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USA Import, in silkscreened sleeve (colors may vary) in VERY limited edition. Recorded live live @ the Sporthalle, Cologne, February 1972.

Best of David Bowie, live from the Olympic Stadium,
Montreal, Canada on August 30th 1987. Strung out in heaven’s high, the eternal lost astronaut walked out on to the stage at the Olympic Stadium in Montreal and gave an inspired joyride through his then 20-album career. 1987’s Glass Spider tour was his most theatrically ambitious to date and although it had its critics as a spectacle, musically, it was spellbinding. While Low, Lodger and Ziggy fail to emerge, Bowie has plenty more to play with, even after his highly successful Serious Moonlight tour. Here is Bowie, back at his beguiling best in front of 80,000 ecstatic fans. Protus proudly presents the legendary Starman’s best tracks, in concert, broadcast on the King Biscuit Flower Hour. Professionally re-mastered original broadcast with liners and rare photos.

Powerful and melodic hard-rock by this US power-trio: ultra-loud Quilter amps, killer leads, fuzz bass, furious drumming and vocals. Recorded at the legendary Sonobeat Studios in Austin (home of Mariani!) and originally released in 1971 as a private demo album, now impossible to find. Originally formed in California in the late 60s, Wildfire consisted of Randy Love (guitar/vocals), Danny Jamison (bass/lead vocals) and Donny Martin (drums). Famous for powerful live shows, they packed the clubs with lines around the block of fans waiting to enter, becoming the house band for Finnegan’s Rainbow and the favorite group of The Hessians Motorcycle Club, who became the unofficial guardians of the band. Soon, they got in touch with Pat Quilter from Quilter amps. Tired of blowing up amps when playing, Randy told Pat to design an amp that couldn’t blow up. And he did it. Following Wildfire’s input, Pat designed for the band the famous “Master Volume Dial” amp. In 1969, a Texas promoter heard the band in Southern California and brought them to Austin, becoming an instant hit locally in the Austin area. While in Texas, Wildfire shared the stage with Freddie King, the Allman Brothers, Johnny Winter and ZZ Top. It was in Austin that the 8-song demo was cut at Sonobeat Records (home also of Mariani and Cold Sun), released in 1970 as a private pressing housed in a plain white cover with a Wildfire sticker, each one numbered. The demo album was never sold other than at a small record store in Southern California and it’s now one the rarest hard-rock albums from the US. First bootlegged in the 90s and then officially reissued by Shadoks in 2006, here’s a welcomed new vinyl edition

DELUXE VINYL EDITION.

Roger Waters - Pros & Cons of New York Vol. 1

This two instalment Roger Waters release, the subject of an FM radio broadcast synced across the country, was recorded on 28th March at the Radio City Music Hall in New York. Featuring a host of Floyd classics as well as the new record in its entirety, this set goes to show that Waters was just as much an exceptional performer, showman and musician when out on his own as he ever was with his old band.

Berlin based Dame Bonnet makes music influenced by post punk and cold wave and with a primitive and reverb-drenched production he creates a tragic dream for the listener to sink in to.

The music has a sentimental feel to it but the pretentions are avoided thanks to the direct sound and the unremitting drums which contributes to give the tracks a forward momentum instead of a stuck in place-feeling.

Dame Bonnet makes sad club music with traces from the early eighties In England, a society ravaged by the cold individualism as a result to neo conservative politics - a time that resembles ours, where people gets categorized out of prejudice and the social welfare systems are uninstalled bit by bit in front of a sparser crowd of woke people.

In Europe, now in the 2010s, a supposed dead ultraconservative monster is coming alive again and Dame Bonnets music makes the soundtrack to that process.

PINK VINYL WITH PINK SLEEVE.

Kungens Män hail from Stockholm, Sweden and have been around as a musical unit since 2012. Their inspiration comes from the drone, the rattle of the loose screw, the circuit failure of the effects, the phatness of the moog and from the very diverse wiring of a bunch of middle aged Swedish freaks. Kungens Män never plan the next musical move - it presents itself.
 
