Pop & Rock Vinyl New Releases - News

Intricately layered, smooth, alluring, and infinitely welcoming - those are words used to describe David Bowie's 2002 album Heathen. Co-produced by Tony Visconti, who also produced many of Bowie's best albums (Space Oddity, Heroes, The Man Who Sold The World, and many others), Heathen sounds like coming home. It combines the best of Bowie without re-hashing what made him big in the first place, and effortlessly weaves modern production & electronics into his sound. The original vinyls of this release can go for up to € 200 online, so it was an easy decision for Music On Vinyl to make this highlight of Bowie's work available again to those with smaller budgets. Features guest spots for Pete Townshend & Dave Grohl on guitar!

180g vinyl

Follow The Light is the second installment of an ongoing Molly Nilsson reissue campaign and is the first time the album has been available on vinyl.

The closest we'll ever get to heaven, with a stolen six pack from 7/11, and though the city sleeps I better she never dreams, she never dreams like you and me.'
The beginning moments of Molly Nilsson's second album Follow The Light now seem like the start of a personal mythology that was to reach further than she could have imagined. Few contemporary artists have so seeped into the underground pop psyche than the Stockholm-born songwriter. After releasing her debut These Things Take Time on hand-made CDrs, Nilsson's follow up was a leap in scope and ambition. Of course, the personal takes on a tumultuous life in Berlin and the journeys to and from it inform the songs as before, but there's a growing maturity in the songwriting in evidence. From the diary pages of These Things Take Time to a growing stature as a songwriter in touch with the universal, Follow The Light contains many of Nilsson's now firm fan-favourites.
The Closest We'll Ever Get To Heaven is classic Molly Nilsson. Over plaintive piano chords and little else, Nilsson narrates a story of doomed friends lost, the onset of an East German winter reminding the singer of a time lost, nostalgia frosting the windows to the past. Meanwhile In Berlin, perhaps a passing nod to Leonard Cohen in the melodic refrain, opens up the sonic palette, with synth strings fitting Nilsson's delivery perfectly. Never O'Clock is a pure pop moment, with a lilting funk and percussion adding a carpe diem immediacy to the album's flow. Last Forever, which remains a staple to live encores now, seven years later, is fist-pumping melancholy that only Molly Nilsson knows how to do. It's over before it begins and begs eternal repeat. Truth, a synth pop song that sees Nilsson exploring the upper and lower registers of her voice, feels like a lost chart hit from the mid 80s. I Hope You Sleep At Night, a vitriolic lover's admonishment gives way to one of Nilsson's most popular songs: I'm Still Wearing His Jacket. It's a sentiment that needs no real explanation: the mementos of a completed love affair remain in our wardrobes waiting to hurt us all over again. Hello Loneliness could also be an updated Leonard Cohen song, a peon to melancholy which reminds us that Nilsson has a knack for distilling the complex into sharp epithets. We end on one of Nilsson's greatest songs. A Song They Won't Be Playing On The Radio is so finely loaded with emotion that it's the singer's reserved delivery that makes it so powerful.

The first all-new album in over 50 years by the legendary singer and banjo player who helped introduce old time country music to audiences throughout America. Clarence Ashley (1895-1967) recorded for Columbia Records in 1929, was featured on Harry Smith's Anthology of American Folk Music' in 1952, and toured the US in the 1960s.
Jalopy's vinyl-only release was produced in 2016 by Peter K. Siegel, from tapes he personally recorded in 1963 at the Greenwich Village folk club Gerdes Folk City. All 14 tracks are being released for the first time. John Cohen, founding member of The New Lost City Ramblers, wrote the liner notes and provided never-before-seen photographs of Ashley in Greenwich Village. A 16-page illustrated booklet includes additional notes by Peter K. Siegel and Eli Smith.
Live and In Person is Clarence Ashley's first and only live album. He is accompanied on the album by guitarist Tex Isley, a member of Charlie Monroe's Kentucky Partners.

An ingenious blend of showmanship and intelligence' - Sunday Times

'Upbeat, witty and rather beautiful' - Sunday Express

Evening Standard Albums of the Week

'Clever, and enormous fun' - Guardian

4/5 in Scottish Daily Express 'Far more akin to the lively new Orleans marching bands, this thrilling nine-piece group amalgamate the sounds of trumpet, trombone, sax, sousaphone and marching percussion with keyboards and rock and jazz sensibilities to ensure their parties go with a swing'.

i - 3/5 'Hackney Colliery Band offer an infectious tumult of horns and drums on Sharpener'

3/5 in Big Issue North 'Favourites of Gilles Peterson and Rob Da Bank, East London's Hackney Colliery Band have won praise for their lively reinvention of the brass band sound.'

