional static manga comics could be released with an accompanying soundtrack of original music known as an ‘Image Album’.

Composer and arranger Kazuhiko Izu was one such beneficiary of this open budget approach. Written to accompany artist Katsuhiro Otomo’s manga comic Domu, the composer and arranger took advantage of the world-leading (and wallet-busting) Japanese synthesiser technology available at King Records’ fully equipped studio. Featured on this compilation, A3: Act 2 Scene 26 reflected the story’s sci fi themes with a blazingly futuristic yet warmly funky slice of synth pop that presents a joyful celebration of synthesisers and their seemingly endless possibilities.

Kan Ogasawara was another composer who made early mastery of the litany of synthesisers, drum machines and sequencers that had become available. Two tracks written to accompany the 1985 period manga Yume No Ishibumi are featured here; Honowo’s experimental electronic textures add spice to a jaunty electro pop melody that recalls the Rah band’s 1983 hit Messages From Stars; the jazz-tinged Utage rounds out Ogasawara’s shimmering synth textures with beautifully crafted backing from legendary musicians Yuji Toriyama (guitar), Pecker (percussion) and Jun Fukamachi (piano).

Before becoming one of the pioneers of Japanese Kankyo Ongaku (Ambient Music), Takashi Kokubo worked on the proto techno track Kiki (Jungle At Night). It was put together for the 1984 anime film Shonen Keniya (Kenya Boy) using some of the most expensive music technologies available at the time. This Africa-Inspired dance track offers a contemporary parallel to the early techno music that young Detroit based producers were then creating using cheap Japanese Roland drum machines and synthesisers.

This is the first compilation of Japanese anime and manga soundtracks curated by Kay Suzuki and Rintaro Sekizuka from Vinyl Delivery Service (a Tokyo based online record shop which also operates in East London's renowned wine and hifi shop Idle Moments). With a cover by artist Kazuki Takakura and two pages of liner notes, this vinyl only compilation of music never before released outside of Japan, captures a vital aural snapshot of an era whose forward-thinking sounds went hand in hand with cutting edge technology.

Parisian producer and longtime Too Slow To Disco collaborator Vibes4YourSoul returns for his third TSTD Edits volume, this time a 2 tracker 7 Inch full of smooth, funky Brazilian vibes!
Too Slow To Disco regulars will remember his name from several relases so far: his standout remix for L’impératrice on the “TSTD – En France” compilation, his remix for Poolside from “The Sunset Manifesto”, his edits on all 5 Yacht Disco Edit compialtions, and the quickly sold out double 7 inch with Edits we released in 2020. He is one of the crème of new reworkers and edit-producers, that have specialized in those soulful, smooth slow jams and midtempo tracks, that Djs all love for their warm up sets. Vibes4YourSoul (aka V4YS) is a Parisian DJ and producer whose musical universe blends together elements of disco, rare groove, afro-latin and soulful indie, with the deeper edge of contemporary house and nudisco sounds. A member of Yuksek's Partyfine label crew as well as of BPM DJs collective ("Blog des pépites musicales") , he's regularly revisiting old or contemporary tracks through edits and remixes, widely shared and played by numerous DJs.

The follow up to the summertime anthem "DAYDREAMING" here's another uptempo modern funk/new school boogie dancefloor banger. Instrumental mix on the B-side so doubles recommended for the deejays. Early support from DAM-FUNK and DAVE LEE. Another winner from Chi-town's STAR CREATURE label.

Balmat co-founders Philip Sherburne and Albert Salinas have been fans of Shy Layers’ lilting, Balearic pop for years, so when Shy Layers’ JD Walsh asked us to listen to a set of demos he was working up with fellow Atlanta multi-instrumentalist Jeff Crompton, we jumped at the chance. And once we heard their work in progress, the decision was almost immediate: We have to release this.

Together, Walsh and Crompton are Anagrams, and their debut album together, Blue Voices, might initially seem like a departure from Balmat’s habitually electronic terrain. It’s not ambient music, but it’s also not not ambient music, at least to listeners in the right frame of mind. The two musicians, who met when Walsh moved from Brooklyn to Atlanta in 2016 and began collaborating a few years later, see the music in similarly ambiguous terms. “I like it because it’s not jazz,” jokes Crompton, a veteran and credentialed jazz player. “And JD likes it because it’s jazz.”

