Pop & Rock Vinyl New Releases - News

Airto Moreira and Flora Purim, the legendary King and Queen of Brazilian Jazz, have captivated audiences for over six decades with their vibrant albums and exhilarating live performances. With a dedicated global fan base including the UK's jazz funk and jazz dance scene to Japan's concert halls, the power couple continues to make waves in the industry – Flora's 'If You Will' (2022) album was even nominated for a Grammy! The duo met and came together musically in Sambalanço and the Sambrasa Trio. The mixture of Airto's rural Brazilian background and percussion talents and Flora's classical training and involvement in the underground Bossa Nova movement, created a unique blend of sounds that resonates across generations. They have not only collaborated with music legends like Miles Davis and Chick Corea but have also produced ground-breaking music alongside the likes of Hermeto Pascoal. Despite facing numerous challenges, including Flora's arrest and incarceration in 1974, the duo's close connection with friends-musicians like Thelonius Monk and Cannonball Adderley, their persistence and absolute passion for music have propelled them to the pinnacle of success. They worked with renowned musicians like Wayne Shorter, Jaco Pastorius, Herbie Hancock, Joe Henderson, McCoy Tyner, George Duke and producers such as Orin Keepnews and Creed Taylor. Having been a part of numerous prestigious ensembles, including Dizzy Gillespie's United Nations ensemble, Airto and Flora's journey is a testament to their innovation and devotion to their craft. This collection offers a glimpse of that incredible journey, showcasing their extraordinary talent and unique sound and it’s also the first comp scanning their 60 year careers Compiled by Straight No Chaser editor/publisher Paul Bradshaw & Totally Wired Radio presenter Roberta Cutolo. Àṣẹ.

Double LP on Hibiscus & Butterfly Pea Tea Vinyl Dust off your coffee machine and prepare your warmest smile to meet your customers again in the second episode of the much-loved coffee brewing and heart-to-heart talking simulator - "Coffee Talk Episode 2: Hibiscus & Butterfly". You are a barista and your customers aren't always humans. Listen to their stories and influence their hearts with a warm cup of coffee or two. Introducing "Coffee Talk Episode 2" on vinyl. Dive into the soothing rhythms of this atmospheric lo-fi soundtrack, which captures the very essence of the Coffee Talk universe. Each groove transports you to that familiar coffee shop corner, where the patter of rain, heart-warming chatter and captivating melodies intertwine flawlessly. Presented in a stunning analogue format, the cover is drawn by Junkipatchi, Episode 2's lead writer and narrative designer. The tracks themselves have been handpicked by Andrew Jeremy, game producer and music composer, who has this to say: "The world is so chaotic that it can break you down. Just take your time to rest and re-energize with relaxing and chill music, before you start each day conquering the world once again." So, settle down with your favourite brew and let Coffee Talk Ep. 2 on vinyl guide you on a melancholic yet tranquil journey, evoking the Seattle from a parallel universe that you've come to know and love. Secure your auditory escape today and immerse yourself in an unmatched coffee shop ambiance.

Dust off your coffee machine and prepare your warmest smile to meet your customers again in the second episode of the much-loved coffee brewing and heart-to-heart talking simulator - "Coffee Talk Episode 2: Hibiscus & Butterfly". You are a barista and your customers aren't always humans. Listen to their stories and influence their hearts with a warm cup of coffee or two. Introducing "Coffee Talk Episode 2" on tape. Dive into the soothing rhythms of this atmospheric lo-fi soundtrack, which captures the very essence of the Coffee Talk universe. Each groove transports you to that familiar coffee shop corner, where the patter of rain, heart-warming chatter and captivating melodies intertwine flawlessly. Presented in a stunning analogue format, the cover is drawn by Junkipatchi, Episode 2's lead writer and narrative designer. The tracks themselves have been handpicked by Andrew Jeremy, game producer and music composer, who has this to say: "The world is so chaotic that it can break you down. Just take your time to rest and re-energize with relaxing and chill music, before you start each day conquering the world once again." So, settle down with your favourite brew and let Coffee Talk Ep. 2 on tape guide you on a melancholic yet tranquil journey, evoking the Seattle from a parallel universe that you've come to know and love. Secure your auditory escape today and immerse yourself in an unmatched coffee shop ambiance.

The story of Astral Bakers is an obvious one. Four experienced musicians get together in the same room, and make music as if it were the first time. Some say acoustic rock, others say soft grunge. Songs in English, halfway between Big Thief, Supertramp and an unplugged Nirvana concert. Initially, Sage (formerly of Revolver), Theodora, Nico Lockhart and Zoé Hochberg know each other from having collaborated together on other tours and records. All have worked with artists as varied as Clara Luciani, November Ultra, Woodkid, Pomme and Revolver. Together, they crave something different: epiphanies and presence, friendship and purity. No demos, no re-recording: just circular listening, between two guitars (Sage and Nicolas) that converse with each other, a bass (Theodora) that holds time, and soft drums (Zoé)thatenfoldthewhole.Selected by Spotify for their RADAR program, and already acclaimed by critics,this10-trackdebutalbum,writteninalivesetting,isalreadymakingitsmarkonthe 2024 indie landscape.

Avishag Cohen Rodrigues is an artist and musician based in New York. She broke out to the Tel-Aviv underground scene at age 18 with the guitar drum duo Laila. Since then she has been playing electric guitar with Ryskinder, Sloppy Jane, Cumgirl8. She has a forthcoming solo project where she plays too many of the instruments. She is currently an MFA candidate at Columbia University in the Sound Art Department.