'Their sound is getting richer' - UNCUT
Quotes: Times - 'Redefining the brass band format for the 21st century' Observer - 'The most fun, enjoyable music I know of' Craig Charles - 'Amazing' Huey Morgan - 'One of my favourite bands' Jamie Cullum - 'One of the best live bands we have in this country' Songlines - 'some seriously great musicians playing some seriously great music'
* After the stunning success of their critically-acclaimed third album Sharpener, which reached number 3 in the jazz charts and number 14 in the independent music charts, London's brass juggernauts Hackney Colliery Band blaze back onto the scene with their first live album, released 12th May.

* With BBC Radio 2 describing them as 'one of the best live bands we have in this country', their live shows have become legendary, selling out venues across the UK and Europe, and playing main stage festival shows (Womad, Wilderness, Love Supreme, Field Day) to huge popular and critical acclaim.

* Recorded over three shows in 2016 and early 2017, the recording captures the band on peak form. Playing largely original material from Sharpener and their second album Common Decency, they also dust off some crowd favourites including their unique mash up of Prodigy covers, rousing versions of Blackstreet's No Diggity and Nirvana's Heart-Shaped Box, and concluding with an acoustic version of Toto's Africa as they parade through the crowd at the end of the set.


* Hearing the band playing live is a very different experience from listening to their three studio albums; it becomes immediately obvious that, far from locked-down studio heads, these are some serious jazz improvisers, here stretching out on extended solos, and with a restless energy for pushing the groove and form in new directions. But this consummate musicianship and skill is always worn very lightly: the band have always managed to present complex music in an extremely playful, fun way, and to a very broad demographic, which on these recordings takes in young east London hipsters and Oxfordshire retirees with equal ease. Front man Steve Pretty's interactions with the crowd, particularly towards the end of the set, raise the energy levels still further, and those with a good ear can listen out for some heart-warming moments from the audience, like the somewhat slurry man a little bit too close to the sound desk microphone singing along to Heart-Shaped Box, or the room gradually falling silent during the mesmerising introduction to the album's only ballad Reawake.


* Alongside main stage sets at festivals like Field Day and Love Supreme and collaborations with Amy Winehouse, Fyfe Dangerfield, Eliza Doolittle, Jamie Cullum, Andreya Triana, Williams Fairey Band, Rhodes and DJ Yoda, they have performed live sessions on BBC Radio 2 and Jazz FM, and their performances have been festured on BBC Two (The Culture Show), Sky Arts (Brass Band Wonderland) and live at the BRIT, Mercury and Mobo Awards.

* And it's these quirks, these little imperfections, that make this album special. Rather than going through the recordings with a fine-tooth comb removing the trumpet cracks, sax squeaks or drum mishits which are inevitable in a 90-minute power set with seven brass musicians and two drummers, the production is minimal. This gives a rare 'warts and all' insight into how the band sound live.

* Steve Pretty, the band's frontman said: 'We've always prided ourselves on putting on a really great live show, and the exciting thing about live gigs is that anything can happen. Unfortunately, that means that if I missed a note somewhere, that will now live with me and annoy me forever, but we wanted a really honest portrayal, with no overdubs or excessive production, just capturing the energy of the room'.

* With the brass band revival in full swing, Hackney Colliery Band manage to occupy their own very distinctive space. Washes of Scandinavian-influenced electronica collide with extended contemporary jazz improvisation, dancefloor-friendly beats contrast with pounding rock rhythms, and Balkanesque melodies nestle up against soul and hip hop grooves. This set owes as much to modern European jazz and American alternative rock as it does to New Orleans second lines or the traditional British brass bands to which their name pays tribute.

* To celebrate the release of this unique live record, Hackney Colliery Band are playing their biggest headline show to date when they hit the legendary KOKO in London on 26th May. With all of their recent London shows selling out months in advance, including the 800-capacity Village Underground, and a few surprises and tricks up their sleeve, their KOKO show will undoubtedly be a real highlight of 2017, and a chance for fans to hear the real thing in person in one of London's most iconic venues.