Nine months after their acclaimed album 'Chef' (also released on Riot Season) the band return with 'Hårt Som Ben’, a stunning follow up with a debut UK tour to coincide.
 
Echoes And Dust on ‘Chef’: “From pure psychedelic freak out, to exploratory ramblings, and all imbued with a sense of communal priority to create together a work of immense intelligence, Chef is an album which begs for continued listens and deep immersion. That it is so accessible too, makes that genius shine through even more so. Superb.”
 
At the end of May 2019 Kungens Män packed a couple of cars full of instruments and life supporting essentials and drove into the woods of Värmland to spend three days in the legendary Silence Studio. It has hosted recordings by bands and musicians like Bo Hansson, Motorpsycho, The Hellacopters, Bob Hund and Union Carbide Productions, the presence felt and seen all over the place. In between watching VHS tapes with Twin Peaks, Miles Davis and Roskilde Festival 92, cooking pasta, sleeping in bunk beds, Bruce Bannering shirts and chilling in the sun, Kungens Män managed to record about 13 hours of music. Some of it will never reach your ears, but here’s the first slab made public – Hårt som ben – Hard As Bone. Not very hard, that is.
 

50th anniversary edition of Bowie’s seminal album featuring a brand new mix by original producer Tony Visconti, and a new die cut O-card.

The vinyl will be randomly distributed worldwide with a mixture of hand-numbered labels; numbers 1 to 1969 on silver vinyl numbers and 1970 to 2019 on gold vinyl, with the remainder being black vinyl.

Originally released 14th November 1969, the sophomore effort from Bowie was a big turning point from his 1967 debut. The album most famously introduces the character of Major Tom in ‘Space Oddity’ which would go on to be one of his most enduring classics.

The new mix of the album now features the title track of the boxset ‘Conversation Piece’ restored to the track listing in its initially intended position before it was originally dropped due to time constraints of vinyl.

LIMITED COKE BOTTLE GREEN VINYL.

The debut album from Erin Anne, Tough Love is an unruly yet elegant collage of all the elements that make up her musical vocabulary: wildly shredded riffs and lo-fi acoustic ramblings, punk-rock energy and folky austerity, new-wave whimsy and high-flown pop theatrics. With a narrative voice at turns thoughtful and rebellious, confrontational and shy, the L.A.-based singer/songwriter presents a body of work that bravely documents the slow and strange process of becoming yourself.

Co-produced with Alex Rogers (Family Hahas, Tambourines), Tough Love offers a potent introduction to Erin’s kaleidoscopic musicality and infinitely unpredictable guitar work. In bringing the album to life, the two collaborators drew from an earlier version of Tough Love self-released by Erin in early 2019, re-recording each song with live drums and Rogers’s lavish collection of analog synths. With Erin playing every instrument except drums, Tough Love bears an expansive sonic palette wholly suited to its emotional thrust—a state of mind she encapsulates as “standing in the doorway between presents you’ve grown out of and futures you’re afraid you’re too small for, and using music as the catalyst to take those steps into the unknown.”
 
An album charged with restless intensity, Tough Love reaches a glorious peak on its title track, a song initially informed by Erin’s experience in earning her Ph.D. in musicology at UCLA. “Being a woman in academia can be exhausting,” says Erin. “‘Tough Love’ started when I came from a day at seminar when I was trying to make a very simple point and couldn’t get a word out—I was incredibly frustrated, and tried to write a vaguely ’80s, “9 to 5”-style song that would feel good to Jazzercise to.” But as the track took shape, “Tough Love” eventually morphed into a massive anthem, a thrillingly cathartic refusal to let her voice go unheard.

On the track “Bedroom Track (Carrie),” Erin transforms sentences lifted from Carrie Brownstein’s 2015 memoir Hunger Makes Me A Modern Girl to deliver a “personal manifesto about wanting things—a very specifically female/queer kind of wanting.” The album’s hypnotic centerpiece, “Gaslighter,” which explores the confusion of abuse, is simultaneously jarring, mesmerizing, and oddly transcendent.