In 2019 she released her first EP “One Winter One Hunter” with Baby Satan Records (Berlin). She has opened for major acts such as Dirty Beaches, Better Oblivion Community Center, Mac DeMarco, Psychic Ills, Deerhoof, Cloud Nothing, Night Beats, Wire, The Shivers.

“Elemental 7 has cast a looming shadow of influence over almost all electronic music since it was made” - Boomkat. Chris & Cosey’s Elemental 7 – available here for the first time in 40 years - is the soundtrack to the film of the same name (on Cabaret Voltaire’s Doublevision video imprint) that saw the duo working once more with John Lacey – Lacey had previously worked with Cosey in COUM Transmissions and introduced Chris Carter to the collective. The album’s highlight and one of their best loved songs, ‘Dancing Ghosts’, sounds as fresh and relevant today as it must have on its original release.

LTD 500 units 7 Inch of this seminal Hip Hop/Electro jam from 1984.

Mint 'Styrene' copies are changing hands for £100+, but this remastered reissue version is now available on 100% virgin vinyl at a snip of that price. A slice of Hip Hop history.

Noema’s new album is a surreal cosmic journey. The music on it is part of a comprehensive art piece that includes remixes, interactive choreography and stage design, theatre, and costumes called ONE.

In ONE, Noema tells the story of his interdimensional space explorations, in which he manifests as four different entities. Because of the energetic state of humanity, these entities became trapped in our dimension and now put on performances to re-power their portal, so that we can all be interdimensional again! During the performance five actors invite up to 120 people from the audience to join the action.

Sun Ra meets Steve Reich meets Larry Levan - imagine it as a “happening” from the 70s.

The music from ONE is loosely based on the minimal music classic “In C" by Terry Riley. It consists of 56 melodic patterns, which are repeated and consecutively played from the first to the last. Every player can move on to the next pattern at their own pace.

Smokey Brights were early signees to Freakout Records, along with fellow Seattle psych-rockers Acid Tongue, after gaining the love of legendary NW station KEXP. Produced by Andy Park (Death Cab for Cutie, Noah Gunderson, Ciara, Mac Miller), the band's newest full-length, I Love You But Damn, walks a fine line between gritty NW rock and stately arena ready pop. Smokey Brights tirelessly toured and intensely demoed in their basement home studio leading up to recording I Love You But Damn, and their devotion to their craft is unmistakable in every track.

‘This Is Telex’ is a brand-new compilation collecting 14
tracks from the innovative Belgium trio, covering their
career from formation in 1978 up to the final album in
2006.

This compilation includes the hit single ‘Moskow
Diskow’ as well as their Eurovision Song Contest
entry, aptly called ‘Euro-vision’.
There are also two wonderful and previously
unreleased tracks unearthed from the Telex archive, a
cover of The Beatles’ ‘Dear Prudence’ and a
reinterpretation of a Sonny & Cher track called ‘The
Beat Goes On/Off’.

All the tracks were newly mixed and remastered from
the original tapes by band members Dan Lacksman
and Michel Moers, keeping all the tracks in the spirit of
the originals but adding a freshness to them.
This compilation sets the way for a comprehensive
reissue campaign of the entire Telex catalogue.
CD in card pack with 12-page booklet.

Coloured vinyl 2LP (side A/B is shrimp pink vinyl, side
C/D fern green vinyl) housed in a gatefold cover with
printed inner sleeves with notes by David Stubbs, plus
digital download code.

Tape packaged in pink case with a green shell, plus
digital download code.

Repress!

Following our first BOSSANOVA LP (Vol 1), WEWANTSOUNDS is releasing Vol. 2, a second LP of pure Bossa Nova tracks from Rio featuring hip cult classics and rarities. Bossa Nova revolutionised the world in the 60s but the revolution was already bubbling from the late 50s. Chronicling the birth of the movement. Featuring key artists on this second viny edition, like João Gilberto, João Donato, Elis Regina, ElzaSoares, who is making a highly-acclaimed come-back and Tamba Trio, as well as more cult musicians like OrlannDivo, Johnny Alf and Celso Murilo. BOSSANOVA is the perfect mix of early Bossa and Samba Canção (with its more relaxed Samba singing). Compiled by WEWANTSOUNDS the LP features 20 tracks with an essay with track by track analysis from French journalist Jacques Denis (Liberation)

Thirty years in the making, Kraig Kilby’s Satori is an exercise in perspective. The classically-trained trombonist and pianist put down his professional roots in the Soul, Jazz, and Funk scenes of 1970s California, contributing to records by Bennie Maupin and Dynasty as well as touring and recording consistently with The Whispers and Etta James. While off the road in the SF Bay Area, he found himself adjacent to some of the most forward-thinking and far-out Jazz musicians of the time.

He asked two of them, bassist Paul Jackson and drummer Michael Clark, to help him realize a set of his own compositions. The duo, already legendary for their roles in Herbie Hancock’s Headhunters band, went into the studio with Kilby to record the foundational tracks in the spring of 1977. Throughout the next four years, he would return on his own to apply layer after layer of additional instrumentation, up to the absolute limits of what was possible with the available equipment. This exacting process gave the sessions an unusual and compelling signature that bears something in common with the contemporaneous work of the Mizell Brothers, Norman Connors’ Aquarian Dream, and Detroit’s Tribe Records, but with a depth and lyricism unique to Kilby’s sense of harmony that lies amorphously between the worlds of 70’s Jazz, Funk, and Experimental Rock. Kraig's busy touring schedule throughout the following decades would leave the album fermenting until 2007, when it was paired with two more recent improvisational recordings and self-released on CD.