The long out of press LP of their debut album is finally re-pressed. Includes download code.

Mit großen Schritten starten BRETT in die Saison 2017 und veröffentlichen am 7. April auf Chimperator ihre bereits zweite EP. Wenn BRETT etwas nicht sind, dann gewöhnlich oder erwartbar. Dies zeigte bereits die "EP#1", im vergangenen Sommer erschienen und von Fachleuten versucht mit Begriffen wie "Neo-Krautrock" oder "70er trifft Stoner" umschrieben - was letztlich nur die Problematik zeigt, BRETTs Sound in eine Schublade zu pressen. Klar ist, dass BRETT mächtig rocken, dass sie mit Hendrix und Led Zep ebenso sozialisiert wurden wie mit Queens of the Stone Age und Fugazi - und dass sie (und hier wird es nun wirklich außergewöhnlich) all das garnieren mit kämpferischen deutschen Texten! Sänger Max: "Das einzig wirklich Beständige an BRETT ist der Wandel und die Entwicklung. Wir wollen uns auf gar keinen Fall wiederholen, sondern BRETT als eine Plattform begreifen, wo aus denkbar unterschiedlichen Einflüssen eine Art 'Common Ground' entsteht, der sich dann immer wieder anders zu Songs formt." Aber auch abseits des Studios haben die Jungs etwas zu sagen: Sänger Max hat in Hamburg gerade ein Haus für Kulturprojekte und Veranstaltungen aufgebaut, nennt es "Die Hebebühne" und gibt nicht nur seiner eigenen Band, sonder generell Künstlern und Kreativen aus der Hansestadt einen "Ort to be". Gitarrist Stacki baut sich hier seine eigenen Fuzz-Pedale, Verstärker und Co., Stefan und Laurenz unterrichten Lernwillige am Schlagzeug und Bass. Für "EP#2" haben sich BRETT erneut mit dem deutschen Rick Rubin zusammen getan: die Hamburger Produzentenlegende Franz Plasa, der schon mit Rio Reiser, Selig oder Udo Lindenberg an den Maschinen stand. BRETT werden in diesem Jahr ihr Albumdebüt aufnehmen und vor allem live spielen, weshalb sie als Startschuss Anfang April auf ihre erste eigene Releasetour gehen, um in Berlin, Hamburg und Köln ihre Songs live zu spielen, bevor sie im diesjährigen Festivalsommer u.a. beim Open Flair, Rocken am Brocken, Umsonst- und Draußen, c/o pop, u.v.m. auftreten werden. "EP#2" erscheint als limitierte und nummerierte 12inch Vinyl, limitiertes Digipak sowie im Stream und als Download.

Issued in 1983 as a limited private pressing, 'Die Erde und Ich sind Eins' was Florian Fricke's first 'solo' LP. It features the guitar of his Popol Vuh partner Daniel Fichelsher and vocals by Anni Morris Wieland, Bettina Fricke Waldthausend, Dieter Prym, Florian Fricke, Friedemann Berger, Friedemann Wieland, Gisela Von Doering, Ingeborg Jahnke, Jan Lorck-Shjmerning, Jana Faust, Karl F. Weber and Klaudia Wieland.

'You could label it as 'body-space-music' (Körperraummusik) where you sing inside the body and take it in such a way that every cell in the body, from the sole of the foot to the crown of the head, starts to vibrate. In order to be able to realise this I have experimented to find where speech resonates in the body. The consonants vibrate at the body walls, the bones and flesh and the vowels fill the body spaces. And that sounds like a gong-concert: it also has a great therapeutic effect.' (FLORIAN FRICKE)

Being a private pressing 'Die erde un ich sind eins' has become one of the rarest LPs in the Popol Vuh saga, a mint original may cost you over 400 euros. Comes in original artwork plus the 50 page book that Fricke wrote for the release but was never published (until now!), plus an insert with liner notes by Dolf Mulder & Original insert all in a limited edition of 500 copies only.

Mannequin Records is proud to present an archival collection from the what could be considered the genesis of Orphx's unique sound. Inspired by early industrial music and new waves of noise from Japan and Europe, the compilation is gathers together some of the best material from their first two cassette releases along with previously unreleased tracks recovered from the original 4 track tapes. TIP!

