Pop & Rock Vinyl New Releases - News

Cowboy in Sweden, the soundtrack to the 1970 cult classic film of the same name, is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor
Lee Hazlewood spent a good part of the late 1960s traveling the globe, cutting records and inking business deals. A string of hits with Nancy Sinatra enabled Lee to build a mini media empire Lee Hazlewood Industries and afforded him nearly unlimited resources...for a time. By the end of the decade LHI Records had burned piles of cash, gone through a half dozen distributors and failed to achieve the kind of chart success Boots" had promised.

Fortunately for Lee there was a land where he was still on the top of the charts, a place where women flowed like Brannvin...Sweden was calling.

While on an LHI promotional tour in Stockholm, Lee crossed paths with Swedish director Torbjörn Axelman. I met Lee through my script girl, in Stockholm in 1969,' remembers Axelman. "We noticed we had very many similarities, interests, and the same backgrounds. It led to many productions during our 38 years of close partnership and friendship.' The partnership showed Lee the way forward and allowed him an easy exit strategy from the LHI house of cards that was crumbling in Los Angeles.

Light In The Attic records continues its Lee Hazlewood series with this expanded reissue of Cowboy in Sweden. Released as the last LHI LP, Cowboy in Sweden was a soundtrack to the 1970 cult classic film of the same name starring Lee Hazlewood. The film was a surreal psychedelic account of Lee's journey to his new homeland, while the soundtrack was a perfect compilation of Hazlewood's strongest songs recorded over a prolific globe trotting three year period. The production scope of the album was the most ambitious of his career, recorded in Paris, London, Los Angeles and Stockholm with a slew of talented session musicians, producers and arrangers.

Cowboy in Sweden is quite possibly the purest distillation of the Hazlewood sound, lush melancholy country pop with a pinch of humor ("Pray Them Bars Away"), a dash of bummer ("Cold Hard Times'), some beautiful ladies to sing with ( Leather & Lace' & Hey Cowboy') and even a couple anti-war protest songs to be topical ("No Train to Stockholm' & For A Day Like Today'). The David Bitter Sweet Symphony' Whitaker arranged orchestral pop of What's More I Don't Need Her' and the stone cold Hazlewood classic The Night Before' cement the album as Lee's peak on LHI records and ironically the label's swan song.

Followers of the Sonic Pieces catalogue will already be familiar with the individuals of F.S.Blumm and Nils Frahm as well as their acclaimed work as a duo. But even though they're making use of familiar instruments their new album Tag Eins Tag Zwei manages to add a new tone to their already unique language. By trading their post-processed sound sculptures that made up the two preceding albums in for intimate pieces of improvisation, this collaboration merges into the most soothing and life affirming recording the two have produced so far.

Guitars and toys are flowing next to piano and harmonium like an organic combination, shaping nine suits that abnegate any common categorization. Involving classical, jazz and folk influences it's the genuine use of tricks and delays that lift these improvisations above the ordinarXy and makes them both incredibly relaxing and exciting at the same time. It is almost ironic that by capturing accidental moments of free playing, Frank and Nils are succeeding at an even more impressive scale than their already highly satisfying previous output.

The result delivers a perfect example of how immediacy can be the most powerful approach to creating music. Based on a remarkable understanding of each other's phrasing the pair of sessions that comprises this album shows two vivid artists at the peak of their game: Unconditional spontaneity.

"Milano Marittima Time Of The Season" is a compilation double CD dedicated to the most refined palates, a perfect mix of gentle and soothing sounds for two hours of "easy listening" pure. We find jazz sounds in international songs here re-proposed with a new arrangement, many Italian songs revisited in key lounge retracing vintage atmosphere of the past. A product for true connoisseurs and absolute must for collectors and fans of high-class music.

Both albums, double heavy weight vinyls, exclusive 12' single and CD. Button badges and prints.Metallica will release their eleventh studio album, Hardwired...To Self-Destruct, on November 18th, via Blackened Recordings. The 2 CD / 2 Vinyl set is the Grammy® Award winning Rock and Roll Hall of Fame inductee's first studio album since 2008's multi-platinum Death Magnetic. Hardwired...To Self-Destruct is available on various configurations including: CD, Vinyl, Digital, Deluxe, and Deluxe Deluxe Versions. The album is produced by Greg Fidelman, who engineered and mixed Death Magnetic.

Double LP heavyweight vinyl, gatefold sleeves, printed inserts and download code.