Satori's mercurial twists and turns lead us through a dense sequence of melodic and rhythmic figures as calculated as they are tripped, always at the edge but navigated with a precise sense of balance. Rife with hooks that will startle even the most seasoned breakbeat sleuth and sheets of emotive texture that sound right at home with today’s wave of Cosmic Jazz torchbearers, it spins like a collector's fever dream, surely one of the most prescient Jazz albums to have fallen through the cracks. Upstart Detroit label Just Us is pleased to offer this crucial missing link on vinyl for the first time.

Cassandra Jenkins' An Overview on Phenomenal Nature emerged from the blue earlier this year. With pandemic unknowns and political upheaval leaving most at frayed ends, the New York-born musician’s assuring voice and expansive fresh take on songwriting created a much needed reflective space for listeners worldwide. As 2021 comes to a close, Jenkins revisits those flowing textures and refrains with (An Overview On) An Overview On Phenomenal Nature, a collection of previously unreleased sonic sketches, initial run-throughs, demos, and sound recordings from the cutting room floor that provided the scaffolding for what became one of this year’s most critically acclaimed albums.

When Jenkins visited Josh Kaufman’s studio this summer, they opened up their original sessions to uncover the ideas that were shed in the creative process. The new collection, (An Overview On) An Overview On Phenomenal Nature, isn’t merely a retrospective; it acts as a clear-eyed addendum as well as a compelling origin story, coming to life as a subconscious companion to the original album.

First takes of “New Bikini” and “Hailey” are born from opposite starting points; while “New Bikini” began as an airy alto meander, “Hailey”’s origins lie in an upbeat dance track. On “Crosshairs (Interlude),” Jenkins’ pitched vocal delivers a straight monotone, recasting the format as poetry with music highlighting her words, and “Ambiguous Norway (Instrumental)” lifts the ambient nature of the mournful song into glimmering waves. The demo version of “Michelangelo” contains alternate lyrics “I’m Michelangelo, a Teenage Mutant Ninja Turtle,” a lost contrast to the later verse where Jenkins’ likens herself to the sculptor. On “Hard Drive (Security Guard),” we join Jenkins as she listens to a passionate museum guard whose promised “overview” of the exhibit on view builds into a monologue of observations on art, politics, feminism and the human condition. This candid interaction evolved into the cornerstone and title of Jenkins’ album.

Before they decided to make an album together, Jenkins brought Kaufman a song called “American Spirits.”The dusky ballad takes us to the Texas plains via a voicemail from the payphone of a county jail (“Miss Cassandra”). Cassandra sings, “Time here burns through the sunsets / Like you and a pack of American Spirits” over warm instrumentation with a vocal delivery that reinforces Jenkins’ unwavering tenderness towards her subjects.

(An Overview On) An Overview On Phenomenal Nature bookends Cassandra Jenkins' musical output this year with nuance, coloring in the corners, and giving us another window into her ever-expanding world of chance encounters, experiences, and sonic textures. They glimmer like the sun’s changing patterns on the wall as a new day gets going.