During her undergrad studies at Bowdoin College, Erin experienced a life-changing revelation upon viewing the Kathleen Hanna documentary The Punk Singer for a course on gender, sexuality, and popular music. “I grew up in New Jersey where everybody played lacrosse and I had very limited access to anything remotely queer, which meant I’d never heard of riot grrrl before,” she says. Not long afterward, Erin formed a riot grrrl band named the Navel Gazers, and began performing her own material for the first time. After graduating from Bowdoin, Erin moved to Portland, Maine, where she started a solo project called REGI RKT (a nod to a zine-making, feminist, street-hockey-playing character from the Nickelodeon cartoon “Rocket Power”), then put out an EP titled Vulnrubble in 2017. Her first release under her own name, the original version of Tough Love arrived in June 2019, and soon landed her a deal with Carpark Records.

In releasing her newly reimagined take on Tough Love, in all its frenetic grandeur, Erin hopes that the album might leave her audience with a sense of wholeness similar to what she found in its creation—an adventure she describes as “a journey to becoming a more comfortable self.”

First time on 180 grm audiophile black vinyl.

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

Vanishing Twin is songwriter, singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti, bassist Susumu Mukai, synth/guitar player Phil MFU and visual artist/film maker Elliott Arndt on flute and percussion; and on this album they have made their first artistic statement for the ages.

Some of its great power comes from liberation. The album was produced by Lucas in a number of non-standard, non-studio settings. 'KRK (At Home In Strange Places)' summons up the spirit of Sun Ra's Lanquidity and Broadcast And The Focus Group Investigate Witch Cults Of The Radio was simply recorded on an iPhone during a live set which crackled with psychic connectivity on the Croatian island of Krk.
The magical Morricone-esque lounge of 'You Are Not an Island', the blissed-out Jean-Claude Vannier style arrangement of 'Invisible World' and burbling sci fi funk ode to a 1972 cult French animation, 'Plane`te Sauvage', were all recorded in nighttime sessions in an abandoned mill in Sudbury. The only two outsiders to work on the recording were '6th member' and engineer Syd Kemp and trusted friend Malcolm Catto, band leader of the spiritual jazz/future funk outfit The Heliocentrics, who mixed seven of the tracks (with Lucas taking care of the other three).

Vanishing Twin formed in 2015 - their first LP, Choose Your Own Adventure, which came out on Soundway in 2016; followed by the darker, more abstract, mostly instrumental Dream By Numbers EP in 2017. The band explored their more experimental tendencies on the Magic And Machines tape released by Blank Editions in 2018, an improvised session recorded in the dead of night, offering a glimpse into their practice of deep listening, near band telepathy, and ritually improvised sound making. These sessions formed the basis of The Age Of Immunology.

Hyperspace will be Beck’s 14th album, following 2017’s Colors, which won Best Alternative Music Album and Best Engineered Album, Non-Classical at the 61st GRAMMY Awards earlier this year. Hyperspace’s new dimensions in sound are the result of Beck’s most collaborative efforts to date. Seven of the album's 11 tracks—including single “Uneventful Days” and “Saw Lightning” (as featured in the Beats by Dr. Dre Powerbeats Pro campaign and also included with pre-orders)—feature co-writing and co-production from Pharrell Williams. Elsewhere in Hyperspace, “See Through” is co-written/co-produced by frequent Beck collaborator Greg Kurstin, “Star” is co-written/co-produced by Paul Epworth, “Stratosphere” features back-up from Chris Martin, the album’s title track features guest vocals from Terrell Hines, and “Die Waiting” is co-written/co-produced by Cole M.G.N. with backing vocals from Sky Ferreira. Longtime Beck bandmates Jason Falkner, Smokey Hormel and Roger Manning Jr. feature on much of the album as well.

Contagious is a solid blending of avant-garde experimentation and electronic music. Formed by two innovative voices from the Improvisation scene of Berlin (Andrea Neumann and Sabine Ercklentz) and Mieko Suzuki, a well-crafted and creative DJ and musician who’s operating in Berlin venues and festivals since a long time.