Crompton is a musician (and former high-school band teacher) with deep roots in Georgia’s improvised and experimental music scenes; his credits include shows with Eugene Chadbourne, a guest appearance with Godspeed You! Black Emperor, and a collaboration with Duet for Theremin and Lap Steel’s 12-hour drone performance at Knoxville’s Big Ears. On Blue Voices he plays alto and tenor saxophone, clarinet, electric piano, and organ. Walsh has been releasing music as Shy Layers since 2015, when he started self-releasing on Bandcamp; the following year, Germany’s Growing Bin packaged his first two EPs as a self-titled album, and in 2018, Tim Sweeney’s Beats in Space label put out Shy Layers’ sophomore album, Midnight Marker. Where those records channeled Walsh’s playful harmonic instincts into wistful songwriting with tropical overtones, on Blue Voices he lets his experimental tendencies take the lead. Playing acoustic and electric guitars, electric lap steel, bass, Moog Matriarch, modular synth, and programmed drums, he concentrates his energies on richly textural layers and abstract assemblages of tone color.

Across the album’s 11 tracks, there are faint echoes of familiar touchstones: the atmospheric twang of Daniel Lanois’ pedal steel on Apollo: Atmospheres and Soundtracks; the mercurial modal runs of Ethio- jazz; the late-summer calm of Fuubutsushi; the versatility of players and composers like Patrick Shiroishi and Sam Gendel, who are asking similar questions about where jazz ends and some other, nameless territory begins. Mostly, though, what Blue Voices captures is the quixotic sound of two restless musical imaginations making it up as they go along, two voices discovering a shared language in a hitherto unexplored shade of blue.

Toronto avant-pop experimenters Bernice will follow up their Polaris Prize longlisted 2021 LP 'Eau De Bonjourno' with 'Bonjourno My Friends', an EP featuring seven remixes of songs from EDB

Divine’s – Native Love was a groundbreaking early eighties club filler. A time when the world was friendlier and the drugs were way better.

Nothing was illegal and everything was open all night! If you didn’t have the good fortune of being alive the first time around, fear not!

Ben Liebrand has been busy updating and Re working this Chicago warehouse classic. He done it without losing the impact of THAT bassline and DIVINE’s irrefutable vocal. An excellent update of epic proportions that comes in two mixes.

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Repress.

MFM044 sees the reissue of the cult Spanish studio project Música Esporádica with their incredible one off, self-titled album.

Another Suso Saiz side project, this one grew out of his work with his band Orquesta De Las Nubes, who were themselves the subject of a Music From Memory compilation last year.

The idea of getting Orquesta De Las Nubes to collaborate with Glen Velez and Layne Redmond arose after the two American musicians visited Spain during a series of seminars on frame drum techniques in 1985. Having met Glen Velez some years before in Madrid whilst Glen was performing with the Steve Reich Ensemble, Suso Saiz and Glen Velez quickly formed a strong friendship over their mutual love of non-Western music and the potentials of repetition within music. The two would play, talk and drinks for many hours in Suso’s studio space whenever Glen was in Madrid.

During one such session in 1985, Glen and Suso would be joined by Orquesta De Las Nubes and Spanish friend and musician Miguel Herrero. With exciting new ideas flowing quickly and easily, Suso decided to immediately call Track Studios in Madrid to see if they might have a space to record some of the material. With just a few days available the group would record for about 12, with what Suso would describe as ‘incredible fluency’, by which time they would have recorded the album they would later title Música Esporádica.

After its release 34 years ago Música Esporádica sounds as stunning as ever and Music From Memory are delighted to be able to share the fluency, spontaneity and close friendship which fuelled the recording of this amazing album.

From the psychedelic soaked streets of Stretford and the mind of Lewis Olsen aka Psychederek comes his next Sprechen E.P. as everyone's favourite cosmic cosmonaut returns with ALT! 4 tracks of spaced-out sound collages where electronic & rock music meet in the middle to create an explosion of avant-garde hypnotic rave soundscapes.

Title track ALT! has a massive doff of the cap to the driving forces of Krautrock, where Lewis' vocal soars atop stacks of guitars & synths and a solid drumbeat keeps you on track.

'Nowhere To Nowhere' breaks out of the gate with a full spin of the private psychedelic reel, a track that seemingly has no beginning, middle or end but which draws you in from the get-go with stacked guitars & synth lines, a thumping one note bass line, snappy percussion, and a totally far out vocal breakdown.