On his fourth solo album, much as in Oh! (2020), the French composer, pianist and vocalist follows his ongoing exploration of the crossroads between poetry and songs, piano and synth, old-time verses and contemporary sounds. Inspired by the rhythms, effects and speech patterns of urban music, he also delivers, with a warm and moving voice, the texts of three poetesses from the past.
Since 2013, Ezéchiel Pailhès has been crafting a unique French synth pop. On his first three albums, he switched between songs inspired by poetry, instrumental ballads and electronica with hummed
choruses. This latest record is a collection of eleven new songs, two of which he wrote: "Opaline" and "Ni toi, ni moi" (neither you nor me). The others are adaptations of poems written in the 16th, 18th and
19th centuries by French poetesses Louise Labé (1524-1566), Marceline Desbordes-Valmore (1786- 1859) and Renée Vivien (1877-1909).
Poetesses from the past...
From classical music to songs, poetry adaptation is an old French tradition. "My universe has always embraced the musicality of this literary genre," the artist recalls. He actually started this project in 2017 with poems and sonnets by William Shakespeare, Pablo Neruda, Victor Hugo and above all Marceline Desbordes-Valmore, who can be heard again on songs such as "Dors-tu?" (Are you sleeping?),
"Élégie" or "L'attente" (The wait). A figure of romanticism, the author left her mark on the early 19th century through the quality of her texts and her formal inventions, particularly praised by Balzac, and
apparently a decisive influence on Verlaine and Baudelaire. "Marceline's poetry is very musical," says Ezéchiel admiringly. "Her use of rhythm and repetition sounds great and takes on a new perspective when set to music. In fact, she wrote some of her texts with singing in mind.”
“Ces longs secrets dont l'amour nous accuse, Viens-tu les rompre en songe à mes genoux ? Dors-tu, ma vie ! ou rêves-tu de moi ?”
“These long secrets for which love accuses us, Do you come to my knees to break them in a dream?
Are you sleeping, my life! or do you dream of me” (“Dors-tu ?”, after “Les pleurs” (the tears), 1833)
Besides her, we find the more famous, and rebellious, Renée Vivien, whose texts inspired three songs, "Regard en arrière" (Looking backwards), "Mélopée" (Melopoeia) and "La fille de la nuit" (The
night girl). Sometimes nicknamed "Sapho 1900", this figure of lesbian culture and, more broadly, of female genius, combined in her work the themes of desire, dreams, melancholy and the relationship with nature.
“Ta forme est un éclair
Ton sourire est l’instant Tu fuis, lorsque l’appel
T’implore, ô mon Désir !”
"Your shape is a spark of lightning
Your smile, the very moment
You flee, when the calling
Begs you, O my Desire!"
(After “Parle-moi, de ta voix pareille à l’eau courante” (Speak to me, with a voice like flowing waters) and “Ta forme est un éclair” (Your shape is a spark of lightning), Renée Vivien, 1901)
Lastly, with "Tant que mes yeux" (As long as my eyes), Ezéchiel was inspired by a 1555 poem by Renaissance poet Louise Labé, whose main topic explored female love, physical and spiritual desire,
and the torments and pains they generate.
" At the start of the project ", Ezéchiel continues, " I was interested in many poets, men and women, past and present, before my selection was narrowed down to these three female authors. Their works,
often written in difficult or secret conditions, express a raging romanticism, a passionate soul, fuelled by desperate and tormented love. I found it interesting, as a man coming from another world and time, to face this otherness, to trade viewpoints. Obviously, I could loudly claim that the album was the result of a concept, that it reflects today's world, and that it allows me to explore the notion of gender,
giving visibility to the work of a few women, while at the same time pairing these ancient texts with a more modern and rhythmic music, and obviously, there is some truth in that. But more than anything, I
wanted to serve the text itself, to express the emotion and connection I felt with these works.”
Today's rhythms and prosody...
Ezéchiel Pailhès combines texts from French literature with electronic music, its effects and rhythms, as well as a form of scansion that echoes rap, R&B or the current fusion between hip hop and pop,
which is part of our musical background and that of younger generations. "I wanted to cross-reference texts from the beginning of the century with this type of music. I wanted to use today’s techniques to tell the tale of different daily lives and experiences.
The album is thus marked by contemporary electronic orchestrations, in which he drops his favourite instrument, the piano, and his digital collage technique to use more extensive synth melodies, enhanced by drum machines, bringing a gentle and bright vibe to the romantic texts. Lastly, we can hear slight digital tones of Auto-Tune, which Ezéchiel uses sparingly and inventively.

Beyond its sophistication, the term "melopoeia" means a "sung declamation", a "recitative song", sometimes interpreted in a monotonous way. On this album, it could also refer to a sense of phrasing, which does not come from rap, but rather from jazz, Ezéchiel's first love. " In the past, I tried to hide my jazz culture, but it naturally came back on this new album, as can be heard, for instance, in Regard en arrière.” With its verses anchored in our literary memory, the following track "Mélopée", perfectly illustrates the album's vision. It manages to transcend eras, mixing past romanticism with a modern
prosody, fuelled by the nonchalance of hip hop and the warm chords of jazz.
“Qu’un hasard guide enfin mon désespoir tranquille
Vers l’eau d’une oasis ou les berges d’une île,
Où je puisse dormir, mon voyage accompli,
Dans la sécurité profonde de l’oubli”
"May chance guide my quiet sorrow, at last
To the water of an oasis, the shores of an island,
Where I may sleep, having traveled my way,
In the safe depths of oblivion".
(After “Sillages” (Trails), René Vivien, 1908)

Ltd Deluxe Edition: Alternative Sleeve-Artwork, Klappcover, 12seitiges Booklet im LP-Format und gefütterte Innenhülle on top! Klares Vinyl mit Magenta & Schwarz als Splatter! Dazu noch Slipmat, Aufnäher und Poster!

16 Jahre nach dem letzten Studioalbum kommt das neue Album von LOIKAEMIE mit Namen "Menschen"! "Anschnallen! Unglaublich, aber wahr! Verdammte Axt!" Die Worte von Sachsens größtem Punkfestival hätten keinen Funken kleiner sein dürfen. Mit ihrem Überraschungs-Headliner verkündete das Back To Future 2019: LOIKAMIE ist wieder da! Innerhalb von fünf Jahren ging so gleich zweimal ein Ruck durch die europäische Oi!- und (Street-)Punk-Szene: Schwer die Emotionen beim Abschied 2014, umso größer die Euphorie beim Live-Comeback! Und noch größer angesichts 12 neuer Songs! Seit 2019 ist LOIKAEMIE wieder eine feste Größe, weit oben in den Lineups der Festivals und den Clubs, und das weit über Deutschland hinaus. Thomas, Eddie, Paul und Bruno konnten live nicht nur nahtlos anknüpfen, sondern eine Stufe emporsteigen, auf den Konzerten trifft sich Jung und Alt in seiner ganzen subkulturellen Vielfalt, LOIKAEMIE ist eine Band, auf die sich - im besten Sinne - alle einigen können. Auch die Kreativität ist wieder erwacht: 2022 erschienen mit "Lumpenmann" und "Tief im Herzen" die ersten neuen Songs seit 2007 (digital und als limitierte 7"-Single), dazu gesellen sich bisher "Was Soll Die Ganze Scheisse?" und "Lasst Uns rein", alles Vorboten des nun erscheinenden fünften Studioalbums "Menschen" und schon auf einer Menge Playlists zuhause. Kein Wunder, dass nach 16 Jahren die Erwartungen riesig sind, bei den Fans wie der Band selbst. Und ,Menschen" ist nicht weniger als ein Manifest dessen, wie Punkrock im Jahr 2023 klingen muss: Rotzig und melodisch, kompromisslos und reflektiert, politisch und gut gelaunt. Alle zwölf Ohrenfräsen atmen den unverkennbaren LOIKAEMIE-Spirit und doch ist ,Menschen" ein Riesenschritt nach vorn. Schon der überaus modern klingende Opener ,Wenn wir alle so wären" fegt alles weg, was derzeit belanglos auf Allgemeinplätzen durch den Punk pogt, vom anschließenden hymnischen Titeltrack bis zur abschließenden Selbsteinladung ,Lasst und rein" bleibt die Energie ganz oben, gleichzeitig ist das Album vielschichtig wie nie zuvor in der Bandgeschichte. Zu Streetpunk- und Rock'n'Roll-Brettern gesellt sich Reggea, Sprechgesang, Ballade und Melodien, die sich auch im Pop nicht verstecken müssten. Statt markiger Statements erzählen die Texte pointierte Geschichten, teilen durchdachte Gedanken zu aktuellen Miseren in der Welt, der Szene oder im eigenen Kopf. Aber es gibt auch keine Scheu vorm hymnischen Refrain, den fortan volle Konzertsäle gemeinsam intonieren können. Oi!, was sind das knallende Hits! Im Klappcover mit bedruckter Innenhülle, hier auf klassisch schwarzem Vinyl!