'Die nacht der seele' is the twelfth album by Popol Vuh, originally released in 1979 by Florian Fricke and friends-Daniel Fichelscher on guitar, Djong Yun and Renate Knaup on vocals, plus guests Alois Gromer on sitar and Susan Goetting on oboe. Popol Vuh had moved again one step farther, ellaborating a complex world music opus based mainly on acoustic instruments plus Fichelscher's electric guitar and the use of multitracked vocals to reproduce the sounds of Tibetan monk chants.

'Florian was and remains to be an important forerunner of contemporary ethnic and religious music.' (KLAUS SCHULZE)

'I experienced a lot through Florian's music. Florian's music makes you feel stoned when you sing it, the repetition makes you high. He always sat next to me and we sang it through together until I had it right. I found a closer sense of what it means to sing.' (RENATE KNAUP)

Comes in original artwork, featuring bonus tracks, has an insert with liner notes by Dolf Mulder and it's a limited edition of 500 copies only.

Originally released on Klaus Schulze's Innovative Communication label in 1981, 'Sei still, wisse ICH BIN' is Popol Vuh's 13th LP. Fricke and Fichelscher worked under the production of Klaus Schulze himself and were helped for the occasion by Chris Karrer on soprano sax, Renate Knaup on vocals and the Chorensemble der Bayerischen Staatsoper.

Two of its songs, Laß los and ...als lebtendie Engel auf Erden where used on the soundtrack of Werner Herzog's film Fitzcarraldo, from 1982.

Into the Light brings out a splendid assemblage of 17 tracks of mostly previously unheard material by Athens based composer Akis Daoutis (Akis) most of them recorded in his hometown and in USA where he was studying in the mid-eighties.
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This time the release spans even wider both in period of time and style. 'Christmas' being the earliest recording (1986) and the closing track 'My Haunting Sins' the most recent (2016). Apart from including again two pieces from his elusive 'Into the Light' album - originally released in 91 - the 'Space, Time and Beyond' includes some really special features. That would be three tracks from his ultra rare 'Akis Love' cassette tape that was released privately and only in 100 limited copies. Moreover you can find two extracts from his long take called 'New Age Rising' that the original recording lasts almost 40
minutes in one take!

This collection is making an effort to capture the works of Akis in a period of almost three decades. The variation of the compositions' style is even more impressive. From hypnotic ambience to more dark and unwordly exploration using Xenakis' UPIC musical tool and from his late 90s/early 00s contributions
on soundtracks back to more new age lift music.

Black Vinyl + CD + Poster
The fifth full-length release for the Swedish electronic quartet Season High moves from slinky Prince pastiche to body-jacking house music!
Swedish quartet Little Dragon return with a new album Season High. With production from Little Dragon themselves alongside Simian Mobile Disco member James Ford, the album features the recent single High, as well as nine additional tracks. The album sizzles, electrifies, and throbs with a liquid aural energy. Little Dragon's music always seems to come from another planet mostly because there's no one else like them. Inimitable and thrilling, get ready for a ride into the unknown. The Pop Life and Sweet take over your body immediately and burst with infectious dance beats and driving rhythms that Little Dragon consistently knock out of the park. Little Dragon deliver consistent energy and spice and this album is no exception. More on the soft repose side, High and Butterfly develop a slower beat with crooning laments. High is sultry- suited for the background of a making-dinner-at-their-place third date, while Butterfly is a more sit-and-stare-out-the-bus-window song. (Northern Transmission)

NEXT RELEASE ON DULL TOOLS..THE NEW YORK LABEL RUN BY PARQUET COURT'S ANDREW SAVAGE..

What began as a recording project between multi-instrumentalist Bob Jones and sound engineer Jonathan Schenke led to an un/self-titled record in 2014. The album's adventures in fractured electronic pop garnered attention in The New Yorker, Interview Magazine, and FADER, while Pitchfork described the 'beautiful' textures as 'grim and subdued but so rich you could raise tomatoes in them.'

With the addition of kinetic light sculptures operated by visual artist Christopher Duffy, the recording project became a performing one. The group played Moogfest 2014, toured the US with Shabazz Palaces, and shared the stage with a diverse set of acts from Dan Deacon and !!!, to Parquet Courts and Protomartyr, to SURVIVE and US Girls.

Their collaboration extended into the contemporary art world through performa- tive sound sculptures and immersive installations of light and sound. The 'Moment of Inertia' EP (2015) and 'Prisms' soundtrack (2016) are comprised of compositions written for this context.