'Hapi' is a stunning stripped-back big bag of blissfullness with soaring synths & arp lines buddy up with a heart tugging 4 note key lines & guitar plucks alongside a reverb drenched vocal sound from heaven.
Coming across like the soundtrack as you reach the pearly gates whilst also harking back to the true balearic sound of the 70's. There are not enough sunsets in the world would do this justice.

What better way to finish things off than with a cover version of what is probably one of THE staples of the acid house 2nd Summer of love era as Psychederek gives the 808 State classic a full psych rework!
A fave from his live performances, the Manchester anthem is ripped right up to deliver a swoosh filled assault on the senses where pads, synths, guitars & even more synths all stacked and set firmly to 'wow man!' and kept tightly on track by the sublime drumming of Donald Johnson from A Certain Ratio.

The greatest hits of the 1960s and 1970s are now available on the „Golden Chart Hits of 60er & 70er Jahre“ vinyl compilation.

Enjoy 14 hits being still unforgettable up to the present day and played daily on numerous radio stations around the globe, including Top 10 hits such as Secret Service „Ten O‘Clock Postman“, Patrick Hernandez „Born To Be Alive“ or Kool & The Gang „Ladies Night“. An absolute must for all fans of 60s and 70s music!

Volume 3 of a set of collaborations between the prolific Argentine polymaths Reynols and the inescapable Acid Mothers Temple. Recorded in Buenos Aries on AMT’s 2017 South American Tour, the music has identifiable sonic elements from both groups but ends up sounding like neither, with a surprising weightlessness that keeps things jammy and psychedelic until the final track’s blustering rock. Taking up most of side 1, “Kicking Air Bricks” has a loose Gong/’70s Euro-classic vibe, with Satoshima Nani getting to swing on the drums in a way that isn’t always part of AMT’s steamroller, while the rest of the gang layers in abstract piano, percussion, glissando guitar, etc. “Multiverse Turtle Reflex” closes the side with a thick drone coda. Side two starts with Miguel Tomasin’s gentle vocal and organ accompaniment on “Smelling Oneiric Asado” before the group gradually gathers momentum with Wolf’s thick bass anchoring layers of clean and loose guitar interplay. “Lemurian Tsunami Inside A Hat” is a thriteen-minute heavy rock epic, with the Reynols’ guitars going head to head with Makota Kawabata’s easily recognized interjections, ramping up into a riffy crescendo.

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Rarely does an artist pay homage to the classics like Dimitri From Paris. The Grammy nominated producer, remixer, composer and DJ has made every one of his repertoire of reworks sound effortless; no mean feat when the original tracks are by the likes of Disco’s greatest musicians. In 2018 he released his “lifetime achievement” on Glitterbox, with the strictly limited pressing of the ‘Dimitri From Paris presents Le Chic Remix’ boxset. Now the 12’s have their own separate outings, bringing greater focus onto the individual productions, as each vinyl features two of the incredible Dimitri remixes, along with their respective instrumentals on the B-Side. On this record we hear CHIC’s ‘I Want Your Love’ get lovingly remixed by Dimitri, before delving into Sister Sledge’s evergreen ‘Thinking Of You’.

Castle Face present Dan Rincon’s (OSEES, Wild Thing, Apache, Personal and the Pizzas) premier solo release Spotlight City.

Artificial landscapes and melodies comprised of Moog Grandmother, Mellotron and a kinky Modular system span from beautiful and lilting to haunting and etherial. The album was a years long learning experience of getting all components and ingredients to link arms and blend comfortably. Wrangling was part of the process. Strings soaring and sines weaving. Sometimes in the atmosphere, sometimes in the Earth’s core, sometimes flanked by neon blur as it hums & weave patterns through a world imagined in vintage sci-fi pulp.

“I was listening to a lot of solo Roedelius and Conrad Schnitzler records while writing this record and I’d say that both have been hugely inspirational on what I want to do as a solo recording artist. The way both of those of those artist pushed the early, chaotic electronic music into something more melodic is really inspiring to me, it’s not that dissimilar than trying to get melodies out of a modular synthesizer.”

An absolute necessary slab for anyone a fan of CF, OSEES, Popol Vuh soundtracks , 8 bit video game accompaniment & 80s Tangerine Dream. Burn one and burn out.

avigating vibrant influences of Latin-jazz, Tropicália and joyful grooves; multi-instrumentalist, songwriter, singer and producer Inês Loubet presents her utterly gorgeous debut album ‘Senga’. The album covers Inês’ experiences over the past five years, originating in Portugal, travelling through Brazil, before finding home in London.