Contagious is one of the most forward thinking, mind-melting projects to hit the electronic music scene. Intense and powerful, yet rooted in a tradition of crafting and sculpturing of in the most creative ways, all this building up within a solid structure of instant composition and improvisation. The trio plunder each other’s musical spheres, appropriate them and switch roles. Andrea Neumann on her infamous Inside Piano, an instrument she pioneered and crafted, is applying the most creative feedback processing to simple piano strings and sending them occasionally to Mieko Suzuki’s processing rig, who also uses her own pre-recorded sounds and her skills on turntables, while Sabine Ercklentz’s trumpet sounds blast through her processing system and altogether the three musicians communicate into logics of composition and futuristic structures, where fragile sound textures and pulses become monumental.

Contagious is also the debut album recorded and produced by Rabih Beaini. The Trio wanders in new aesthetic areas, sound is a texture where the processing rigs are constantly developing new forms and evolutions. Structures and grooves implode in noisy fragments, growing into a deep trance state.

Good Times is the twentieth studio album by American singer and musician Elvis Presley. He recorded this ten-song album at the Stax studios in Memphis. His great voice is outstanding on both the rock & roll songs as when he’s performing with a gospel choir. While his physical condition was going downwards, he’s still singing like he used to do in the past. Guitar riffs by James Burton are present on the more country like tracks “Take Good Care of Her”, “Lovin’ Arms”, “Good Time Charlie’s Got The Blues”, and “My Boy”. The versatility is shown when he’s bringing the Spanish flavour on “Spanish Eyes”. This is more than a solid outing from “The King”, a wonderful record.

Available as a 45th anniversary edition of 2500 individually numbered copies on transparent blue vinyl.

Left Ear have put together a collection of recordings taken from the elusive Berlin band I.A.O., spanning their third phase from 1988 to 1995. Phase III commemorates the bands final line-up of three members; Achim Kohlberger, Ralf Östereich and Carsten Zielske. The sounds on this retrospective vary widely, however, link with threads of melancholic sequences, angular jamming and a focus on electronic soundscapes.

The tracks are pinned against a backdrop of political and social unrest in Berlin at the time. Two different cities had become one with the fall of the wall, driving a bubbling subculture attempting to reunite the capital. Seemingly irrelevant to what I.A.O. was producing, these territories dance parallel to one another. In the late 1980’s, Achim Kohlberger of the band and partner Dimitri Hegemann, were orchestrating ‘Atonal Festival’, these days known as Berlin Atonal. Soon after, they set-up of one of the first techno clubs in the world - UFO, today known as Tresor.

I.A.O. cites the cast of personalities they would come across in the clubs and pubs as influential in their songwriting, artists, outsiders or the ‘general dropouts.’ However, the works of IAO far resemble techno music. Phase III’s opening track Gospel IV introduces the band with their patience and restraint, synthesizers work to reveal folding melodies. The downtempo voyage continues with Marshmallow Girls, an insight into the band’s sensitive observations and hazy imagery. All Is Bliss presents a vocal mantra cooperating with nagging bass lines and euphonic percussion. Meanwhile, two instrumentals Love and Twinkle Twinkle Twinkle Little Star both typify and defy timeless dancefloor paradigms. The compilation signs off with Ferns, binding the icy yet bright tones found throughout.

Some Enchanted Evening is the second live album by the American hard rock band Blue Öyster Cult, and their best-selling album to date. The album’s seven original tracks, including classics like “(Don’t Fear) The Reaper” and “Godzilla”, were recorded at various locations in the United States and England. It captures the band at their arena rock peak, making it the ultimate Blue Öyster Cult record. The constant power of the guitar chords and the hard hitting drum rhythm marks the raw sound of the different tracks. A perfect live recording, that must be included in every rock music collection.

Some Enchanted Evening is available as a limited edition of 1500 individually numbered copies on transparent red vinyl.

With Santana’s fifteenth studio album Freedom he moved away from the poppy sound of his previous recordings and returned to the band’s original Latin rock. At that moment the band consisted of nine members, many of them already working together on other records. “Songs of Freedom” is the centrepiece of the album, and one of the most petulant songs in rock history. The funky grooves sets everything on fire, while Buddy Miles sings his texts. The great production and engineering makes this a really fine and versatile record.