• Sun Ra inspired Space Jazz. Nat Birchall plays all the instruments - Tenor & soprano saxophone, bass clarinet,

Korg Minilogue synth, bass, drums, hand drums, bells, shaker.

“The Hype” is an expansive pop anthem that shows us everything we have come to love about the pop sensation, with gritty lyricism and melodies that don’t have an endpoint and keep rising.

Asking the question: did I live up to the hype? Sigrid finds a universal feeling encapsulating revelations on career and relationship successes.

This quick-witted power anthem is both tongue-in-cheek and blunt, a full circle moment from Don’t Kill My Vibe, which was the beginning of Sigrid's Hype. , Sigrid remains one of the most understated pop stars, wearing T-shirt and jeans to play live on stage, picking practicality over what is expected of young female artists in the music industry.

Staying true to herself, the visuals for “The Hype” are reminiscent of Sigrid’s debut EP; with no props to lean on and no grandiose concepts, just Sigrid, honest and raw.

With two top 5 critically acclaimed albums under her belt, 2019’s Sucker Punch and 2022’s How To Let Go, arena shows in both London and Ireland, global world tours from Japan to LA and festival performances from Glastonbury to her first UK festival headline at Belladrum in Scotland, Sigrid has become one of the leading live pop acts of her generation

The shoegazing giants Slowdive had their track In Mind remixed by Bandulu and Reload. Bandulu take the minor chords and stretch them into a dub- inflected whirlwind. The standout is the Reload mix by Tom Middleton & Mark Pritchard (aka Global Communication). The result is a shimmering, blissful track with downtempo rhythm and futuristic soul. The ambient, experimental techno remixes are cut on 45 rpm, but there are several DJs who preferred to play this at 33 1/3 rpm.

This is a limited edition of 4000 individually numbered copies, pressed on translucent blue & red swirled vinyl. The package contains an insert with Music On Vinyl’s Slowdive catalogue.

This round, we get treated to another masterclass in a far ranging deep balearic hypnotic chugging tripped-out ride with 3 cuts of the highest caliber. & For good measure, we hear it's been picked up by some choice selectors already.
Don't sleep. Grabbing doubles are to be recommended. TY

NOW Music is proud to present the second in our ongoing series of vinyl compilations, NOW That’s What I Call 80s Dancefloor. Each edition features an essential collection of tracks representing key genres from the incredible diversity that were all part of 1980’s Dance music.

This volume, featuring 29 tracks across 2-LPs, pressed on 1 Purple and 1 Pink vinyl, presents the best in DISCO and ELECTRO.

Following the height of its’ popularity in the late 1970s, Disco in the early 1980s retained the irresistible melodies and beat but became primarily synth driven. The era saw some of the genres’ biggest hits including this collections’ opener ‘Flashdance…What A Feeling’ from Irene Cara – this theme from the film ‘Flashdance’ was not only a massive selling single, but the song also won multiple awards including an Academy Award. Lipps Inc. produced a timeless hit with ‘Funkytown’, and Shalamar with ‘A Night To Remember’, Odyssey with ‘Use It Up And Wear It Out’ and Indeep’s ‘Last Night A DJ Saved My Life’ were all huge commercial Disco hits.

Disco royalty Nile Rodgers and Bernard Edwards of Chic feature here in their roles as producers and writers with Diana Ross’s massive hit ‘Upside Down’, ‘Why’ from Carly Simon, and the peerless ‘Spacer’ from Sheila & B. Devotion and in 1984 remixed Sister Sledge’s ‘Lost In Music’ which became a massive hit again and is included here in its full 12” version.



Amii Stewart’s classic version of ‘Knock On Wood’ was remixed and a hit again, Donna Summer enjoyed huge success with ‘She Works Hard For The Money’, and other established Disco superstars celebrated returns to the charts with an 80’s Disco sound including, and featured on this collection, KC & The Sunshine Band, Patrick Cowley feat. Sylvester and Evelyn “Champagne” King.