Previously, Inês co-wrote and performed on Caravela’s album 'Orla' on None More Records, which was praised by the likes of Gilles Peterson and The Line of Best Fit. Her music has been played on Jazz FM, BBC 6 Music, BBC Radio 3, NTS and Soho Radio. A relentless live performer, she’s played alongside Brazilian legends Gilberto Gil & João Bosco, graced the stage of The Royal Albert Hall, Union Chapel, and O2 Shepherds Bush, around UK and international tours.

The album explores a range of profound themes including nature, travel, grief, unconditional love, separation, family dynamics, and the nuanced experience of womanhood in contemporary society. Dedications to the music, philosophy and revolutionary history of samba (‘Sambo Mesmo Sem’), everyday observations of joy (‘Guri’), and motivating generational change for the better (‘Sab Sabim’); glide across romantic harmonies and the Brazilian rhythms at the melodic heart of the album.

“I started writing whilst living in Salvador da Bahia, Brazil, in February 2020”, says Inês. “I was shy and hadn't written fully composed tracks before then. During lockdown I received support from The Arts Council’s DYCP, started making demos, gained confidence and started playing them live”. In October 2022 Inês was presented with the Drake YoLanda award and went to Giant Wafer studio in Wales for three days, before recording the final vocals at her home studio and mixing and mastering in Porto, Portugal.

Inês is joined on the album by a band of close friends. Percussionist and long-time collaborator Jansen Santana from Salvador da Bahia brings the soul of the drums, the tambor. “I always have the Bahia drums present in my mind when I write a new composition. I studied Latin percussion at University and then lived in Salvador absorbing all that heritage and knowledge”. Playing four different stringed instruments on the album, Greg Sanders is a long-time friend and collaborator from London “I met him in a samba band in 2015 and he was the first person I ever showed my songs to and played with”. The band is completed by Ruta Sipola on flute, Jake Burgess on tenor sax, Peu Meurray who recorded a lot of the percussion and lead vocals, and bassist Julio de Castro from Sao Paulo. “I was blown away by his bass playing, his swing and creativity, his ton of experience and professionalism but also his voice - he's an amazing singer and I believe that adds a lot to the magic”.

Inês concludes, “Last year, I had a show in London and I asked everyone in the audience to write down what they felt when they listened to the music. These are some of the things they wrote: wholesome, refreshing, lifted, moving, joyful, happy, nostalgic, warmth, force, goosebumps, emotional, togetherness, transported, rooted”. ‘Senga’ captures all of these feelings and more in a memorable first impression from a highly talented musician.

Das Live-Album der Melvins aus dem Jahr 2006, auf dem sie ihr legendäres Album 'Houdini' vorstellen. Zum ersten Mal auf Vinyl erhältlich, mit speziellem 12-seitigen Booklet. 2LP 140gr Hot Pink Vinyl.

- Ltd. Col. 2LP: (Hot Pink Vinyl)

‘The great South African tenorist Mike Makhamalele was a graduate of the key early-seventies group The Drive (alongside Bheki Mseleku and Kaya Mahlangu); and a mainstay of the scene centred on the Pelican nightclub in Soweto. From 1975, he began to record under his own name, developing a sophisticated fusion sound in a musical lane which few of his contemporaries were travelling.

Always attuned to other global fashions in Black dance and pop music, under numerous studio aliases he cut 45rpm covers of Fela’s Shakara and the Sugar Hill Gang’s Rapper’s Delight; and in 1979 he entered the Gallo studios with producer Peter Ceronio to respond to the ascendant sound of disco. Named after a township dance craze, Kabuzela was the result: four extended tracks of bouncing, upful disco jazz. Perfectly calibrated for dancing, heavy on the bass and drums, the album is set off by a gleaming centre piece, Disco Freaks — a joyous paean to the weekend and true lost gem of global disco, perfect for the most discerning dancefloors.’