Santana gained public attention by appearing at the Woodstock festival in 1969. The Latin influence has always been an important part in their music, although the band also created some blues rock and pop classics. Even after all those years Santana is still actively performing.

The Freedom package includes an insert.

Belizean artist Bredda David Obi set out to put Belizean music on the map in 1984 with the release of his debut LP No Fear. With this album he introduced the world to a new Belizean groove he called kungo (or cungo). A mélange of traditional Belizean brukdown music and sprinklings of the rock, funk, calypso and reggae. He would further develop this modern tropical sound on subsequent albums, integrating more nd more elements from Belizean niche genres like sambai and paranda.
Years later DJs and record collectors found his records in basements of record stores in Los Angeles and Brooklyn. These DJs incorporated his music into their DJ sets to the
excitement of dance floors all over the world. The DJs and remixers on this 12" took it a step further and edited and remixed David's music. DC based DJs - Sol Power
All-Stars morph "Dancin'" from an electro brukdown breakbeat into a four on the floor acid house track with an afro-caribbean feel. Los Angeles based DJ and record
collector DJ Duckcomb tastefully melds both the dub and original versions of "Experience" into one epic reggae discomix. My Rules Records owner and DJ/producer Justin
Van Der Volgen uses his heighten production skills to turn Bro David's "Sunshine" into a heady trippy cosmic version of the track. Last but not least LA-based Heatwave DJs
turn "Cungo Music" into a dancefloor tested and approved extended anthem.

With a self-described maximalist jazz fusion aesthetic and love for DnD-adjacent subject matter, it is safe to say you won't find many bands like Nolan Potter's Nightmare Band. Making use of an eclectic assembly of instruments -- double drumsets, flutes, strings, keys and ripping guitars -- Nolan Potter's Nightmare Band makes for a wild listen.

Nightmare in name only, the inspiration runs white-hot with this one - the wizard’s gaze cast over a distant landscape, bits of ash and motes of incinerated earth float in the air, the smell of ozone and fried metal sting the villager’s noses...

But hope’s bell rings eternal! A flower of beauty is standing up in the sole ray of sun, the clouds are withering away, retreating back to dark cloaks behind crusted-over frost-fractal windows. Darkness cannot usurp the crown, light is king and will eliminate the darkness, chase it out of the unfathomable corners and brush away the webs of evil...remnant factions will always remain but they will be hunted with pure magical riffage.

These are the peaks and valleys of the mighty Nolan Potter’s Nightmare Band, conceptual in feel and flow, a lovely lilting ride and then, up through the floor boards, a warrior incants into the frothing night a huge band, heavy and tumultuous like a war machine rumbling thru the ash, clearing the way for folks to continue their idyll. Dreamy and lucid keys, strings, drum corps, slippery guitar and buff bass, ripe flutes and breezy vocals. For fans of Embryo, the Mothers, Pink Floyd, Mahavishnu Orchestra, Moody Blues, the Stark Reality, and Placebo. They’re from Austin, Texas, but you’d swear it’s from 1972 Europa-Mothership. Like their vodka, it surpasses expectations and fucking crushes.” - John Dwyer

‘The songs on the first album are the children. The songs on the second
album are their parents. Ghosteen is a migrating spirit.’ - Nick Cave.
The album was recorded in 2018 and early 2019 at Woodshed in Malibu,
Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. It
was mixed by Nick Cave, Warren Ellis, Lance Powell and Andrew Dominik at
Conway in Los Angeles.
Ghosteen is the seventeenth studio album from Nick Cave and The Bad Seeds,
following 2016’s Skeleton Tree, and will be released via Ghosteen Ltd

Controlled by Hatred/Feel Like Shit...Déjà Vu is the fourth album by American crossover thrash band Suicidal Tendencies, originally released in 1989. The album itself is represented as two fictional EPsthe first four tracks are Controlled by Hatred and the rest are Feel Like Shit... Déjà Vu. It features six new recordingsfour of which are covers of No Mercy songs, one is a cover of Los Cycos, an outtake from the previous album's sessions, a shortened version of 'How Will I Laugh Tomorrow' (as it is heard in the song's video) and the previously unreleased softer 'Heavy Emotion' version of that song.