Eaters (the new album, the band) carefully crafted over the course of two years at Doctor Wu's in Brooklyn, NY marries rich pulsing electronics, driving beats, and guitar pyrotechnics. It is literal and figurative 'art-rock' An exploration of light, shadow, expansion, and transformation. It speaks to the vulnerability and resil- ience of the human spirit in the modern age.

What Stewart Lee says about the new Physics House Band album,

I'm nearly 50. I don't know what's going on anymore, I'll admit. The internet's availability of all sources ever simultaneously has destroyed my understanding of cultural development as a logical progression.  All music is time travel, forward and backward both at once, now.   But three years go my friend Simon Oakes, of prog-psych conceptualists Suns Of The Tundra, directed me to a Youtube clip of  The Physics House Band. Impossibly youthful looking, and sounding like vintage Seventies stadium-prog behemoth, a Yes or a Rush, but stripped of any errors of taste and judgment, fed amphetamines, made ashamed of their record collections, slapped in front of the whole school, immersed instead in post-rock procedure and practise, and made to apply their obvious talent and ability to a more worthwhile end than their forebears.   Three years on here's their second album, a super-dense sci-fi mindfuck of a thing, music scholarship charity case keyboards in combat with squally spacerock guitars, dub boom bass and multi-time-sig clatter, a territory staked out over mushrooms at break-time, on the top floor of the multi-story car park, overlooking the '70s Bauhaus shopping centre concrete functional fountain square, but now gone all Escher in the aftermath, like a black and white architectural schematic drawing dipped in tie-dye.   Mercury Fountain doesn't stop, a twenty nine minute surge of tracks that it would be a crime to split apart, the kind of part work The Physics House Band's progenitors aimed at but never quite produced, settling instead for gatefold sleeves that gave the illusion of structure and intent, a fulfillment of the Red-era King Crimson manifesto, channeled by boy-conduits that needn't have even have known the source documents, learning their lessons instead from hints woven into the post-punk works of Radiohead, Tortoise, The Mars Volta and 21st century sub-krautrock.   Mercury Fountain loads you into a water canon and shoots you out through its intermingled opening tracks, the group finally allowing you a pause for breath at the half way point, during A Thousand Small Spaces, and then you're kicked out of the airlock back into the Negative Zone again in Obidant, the laws of physics in reverse, Newton's apples flying upwards past your grasping fists, your hair on end, arching to follow them, until you're finally abandoned into the techtonic drift of Mobius Strip II.   It's a two black Americano experience that makes me wish I still had pin-sharp hearing to lose.  Another minute would be too much.

What Stewart Lee says about the new Physics House Band album,

I'm nearly 50. I don't know what's going on anymore, I'll admit. The internet's availability of all sources ever simultaneously has destroyed my understanding of cultural development as a logical progression.  All music is time travel, forward and backward both at once, now.   But three years go my friend Simon Oakes, of prog-psych conceptualists Suns Of The Tundra, directed me to a Youtube clip of  The Physics House Band. Impossibly youthful looking, and sounding like vintage Seventies stadium-prog behemoth, a Yes or a Rush, but stripped of any errors of taste and judgment, fed amphetamines, made ashamed of their record collections, slapped in front of the whole school, immersed instead in post-rock procedure and practise, and made to apply their obvious talent and ability to a more worthwhile end than their forebears.   Three years on here's their second album, a super-dense sci-fi mindfuck of a thing, music scholarship charity case keyboards in combat with squally spacerock guitars, dub boom bass and multi-time-sig clatter, a territory staked out over mushrooms at break-time, on the top floor of the multi-story car park, overlooking the '70s Bauhaus shopping centre concrete functional fountain square, but now gone all Escher in the aftermath, like a black and white architectural schematic drawing dipped in tie-dye.   Mercury Fountain doesn't stop, a twenty nine minute surge of tracks that it would be a crime to split apart, the kind of part work The Physics House Band's progenitors aimed at but never quite produced, settling instead for gatefold sleeves that gave the illusion of structure and intent, a fulfillment of the Red-era King Crimson manifesto, channeled by boy-conduits that needn't have even have known the source documents, learning their lessons instead from hints woven into the post-punk works of Radiohead, Tortoise, The Mars Volta and 21st century sub-krautrock.   Mercury Fountain loads you into a water canon and shoots you out through its intermingled opening tracks, the group finally allowing you a pause for breath at the half way point, during A Thousand Small Spaces, and then you're kicked out of the airlock back into the Negative Zone again in Obidant, the laws of physics in reverse, Newton's apples flying upwards past your grasping fists, your hair on end, arching to follow them, until you're finally abandoned into the techtonic drift of Mobius Strip II.   It's a two black Americano experience that makes me wish I still had pin-sharp hearing to lose.  Another minute would be too much.