Der OST von Jesper Kyd zum ersten Teil der Stealth-Action-Videospielreihe HITMAN des dänischen Studios IO Interactive. 'Hitman: Codename 47' (2000) war eine seiner frühen Arbeiten, bevor er zum weltbekannten und preisgekrönten Videospielkomponisten avancierte. Trotz limitierter Speicherkapazitäten des damaligen DirectMusic-Systems lieferte Kyd eine brodelnde Kombination aus Ambient und cineastischer Musik. Sein typischer Sound aus grossen Melodien und groovig-elektronischen Sounds ist deutlich zu hören, vor allem im hypnotischen Titeltrack.

Schicksal is the alias of Rudi Huybrechts from Belgium. Heavily inspired by Front 242 first album “Geography”, DAF’s elektronische körpermusik “Alles Ist Gut” and of course Kraftwerk’s “Man Machine” and “Computer World”, Rudi bought his first Roland SH-101 synthesizer and started in 1982 with Schicksal to experiment with synths and drum computers. He spent lot of hours programming and composing on his bedroom and recording everything on a tape recorder. A selection of these old tracks are included on “Perpetuum Cycle I”. You can definitely feel the vibe of this period and the place where the songs were created: the old industrial town of Hoboken, the culmination of the cold war and the aim of a young musician to combine melody and harmony into minimal electronic music. Recommended for fans of Absolute Body Control, The Klinik, minimal-synth and early EBM

Clear Vinyl So Far…The Best Of brings together the cream of Sinead O’Connor’s four album releases on the Chrysalis label.

Originally released in 1997, it features the Number 1 worldwide hit “Nothing Compares 2 U” as well as her early singles “Troy” and “Mandinka”, it showcases Sinead’s enormous talent and fearless uncompromising style.

This is the very first time that this album has appeared on vinyl, and is being released to coincide with National Album Day in the UK, with the emphasis on female artists.

The album is presented in a 5mm sleeve and includes the tracks “Success Has Made A Failure Of Our Home”, as well as “Heroine” and “Just Like U Said It Would B” which were previously only available on the US version. This is pressed on 2 x clear vinyl.

On Yard, Wisconsin-bred, Chicago-based four-piece Slow Pulp nestles comfortably into pockets of nuance, impressions, contradictions-sonics and lyrics finessed together to bottle the specific tension of a feeling you"ve never quite been able to find the right words for. In that regard, listening to Slow Pulp can feel like being in a room with someone who"s known you so long that they can read your every micro-expression and pinpoint exactly how you"re feeling before you can. Perhaps this spawns from the band"s own shared history and chemistry; in various ways, the four of them grew up-are still growing up-together. The dreamy songs of the Midwest (United States) indie rock outfit draw on moody shoegaze, hooky grunge, and intimate lo-fi fare. The band made their full-length debut with Moveys in 2020. After the downcast 2021 7" Deleted Scenes, they put the focus on hooky grunge pop for singles like 2021"s "In Too Deep" and 2023"s "Cramps". After their label debut single the band toured throughout Europe and the UK earlier this year as main support for Death Cab For Cutie. The new album "Yard" is their second full-length album and first for ANTI-.

Laced Records, id Software and Bethesda proudly present the music of seminal 1997 first-person shooter Quake II on vinyl.

19 specially remastered tracks by Sonic Mayhem and Jer Sypult will be pressed onto heavyweight discs. Sleeve artwork is by id Software, with Jason Williford providing character illustrations.

The bulk of the soundtrack was created by Sascha Dikiciyan aka Sonic Mayhem — his first game project among an enviably long credits list. Having caught id Software’s ear with an unofficial Quake album (alongside production partner Dave Valencia), Sonic Mayhem and id Software went on to develop Quake II’s trademark aggro-industrial metal sound, inspired in part by Metallica. The killer riffs, repeated for effect, urge players forward through the Strogg city and beyond, a trail of gibs in their wake. Jer Sypult’s “Climb” complements the selection with its driving industrial groove.

"80s Pop Stars Collected is the new electrifying compilation featuring the hits from legendary pop stars and bands who defined the 80s era. Unforgettable tracks included are by iconic bands, which produced a string of numerous hits, Tears For Fears ""Head Over Heels"", Culture Club ""Victim"", Duran Duran ""New Moon On Monday"", ABC ""The Look Of Love Pt.1"", The Human League ""Human"", and artists such as Paul Young ""Come Back And Stay"", Climie Fisher ""Love Changes Everything"", Rick Astley classic ""Never Gonna Give You Up"". 80s Pop Stars Collected is available as a limited edition of 2000 copies on red (LP1) and silver (LP2) coloured vinyl and includes an insert. "