SPECIAL LIMITED EDITION PICTURE DISC FOR THE 40TH ANNIVERSARY OF TWO TONE!
Back in 1978, THE COVENTRY AUTOMATICS headed into the studio to record some demos in an effort to secure a record deal. It didn’t happen, but within months the band had renamed themselves THE SPECIALS and set up their own label called 2 TONE and a movement was born and the rest is history!

Firenze Sogna' is literally a journey of musical itineraries from the legendary Tuscany chief town between the mid-70s and the early 80s, curated by Giampiero Bigazzi, Bruno Casini and Ernesto De Pascale. Influential post-punk act and electronic producers all teamed up with local legends depicting almost 20 years of a constant evolution. It is not simply the Italian way to rock’n’roll, hereby three generations of artists facing the banks of Arno river forged a memorable artistic season. Stalwart ok kosmische psychedelia Sensation’s Fix altogether with EBM forerunners Neon, astonishing etno-world travelers Zeit (the Italian answer to late Popol Vuh ?) and electro pioneer Alexander Robotnick , no wave heroes Rinf and rock in opposition alumni Bella Band (Cramps Records). 23 tracks split between two lps, a revelation of sort.

Consumer formed in 2017 to generate reptile-brain, late capitalist agitprop. Its main tools are over-processed riffs played at high volume, impressionistic slogans, and soundscapes built from analog synths, broken electronics, and tape loops. Past your well-stocked garage, descending into Mammon’s deep world of darkness, with regional coupon circulars in hand, Consumer offers doomy, electro, post-whatever.

Featuring Tim Macuga from Have A Nice Life as well as Have a Nice Life’s live band Myke Cameron (bass), Rich Otero (drums, synths, programming), and Joe Streeter (guitar/engineering).

Finally, back on vinyl after 20 years! Skunk Anansie’s seminal 3rd studio album Post Orgasmic Chill was released in 1999 when the band were at the height of their powers - the tour around this album saw the band headline Glastonbury. The album includes classics such as Secretly, Charlie Big Potato and You’ll Follow Me Down.
Gatefold sleeve with printed inner bag.

Finally, back on vinyl after 20 years! Skunk Anansie’s seminal 3rd studio album Post Orgasmic Chill was released in 1999 when the band were at the height of their powers - the tour around this album saw the band headline Glastonbury. The album includes classics such as Secretly, Charlie Big Potato and You’ll Follow Me Down.
Gatefold sleeve with printed inner bag.

Finally, back on vinyl after 20 years! Skunk Anansie’s seminal 3rd studio album Post Orgasmic Chill was released in 1999 when the band were at the height of their powers - the tour around this album saw the band headline Glastonbury. The album includes classics such as Secretly, Charlie Big Potato and You’ll Follow Me Down.
Gatefold sleeve with printed inner bag.

On the night of 15th June 2018, three friends, Dave Okumu, Tom Herbert and Tom Skinner came together to perform a selection of deconstructed compositions in an improvisatory format at The Crypt in Camberwell, south-east London. Their shared history as musicians stretches back to their formative teenage years when they would congregate to learn how to play the music which had impacted so heavily on their lives, resulting in a distillation of funk, soul, pop, metal, classical, punk, hip hop, dance, folk, electronic and world music, filtered through the prism of the endlessly resourceful, inventive and expressive language of jazz.

Their individual and collective journeys have woven them into the fabric of contemporary music through their work with artists as diverse as Adele, Grace Jones, Anna Calvi, Amy Winehouse, Sons Of Kemet, Kano, Lianne La Havas, Zero 7, Ed O’Brien, Jack De Johnette, Jessie Ware, Yoko Ono and Polar Bear. Their personal visions have come to fruition via their own projects, namely Okumu and Herbert’s Mercury-nominated The Invisible and Skinner’s solo outing as Hello Skinny. Somehow, that informal night in Camberwell would represent the closing of a circle and the beginning of a new chapter for these three musicians.