The prevalence of the synth in the 1980s gave rise to new and exciting sounds and to tracks that were created with fusions of genres. On this collection we are celebrating ‘ELECTRO’ – a sub-genre of Electronic Dance music that combined elements of Disco, Funk and Hip-Hop and featuring a heavy synth backing, and the commercial Electro-Pop hits it produced. In 1984, Chaka Khan who had achieved huge success with the Disco classic ‘I’m Every Woman’, had a worldwide smash with a cover of Prince’s ‘I Feel For You’ which combined Disco, Funk, R&B, Synth-Pop and Hip-Hop – to stunning effect. Also a hit in 1984, Jimmy Jam and Terry Lewis produced a classic fusion of Disco, R&B, Funk and Synth-Pop for the S.O.S Band with ‘Just Be Good To Me’ and also included here are hugely influential Electro-Pop gems from Freeez, Rockers Revenge feat. Donnie Calvin, Malcolm McLaren, Break Machine, and Rock Steady Crew.



In the latter half of the 80s, Disco and Electro-Pop continued to evolve and fill dance-floors. Taking influences from both genres, Expose and Company B enjoyed ‘freestyle’ hits and DJ, remixer and producer Jellybean had a string of hits including ‘Just A Mirage’, and Whitney Houston became a global superstar. One of her signature tracks ‘I Wanna Dance With Somebody (Who Loves Me)’ serves as a stellar example of how Dance music had evolved through the decade and remained as vital and uplifting as ever.

This time Y-Bayani has support from the great voice of Baby Naa. Baby Naa was just hanging out at the studio in Accra/Ghana when the recordings of Rehwe Mie Enyim took place. The crew was waiting desperately for a singer to back up Y-Bayani. After an hour of waiting the producer, knowing that she sings at church every Sunday, asked Baby Naa to do the missing part. Then something occurred that nobody was expecting and finally everybody was happy that the original singer hadn't made it.

Rehwe Mie Enyim is a unique example of how roots-reggae can sound today. Maybe it will be the very last recorded real roots-reggae song in human history

On Mi Sumolo the Band of Enlightment, Reason and Love gives us a light and cheerful instrumental every DJ must have for his late night wedding set or any other high-class party.

On 'Unknown Affairs' The Vices close their eyes and no longer see frames or lines. This leads to an album
where wild rock tracks, small ballads, psychedelic guitar solos and gypsy-like jams flow seamlessly into each
other. 'Unknown Affairs' offers an honest, unique and, above all, very personal view of the world.

High Roller Records, ULTIMATE EDITION, 3rd pressing, black vinyl, ltd 250, 425gsm heavy cardboard cover, lyric insert, poster, black vinyl bonus 7" in picture sleeve, restored & mastered by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels...

High Roller Records, ULTIMATE EDITION, 3rd pressing, red/ silver bi-color vinyl, ltd 250, 425gsm heavy cardboard cover, lyric insert, poster, red vinyl bonus 7" in picture sleeve, restored & mastered by Patrick W. Engel at Temple of Disharmony, Cutting by SST Germany on Neumann machines for optimal quality on all levels...

"Der aus Belém do Para im Norden des Landes stammende Ary Lobo war bereit, seinen Wahlkampf im Süden des Landes zu beginnen und machte sich im Oktober 1955 auf den Weg nach Rio de Janeiro. Dort stieß er auf die üblichen Vorurteile des Südens gegenüber Sängern aus dem Norden, und erst nachdem er Gadé, einen angesehenen Pianisten, kennen gelernt hatte, konnte er sich ein Vorsingen bei Rádio Mauá sichern. Doch diese Chance hätte sich beinahe in eine Katastrophe verwandelt, da er in einem so schwachen Zustand zu dieser Sitzung erschien, dass er nicht auftreten konnte. Die unzureichende und unregelmäßige Ernährung hatte seine Atmung beeinträchtigt, so dass es unmöglich war, seiner Stimme die nötige Kraft zu verleihen. Glücklicherweise wurde das Vorsingen verschoben, und bei seinem zweiten Versuch konnte er sich einen Fünfmonatsvertrag mit dem Sender sichern, wo er als Samba-Sänger bekannt wurde. Als sein Ruf wuchs, wurde er bei RCA unter Vertrag genommen im Juni 1956." Die Musikszene in Rio wurde auf den Newcomer aufmerksam, der die Persönlichkeit eines nordöstlichen Sängers mit tiefen Wurzeln im afro-brasilianischen Erbe pflegte. Er begann das neue Jahrzehnt mit dem Album "Aqui mora o ritmo" (Hier lebt der Rhythmus), das 1960 veröffentlicht wurde und von vielen als sein bestes Werk bezeichnet wird. Wie so viele Genres erlebte auch der Forró seine Blütezeit, aber Ende der 1960er Jahre begann seine Popularität zu schwinden, und Ary Lobo war gezwungen, auf der Suche nach Arbeitsmöglichkeiten von einer Stadt in die andere zu ziehen. Schließlich kam er nach Fortaleza, wo er bis zu seinem Tod im Jahr 1980 lebte. Unter den Sängern und Songschreibern, die in den 1950er Jahren aus Pará hervorgingen, erlangte Ary Lobo einen für seine Zeit einzigartigen nationalen Ruhm.