What Stewart Lee says about the new Physics House Band album,

I'm nearly 50. I don't know what's going on anymore, I'll admit. The internet's availability of all sources ever simultaneously has destroyed my understanding of cultural development as a logical progression.  All music is time travel, forward and backward both at once, now.   But three years go my friend Simon Oakes, of prog-psych conceptualists Suns Of The Tundra, directed me to a Youtube clip of  The Physics House Band. Impossibly youthful looking, and sounding like vintage Seventies stadium-prog behemoth, a Yes or a Rush, but stripped of any errors of taste and judgment, fed amphetamines, made ashamed of their record collections, slapped in front of the whole school, immersed instead in post-rock procedure and practise, and made to apply their obvious talent and ability to a more worthwhile end than their forebears.   Three years on here's their second album, a super-dense sci-fi mindfuck of a thing, music scholarship charity case keyboards in combat with squally spacerock guitars, dub boom bass and multi-time-sig clatter, a territory staked out over mushrooms at break-time, on the top floor of the multi-story car park, overlooking the '70s Bauhaus shopping centre concrete functional fountain square, but now gone all Escher in the aftermath, like a black and white architectural schematic drawing dipped in tie-dye.   Mercury Fountain doesn't stop, a twenty nine minute surge of tracks that it would be a crime to split apart, the kind of part work The Physics House Band's progenitors aimed at but never quite produced, settling instead for gatefold sleeves that gave the illusion of structure and intent, a fulfillment of the Red-era King Crimson manifesto, channeled by boy-conduits that needn't have even have known the source documents, learning their lessons instead from hints woven into the post-punk works of Radiohead, Tortoise, The Mars Volta and 21st century sub-krautrock.   Mercury Fountain loads you into a water canon and shoots you out through its intermingled opening tracks, the group finally allowing you a pause for breath at the half way point, during A Thousand Small Spaces, and then you're kicked out of the airlock back into the Negative Zone again in Obidant, the laws of physics in reverse, Newton's apples flying upwards past your grasping fists, your hair on end, arching to follow them, until you're finally abandoned into the techtonic drift of Mobius Strip II.   It's a two black Americano experience that makes me wish I still had pin-sharp hearing to lose.  Another minute would be too much.

'Tell Mama' by Etta James was originally released in 1968 and it put her back in the top 10 with the single 'Tell Mama'. Produced by Rick Hall at FAME Studios in Muscle Shoals, Alabama this album is a stone cold soul - blues classic from start to finish. Standout tracks include the title track, a cover of Otis Redding's 'Security', 'I'd Rather Go Blind' and 'Don't Lose Your Good Thing'. Easily one of the best albums of her long career it is now being reissued on gold vinyl in glorious mono!

Limited blue coloured 7inch. Millionaire is back on a high. After a hiatus of twelve years Tim Vanhamel and his band return with 'I'm Not Who You Think You Are', a comeback-single with balls!

Classic 1983 compilation features 12 hits from one of the most successful musical duos of all time, including Rich Girl,' Kiss on My List,' Private Eyes,' Maneater,' Say It Isn't So' and more. This special release is available in both original sleeve designs (red/yellow/green & purple/yellow/grey) + a reproduction of the 1984 calendar poster that came with the original pressing.

This AA side 12" single brings together two seemingly distant, yet somehow closely related zones of psychedelia. One side brings the original version of Magic Carpet Ride by Kontiki Suite, a dense and hypnotic epic culminating in a wall of guitar and harmony; just the way we like it. Far out.
On the flip, The Time and Space Machine, aka Richard Norris, fresh from remixes of DJ Harvey, Tame Impala and Bryan Ferry, stretches the original out into a cosmic psych jam from outer space. Guaranteed to get the hipsters swinging!