N is one of the most profiled German drone / ambient artists - being active since the early 1990s he has released more than 50 records - on this new album he cooperates with Ricky Graham (Signals Under Test). Disrupt/Construct is a long-form music release featuring two compositions: Disrupt and Construct. Graham collected musical responses to a series of his own guitar improvisations from Neidhardt over the period of a year. Graham then crafted this album at the Elektronmusikstudion EMS in Stockholm, Sweden. Disrupt is a series of buckling themes that function as self-contained, shorter musical compositions. Construct presents a semi-improvised stream-of-consciousness piece that stands in contrast to the disruptive nature of its counterpart and divides into three self-contained musical movements. Limited to only 100 pieces w/ handprinted sleeves.

Following on from the excellent 'Le personnage principal est un peuple isolée' compilation - a four track EP of deeply psychedelic jams from the early 80's. TIP!

UMC are proud to present the first ever vinyl release of ‘The Very Very Best Of Crowded House‘! An institution in their homeland, a two-album wonder in the U.S., and, during the last half of their ten-year career, bona fide stars in the U.K. and most of Europe, Crowded House recorded some of the best pop music of the late ’80s and early ’90s. Leader Neil Finn’s carefully crafted songs, meticulous eye for lyrical detail, and gift for melody are matched by few other songwriters. The songs of Crowded House & Neil’s songwriting acclaim have been championed by the likes of Ariana Grande & Miley Cyrus, Chris Martin & Eddie Vedder & most recently Fleetwood Mac, for which Neil is currently the touring guitarist/vocalist. The 2010 chart-topping compilation features all the band’s major hits including ‘Fall At Your Feet’, ‘Weather With You‘ & ‘Don’t Dream It’s Over’ plus many (many) more. The 19-track collection is cut across 2 x 180-gram black vinyl LPs featuring printed inners & essay. DL codes included.

New Beat Not New Beat classic from Antwerp! Soon after Patrick left the music world for the music, that's why he became a pianist. He left the art world for the art. Stroom's back to school release! "

Soul Jazz Records’ Nigeria Soul Power 70 album showcases the influence of funk, rock and disco on Nigerian music during the 1970s. Originally released as a now-long-out-of-print collectors’ 7” RSD box, this fully expanded album release now also includes extra tracks from Sonny Okosuns, Wings, Chief Kollington Ayinla and more. While for many people the fusion of funk and jazz music with Nigerian rhythms and aesthetics began with Fela Kuti and his afro-beat sound, in fact this can be traced further back to the phenomena of the 1960s Nigerian artists and house bands in nightclubs and hotels who interpreted US soul and pop music with a local flavour and none more so than Geraldo Pino, the ‘African James Brown’ who features heavily in this collection. Other similarly inspired Nigerian funk and soul artists featured here included Tony Grey and his Ozimba Messengers and Don Bruce and The Angels. Nigeria Soul Power 70 includes a number of tracks from the group Wings originally known as BAF (Biafran
Air Force) Wings, an army band formed during the Biafran civil war in Nigeria. The groups’ heavy mixture of funk, rock and African styles was popular among many Nigerian groups at the time.
Beneath the shadow of the few Nigerian artists who signed international recording deals in the 1970s – Fela Kuti, King Sunny Ade, Chief Ebenezer Obey – lies of vast wealth of largely undiscovered musical transmutation and cultural cross-pollination, and included here are heavy afro-funk/rock and disco tracks
from artists such as the legendary Sonny Okosuns as well as rare cuts from little-known outside of Nigeria - groups such as Colomach and MFB. Most of these obscure artists signed to major labels in Nigeria in the commercial slipstream that opened up as Philips, Decca and EMI tried to emulate the international
success of the big three international Nigerian artists. Finally featured here is Kollington Ayinla, one of the co-founders of Nigerian Fuji music, who gives us perhaps the heaviest of all tracks on this album. Ayinla is the great moderniser of the Fuji sound and in the late 1970s began adding Bata drums and synthesizers to his authentic music to create a powerful and heavy new fusion of traditional and modernist aesthetics, embracing both new technology and experimentation while rooted firmly in Nigerian historical lineage. Nigeria Soul Power 70 is released as a heavyweight gatefold double vinyl LP (+ free download code),
deluxe slipcase CD and digital album.