Misfortunes never come singly. That way AZAR AZAR returns with a strong new EP Inner World / Space Coconut Conspiracy widening its musical universe to join Portuguese label Jazzego 2021 first physical edition.
After his first four track EP re-working Miles Davis - Bitches Brew's classic album released in April 2020, AZAR AZAR strikes again with two compositions joining the dots between Jazz-Funk and Hip-Hop grooves.
A-side opens with “Inner World” and this new single “Space Coconut conspiracy”, B-side features three club-friendly remixes from Esa Williams, K15 and Minus & MRDolly.
This new EP anticipates the already announced album Cosmic Drops set for later in 2021.

Few artists find a unique path and even fewer remain committed to it, but with insatiable ambition, Berlin's BOYS NOIZE turned principled dedication into an outsize presence among 21st century DJs and electronic musicians. A career punctuated by audacious cross-genre exploration has earned him an enviable fluidity of practice across borders and scenes, yet his definitive fingerprints are present on every creation. An underground hero with mainstream appeal and acid-dripped, techno-punk sensibilities, he jumpstarts crowds from Berghain to Coachella. In 2021, BOYS NOIZE’s fascination with traversing dualities hits a new apex on his fifth studio album +/- (pronounced Polarity)

“The album dives into the polar tension between the musical styles and worlds I find myself in,” says BOYS NOIZE. “When you combine opposites, something transcendent can take place, something greater than the two parts.And with music, it becomes a magic that can create new worlds.”

The German-Iraqi producer and DJ (born Alex Ridha) never thought much of rules or restraints. His 2007 debut album Oi Oi Oikicked down the door to the music industry, brashly refracting a record collector’s deep knowledge of industrial, house, and techno through a prism of raucous energy and raw production in defiance of the aging dance music establishment’s genre conventions. Self-releasing the LP on his own label, Ridha and Boysnoize Records (BNR) became a gravitational force for an international subculture of new sounds and attitudes sparking fires across clubland. BOYS NOIZE ´s reputation had grown among the fashionable favorites of the indie revival, who sought to bolster their bands’ singles with his rapturous re-edits that fused guitars and synthesizers. With deft mixing, singular taste, and a prowess for connecting rockers and ravers on the dancefloor, the prodigious DJ began playing hundreds of shows spanning a multitude of countries near and far. A tipping point was reached, however, after BOYS NOIZE dropped his intoxicating, anthemic remix of FEIST’s “My Moon My Man,” which buzzed with the start of festival season before soaring to new heights as an inescapable viral hit. The field was now wide open for Berlin’s iconoclastic originator, with every head turning to see what he’d bring next.

While some would temper their edge after finding crossover success, BOYS NOIZEleaned harder into his unorthodox blending of rave and punk, indie and industrial. Reflecting this eclecticism, his next LP, Power, earned him even greater global attention and energized a growing fanbase. Out of the Blackbroadened the scope of his potential, proving, with “Got It,” that even SNOOP DOGGhas a place in BOYS NOIZE ´selectric universe. Both technically masterful and enthrallingly anarchic, 2016’s Maydaydelivered a cinematic soundtrack of synergistic songcraft, rushing forth on a dark wave of industrial rave. Even with his relentless experimentation, BOYS NOIZEremains devoted to Berlin’s electronic music foundations, and Strictly Raw Volumes 1 and2serve as a “no talk, all action” flex of techno-essentialist finesse.He also remains resolutely independent, releasing all of his albums—including +/-—on his own BNRimprint, which celebrates its 16th year in 2021.

One outlet is not enough, however, for BOYS NOIZE ´s perpetual flood of ideas and unstoppable productivity, and so numerous collaborative, pseudonymous, and anonymous side projects have offered new territories for creative freedom. As OCTAVE MINDS, he exchanges timbre and melody with maestro pianist CHILLY GONZALES. Handbraekes’ unhinged, avant-garde disco is the brainchild of BOYS NOIZE and surrealist polymath MR. OIZO. And reaching out across the Atlantic, a friendship with SKRILLEX brings DOG BLOOD, an overpowered meeting of minds propelling their respective talents forward in unexpected directions.

The collective volume and diversity of these projects has put BOYS NOIZE in high demand among artists seeking his proprietary sonic techniques and peerless production. Berlin’s world-renowned subterranean culture acts as a beacon for international stars who are willing to probe the margins for the innovative and unusual, and it is BOYS NOIZE ´s studio where their fresh inspirations are transmuted into even fresher music with his expertise. Over the years, working relationships have flourished and production credits multiplied, including with such luminaries as LADY GAGA, FRANK OCEAN, A$AP ROCKY, BON IVER, MARK RONSON and FRANCIS & THE LIGHTS. And as an unrivaled remixer, BOYS NOIZEhas been enlisted by DEPECHE MODE, RAMMSTEIN, DAFT PUNK and DAVID LYNCH, adding his signature to the work of artistic royalty. Even while personally embracing an outsider role, BOYS NOIZE finds his influence penetrating the center:2020 was marked by a GRAMMYnomination for his collaboration with SKRILLEX and TY DOLLA $IGN“Midnight Hour”—an unlikely blend of late-night R&B, oldskool rave and hard house—while 2021brought a GRAMMY win for LADY GAGA ´s “Rain on Me,” feat. ARIANA GRANDE.

“I've always been inspired by trying to integrate opposing, polar forces,” says Ridha. “There's something really thrilling in it, and it's always a secret motivation for me; building and exploring the combination of contrasts. Techno’s earliest inspiration was the idea of combining man and machine. And you can continue from there—aggression and beauty, past and future...”