Can "Khan" Oral, geboren 1965 in Frankfurt am Main, ist eine Kombination aus rastlosem Pop-Nomade, Techno-Entrepreneur und digitalem Flaneur. Neben Khan, seinem Hauptpseudonym, trat er in den letzten Jahrzehnten zwischen Deutschland, Mexiko und den USA auch als Bizz O.D., Gizz TV und 4E in Erscheinung. Über die Produktion von elektronischen Musikstücken hinaus, die bei Labels wie Tomlab, Mille Plateaux, Force Inc. und Matador erschienen, ist Oral als DJ, Veranstalter (Berghain) und Schauspieler aktiv; während der Neunziger betrieb er in New York einen Plattenladen und diverse Labels, zum Beispiel El Turco Loco. Seit 2002 lebt Oral in Berlin, wo er 2009 mit Mark Boombastik und Boris Bergmann das Projekt Khan of Finland gründete. Für das Album "Nicht nur Sex" nutzt er den Projektnamen als Solokünstler. Was nicht bedeutet, dass Oral bei seinen zehn glamourösen, in den frühen Achtzigerjahren badenden Tracks à la Grace Jones und Marianne Faithfull keine Unterstützung gehabt hätte. Dabei ist vor allem Joe Volume mit
seiner zwischen Tom Waits und Michael Gira swingenden Stimme zu nennen. Hinzu kommen der mexikanische Rapper Alemán, die durch Anthony & The Johnsons bekannte Cellistin Julia Kent sowie auf drei Tracks die isländische Musikerin Urdur Hákonardottir aka Earth (GusGus).

This limited Teddiedrum 10" holds THE 2 singles that have been haunting you the last year. 'Miami' was the anthem for spring and during summer you could loose yourself in 'Odd Lovers'. Since then, Jason Dousselaere & Dijf Sanders have been busy. Next up is their new ep 'European Weekend'!

The eastern Nigerian city of Calabar in Cross River State was colloquially known as Canaan City - a place of lush landscapes, alluring women and delicious cooking. When the Biafra War ended it became a land of milk and honey for bands as well, with jumping venues like the Taj Mahal and Luna Nite Club and a label called Clover, set up local entrepreneur Ben Okonkwo, releasing albums by bands like The Doves, The Visitors, Aktion and The Apostles. The youngest band on the Clover roster was Mansion, a teenage highlife group, led by singer and bassist John 'Holy Mountain' Ebiong. Okonkwo decked them out in flares, repackaged them as a funk band and put them in the studio with EMI super-producer, Kayode Salami. The result was Devil Woman, an astoundingly assured funk/rock album. The title track revels in a '60s psychedelic vibe. 'The Love Song' is a direct appeal to teenage hearts. 'Heaven Here On Earth' has an irresistible shuffling groove while 'You Can't Stop Us' is what James Brown would have sounded like if he'd been born in the Cross River State. Devil Woman is an album designed to set young hearts aflutter and draw approving nods from seasoned musicians. It succeeds in both. - Peter Moore

Recorded in November 2014 this sold out show, at the legendary Hammersmith Apollo venue in London, was the final event in the highly successful Splinter album campaign. For Gary Numan, it was a long awaited return to a venue that means more to him than any other. Gary was born in Hammersmith, and the Apollo was effectively his local major venue throughout his youth, and the venue that symbolised the pinnacle of his musical ambition. This stunning two hour concert features a long list of fan favourite album tracks and chart singles. DVD - Slipcase package Vinyl - A three disc vinyl album in a triple gate-fold sleeve and slip case + printed inners. .

Recorded in November 2014 this sold out show, at the legendary Hammersmith Apollo venue in London, was the final event in the highly successful Splinter album campaign. For Gary Numan, it was a long awaited return to a venue that means more to him than any other. Gary was born in Hammersmith, and the Apollo was effectively his local major venue throughout his youth, and the venue that symbolised the pinnacle of his musical ambition. This stunning two hour concert features a long list of fan favourite album tracks and chart singles. DVD - Slipcase package Vinyl - A three disc vinyl album in a triple gate-fold sleeve and slip case + printed inners. . CD - A two disc package in a double gatefold sleeve and slip case.