Neurot Recordings are proud to reissue the landmark collaboration Neurosis & Jarboe, which was originally released in 2003. This latest version is fully remastered and with entirely new artwork from Aaron Turner.

Very limited silver metallic and black swirl 2LP - Non-Returnable

Steve Von Till explains the idea behind the remastering; "Bob Weston (Chicago Mastering Service, and member of Shellac) worked closely with Noah on making these new versions sound as good as the possibly can. Noah has the most trained critical ear for fidelity out of all of us being an engineer himself. We recorded this ourselves with consumer level Pro Tools back then, in order to be able to experiment at home in getting different sounds and writing spontaneously.  The technology has come a long way since then and we thought we could run it through better digital to analog conversion and trusted Bob Weston to be able to bring out the best in it....This new mastered version is a bit more open, with a better stereo image, and better final eq treatment."

He continues about the original artwork..."Aaron felt he could create something that would unify the energy of both Jarboe and Neurosis in an elegant manner.  We let him do his thing and I think it definitely adds to mystery of the album and sets it apart from the rest of our catalog."

When two independent and distinct spheres overlap, the resulting ellipse tends to emphasise the most striking and powerful characteristics of each body. Such is the case with this particular collaboration between heavy music pioneers Neurosis and the multi-faceted performer Jarboe (who performed in Swans and who has collaborated with an array of people from Blixa Bargeld, J.G. Thirlwell, Attila Csihar, Bill Laswell, Merzbow, Justin K. Broadrick, Helen Money, Father Murphy, the list goes on...) The musicians pull from one another some of the most harrowing and unusual sounds ever heard from either artist at the time - a sentiment which also rings true to some 15 years later.

Neurosis & Jarboe opens with a high-pitched whirring sound winding up as Jason Roeder's ominous tom-drum beat and Noah Landis' slinking synth line writhe in unison until Jarboe drops in, drawling in her characteristic, corrupted Southern belle voice, "I tell ya, if God wants to take me, He will." From there on in, the album is a series of abrupt shifts and cleverly juxtaposed themes that flows in a rhythm of its own. The sinister and ethereal sounds, vocal coos and electro-pulses of "His Last Words" seem like the perfect soundtrack to a David Lynch film. On "Erase," song parts are dissected and grafted one atop the other, continually building tension as Jarboe wails and yelps with Banshee fervor.

The project began with the artists working in seclusion, recording the elements that would best highlight their own characteristic integrity and personality, rather than either attempting to mimic one another's familiar elements. As recorded ideas were passed back and forth, the collaboration proved to bring out the most unhinged and urgent talents of all those involved.

Throughout the album, that signature "Neurosis note" - the sound of something simultaneously recoiling and erupting, the apocalyptic tone announcing the birth of a new world - reaches its apex and becomes evermore icy and eviscerating. Guitarists Steve Von Till and Scott Kelly trim their tones for cleaner, chorus-drenched effects layered between the thunderous distortion blasts of bassist Dave Edwardson. Likewise, Jarboe's operatic wail and other vocal contortions sound perfectly suited to the eruptive emotional fray of the music.

The collaboration is a deeply textured mosaic that is a culmination of merged aesthetics from two major influences on free-thinking sounds. It unlocked the hidden potential of electronic music as a new force in heavy rock. At a time when groups like Oneida, Wolf Eyes and Black Dice were beginning to experiment with technology in making mind-numbing leaden electro-drone freed from any essence of "dance music," Neurosis & Jarboe redefined all notions of their past - and outlined the course of heavy music to come. It's interesting to look back through the lens of this release, and think about these ideas and concepts in the present.

Neurosis & Jarboe remains the meeting point of all art that takes us beyond ourselves.