BOYS NOIZEs +/-encapsulates a distillation of his career-to-date in waveform shape, where valleys of subterranean techno, industrial and jacking house transition into peaks of star-driven collaborations. Backed by the club adept’s battering beats and cloaked in deep, immersive textures, the songs, while rich, possess a mean bite—even +/-’s most melodic moments bare the sharpened teeth of Ridha ´s modular synthesis and processing; a new breakthrough for the gear lover.

“When I first entered the modular synth world, there was this moment of, 'What the fuck? I’ve never heard that sound before,'” Ridha explains. “To me that was huge, because I always try to make harder sounds than those that previously exist. With modular synths, it's not like having different guitars or a keyboard with different patches. It's going one step further—you must build the guitar, then decide what it will sound like,how it will be played, in what ways it will react. This process is incredibly inspiring to me. It's this mystery of, 'What am I gonna patch together next, and what is it going to do?'”


The +/-album exhibits BOYS NOIZE ́s evolutionary blueprint for bridging diametrical musical positions, while testing the limits through self-discovered modular workflows. A sense of otherworldliness and a suspension of time is shared on “Affection,” an ethereal, trance-gated Atlanta Bass singalong featuring alt-R&B singer ABRA. One also finds this feeling in the monumental, metallic atmosphere of “Act 9,” a brooding ballad featuring VINSON. “Ride or Die” with KELSEY LU and CHILLY GONZALES has BOYS NOIZE juxtaposing the beautiful with the delirious. A tapestry of blissfully affective moods is woven through a pummeling tribal backbone, as if LU’s lush melancholy arrives to heal all the synapses seared by 140 bpm excess. The essence of +/-is found in such paradoxical worldbuilding and the undeniable attraction it elicits through the unfamiliar, a rare accomplishment in an era of algorithmic refinement

“Polarization was a word that arose constantly during the writing and recording of thisalbum, whether in the news or in my own understanding of the different aspects of my music,” says BOYS NOIZE. “But ‘polarization’ assumes that everything must be black and white—the truth and the music deserve to be far more complex.”


Collaboration, however, does not come at the cost of having to compromise. BOYS NOIZE ́slifelong commitment to the throbbing, dark energy of the underground makes its presence known throughout +/-. Each single, whether “Girl Crush” with RICO NASTYor “Nude” with TOMMY CASH, comes paired with a b-side that would challenge any of the aforementioned performers’s fans but revs the engines of the die-hard ravers awaiting their next hit of BOYS NOIZEat his hardest. Visual artist Eric Timothy Carlson, designer of BON IVER’s acclaimed 22 a Million, joined BOYS NOIZEin developing expansive illustrations and iconography for the album and all of its individual works.The artwork offers an esoteric key of glyphs and symbols, mapping the contradictory influences and emotions which served as the elements for an audio alchemy. Through both image and sound, +/-surveys the anything-is-possible output of a distinguished techno producer exploring a newly opened world of distinct collaborations, freed from all confines, in a state of evolution of both genre and self. From the time BOYS NOIZE held his first vinyl record to the release of +/-today, there is still one thing this DJ from Berlin knows will never change: it’s all in the mix.

A rigorous recollection of all the music that went into last year's Netflix smash The Queen's Gambit. You were probably too busy trying to keep up with actress Anya Taylor-Joy's timer-stopping and piece-placing chops to notice the ingenuity of the soundtrack; packed with contemporaneous music to the time in which the series is set, from Donovan to The Monkees to The Vogues, we're duly thrown back by this new 2xLP edition (which comes to a special black and white colour vinyl). Check it, mate.

RUBIKON O.S.T. BIG BEAK RECORDINGS 008

Das Label Big Beak Recordings wurde 2005 von Patrick Pulsinger gegründet und positioniert sich als Plattform für obsolete Kulturtechniken mit Zukunftspotential.
Wir machen Vinyl Schallplatten für Klangkunst von Jazz und Improvisation bis Dub, Techno und Ambient. Alles kann, nichts muss!

Der Soundtrack zu RUBIKON ist auch ohne Bilder ein Ausflug in die Weiten des Universums.
Dezentes Knacksen des druckfrischen Vinyl in der Tiefe des interstellaren Raums. Ein Album in der Tradition der grossen Sci-Fi Filmsoundtracks des 20. und 21. Jahrhunderts, welche abgekoppelt von ihrer ursprünglichen Bestimmung die Grenzen der Wahrnehmung zu sprengen vermögen.
Erhältlich als Hi- Fi Stereo Schallplatte, Download, Stream und Dolby Atmos Klangerfahrung.
Die Scheibe ist schwarz und die Zukunft findet zwischen deinen Ohren statt.

Eine Italo Disco Rarität aus dem Jahre 1985 jetzt wieder als farbige 12“ Maxi Single erhältlich:

Gary Richard – That’s Mine
Die limitierte Auflage dieser Maxi Single enthält die original Vocal Version und die Instrumental Version.

„That’s Mine“ enthält alle typischen Beats, Melodien und Vocals, die ein Italo Disco Song aus den 1980er Jahren brauchte.

Ein absolut zeitloser Klassiker, der in keiner Italo Disco Sammlung fehlen darf.

The greatest Hardwell hits collected on five different 7" singles. All limited available on colored vinyl. Vol. 2 turquoise coloured vinyl.

The greatest Hardwell hits collected on five different 7" singles. All limited available on colored vinyl. Vol. 3 pink coloured vinyl.

The greatest Hardwell hits collected on five different 7" singles. All limited available on colored vinyl. Vol. 4 yellow coloured vinyl.