Recorded in November 2014 this sold out show, at the legendary Hammersmith Apollo venue in London, was the final event in the highly successful Splinter album campaign. For Gary Numan, it was a long awaited return to a venue that means more to him than any other. Gary was born in Hammersmith, and the Apollo was effectively his local major venue throughout his youth, and the venue that symbolised the pinnacle of his musical ambition. This stunning two hour concert features a long list of fan favourite album tracks and chart singles. DVD - Slipcase package Vinyl - A three disc vinyl album in a triple gate-fold sleeve and slip case + printed inners. . CD - A two disc package in a double gatefold sleeve and slip case

British actress, singer, fashion icon and Serge Gainsbourg's muse Jane Birkin presents Birkin-Gainsbourg Le Symphonique
Jane Birkin's first studio album since 2008, Le symphonique marks Jane's return to the music world
Gainsbourg's beloved songs as you've never heard them, for the first time with a 90-piece symphonic orchestra.
Arranged and orchestrated by renowned Japanese composer, pianist & Emmy Award nominee Nobuyuki Nakajima. Artistic direction by Gainsbourg's historical A&R, 'man in the shadows' Philippe Lerichomme. Recorded in Warsaw with National Polish radio Orchestra
This project will tour the world for 2 years 2017/2018. Dates already confirmed in Paris, Hong Kong, Warsaw, London (Barbican 26 September), Lisbon, Germany.

British actress, singer, fashion icon and Serge Gainsbourg's muse Jane Birkin presents Birkin-Gainsbourg Le Symphonique
Jane Birkin's first studio album since 2008, Le symphonique marks Jane's return to the music world
Gainsbourg's beloved songs as you've never heard them, for the first time with a 90-piece symphonic orchestra.
Arranged and orchestrated by renowned Japanese composer, pianist & Emmy Award nominee Nobuyuki Nakajima. Artistic direction by Gainsbourg's historical A&R, 'man in the shadows' Philippe Lerichomme. Recorded in Warsaw with National Polish radio Orchestra
This project will tour the world for 2 years 2017/2018. Dates already confirmed in Paris, Hong Kong, Warsaw, London (Barbican 26 September), Lisbon, Germany.

After 40 years since its theatrical release, presented here for the first time on vinyl is the phenomenal soundtrack for IL GATTO DAGLI OCCHI DI GIADA (also known as 'Watch Me When I Kill') - directed by Antonio Bido (director of THE BLOODSTAINED SHADOW). This top-notch score is undeniably catchy, yet has its creepy moments.

The film's score was created by a supergroup specifically formed for this project and consisted of Adriano Monteduro (vocals and guitar, known for his 1974 record in which he was accompanied by prog band Reale Accademia Di Musica), Glauco Borelli (bass, already in Alberomotore), the well-known composer Mauro Lusini and Gianfranco Coletta who, besides being one of the pioneers of Italian psychedelia with Chetro and Co., was also a founding member of the Banco del Mutuo Soccorso.

They chose the name Trans Europa Express with direct reference to Kraftwerk, who released their seminal record with the same title a few months prior.

'Watch Me When I Kill' certainly has the compositional techniques and instrumentation related to Italian prog, but only less attentive and interested listeners might dismiss it as mere "Goblin-esque': eerie sound interludes percussion, carillon, piano pieces, distorted and mystical screams, an old tunes in gramophone style, moments of (seemingly) tranquility and rock.

The cyclical repetition and varied vaguely Goblin-ian guitar, cadenced by a pressing bass (which occasionally resembles that of Pink Floyd's One of These Days'), and a spectral and creepy scat vocal gives the listener pleasant moments of both fear and hypnotic tension.

The LP comes packaged in a heavy cardboard cover with hollow cat eyes and a yellow inner-sleeve with photos from the set provided by director Antonio Bido.o

'To Nowhere' is the 3rd full-length album from Undead Labs sound designer/composer Kevin Patzelt's dreissk project. The album features Patzelt's now recognizable post-apocalyptic slant on ambient, post-rock and industrial motifs.

Not as foreboding as its predecessors 'edge_horizon' and 'the finding', 'To Nowhere's' thematic core is that of a journey. But to where This ideal is what dreissk has always left up to the listener. To Nowhere is a celebration of the album as a format by eschewing sporadic changes that are often present in post-industrial music which gives each track time to stretch and breathe into full-on explorations of movement, tension, and ephemeral moments of optimism.

The highlight of To Nowhere is the trilateral 'A Long Road/Of Approaching Light/Near The Shore' being a journey unto itself. With "Near The Shore" possibly being the most widescreen ambient piece in dreissk's catalog.