Metallica will release their eleventh studio album, Hardwired...To Self-Destruct, on November 18th, via Blackened Recordings. The 2 CD / 2 Vinyl set is the Grammy® Award winning Rock and Roll Hall of Fame inductee's first studio album since 2008's multi-platinum Death Magnetic. Hardwired...To Self-Destruct is available on various configurations including: CD, Vinyl, Digital, Deluxe, and Deluxe Deluxe Versions. The album is produced by Greg Fidelman, who engineered and mixed Death Magnetic.

The history of Beethoven symphonies on record began with the November 1913 recording of the fifth Symphony by Arthur Nikisch and the Berlin Philharmonic. It reaches a fascinating chapter with these recordings by the Philharmonia Orchestra conducted by Herbert von Karajan. They also mark a fascinating stage in the controversial career of Herbert Von Karajan. These symphonies were recorded at Jesus-Christus-Kirche in Berlin. December 1961 (No. 1) and February 1962 (No. 8)

Double 180gm vinyl LP pressing. The original Buena Vista Social Club album became a surprise international best seller and the most successful album in the history of Cuban music.

It was recorded for World Circuit Records by Ry Cooder over seven days in Havana in 1996,

bringing together many of the great names of the golden age of Cuban music in the 1950s, several of whom were coaxed out of retirement for the sessions.

In the years that followed the original release, Buena Vista veterans toured the world and were the subject of a celebrated feature film directed by Wim Wenders.

2015 REMASTERED 180g VERSION

Elvis, the record, was released in October 1956 and remained at US No.1 for five weeks. For Elvis, the man, an
incredible year was drawing to a close: he made his first album, saw his records become available all over Europe,
made his television debut, appeared in his first film, and celebrated his first US No.1 single. It seemed inconceivable
that things could get any better, or that the fan fever could grow even more hysterical. But with the release of this, his
second record, Elvis had proved beyond doubt that he was here to stay. And this was just the beginning...

The Men are Rich Samis, Kevin Faulkner, Nick Chiericozzi and Mark Perro. We created Devil Music in our practice space over a weekend in January.

We wanted to give ourselves something enjoyable to listen to with this record...Something that had out personality in it, not just another record to get reviews, to get into festival, to get on TV, to participate in some sort of endless, winless game. This isn't a campaign.

Jordan Lovelace (mem, of Pampers) engineered and recorded Devil Music. Jonathan Schenke ( mem. Of Easter and engineer of 100's of records) mastered the sessions on a Neve console in New York. These fine gentlemen knew we were after a raw four track sound. They Used our strokes on the tape to get us where we wanted to go. Every record sounds a bit different than you think it will.

Some newer things came along for the ride like cassette cut ups, damaged vocal cords from years of yelling, a saxophone and of course the ten new songs. Some old ideas are still in the mix: the tracks were done live, including the vocals. The packaging/artwork was designed and produced by us

Tidal Waves Music proudly presents the re-issue for Nina Simone's 'A Very Rare Evening'. Originally released on PM records in 1979, featuring Weldon Irvine on organ, Don Allias on drums and Jazz legend Gene Perla on bass. Included on these European sessions from 1969 you'll find Nina classics & rare versions of recordings written by Aretha Franklin, Barry Gibb, Randy Newman & Pete Seeger.

One of the most sought after Nina Simone albums is now back available as a deluxe limited vinyl edition for the first time since 1979. Produced by Gene Perla, officially licensed from PM Records & featuring the original artwork created by A.M. Schnider.

"It's her first LP in years, but was taped back in 1969 in Europe with a confident, impressive organ and rhythm section backup band. Simone is an acquired taste. But, for those who appreciate her singing, these eight tracks will prove welcome." - BILLBOARD

Anything by this lady of song is welcome, especially when she's in front of an adoring audience, as she is in these decade-old, never-released sides. Simone covers all bases from Barry Gibb's "In The Morning," to Pete Seeger's adaptation from the Book of Ecclesiastes, "Turn! Turn! Turn!" She gives special meaning to such tunes as the poignant "The Other Woman," the gospel inflected "Save Me," and "I Think It's Going To Rain Today." But the highlight is her own tune, composed with keyboardist Weldon Irvine, Revolution."- CASH BOX MAGAZINE

Though the Simone catalog overflows with live recordings, this 1969 German concert outranks all others. Focusing almost exclusively on then-contemporary material--the Gibb brothers' "In the Morning" and "To Love Somebody," Randy Newman's "I Think It's Going to Rain Today," Aretha Franklin's "Save Me," the Byrds' "Turn! Turn! Turn!"--Simone is at her most assuredly earthy and intrepidly regal.' - THE JAZZ TIMES

6 panel digipack, 2CDs and booklet

Metallica will release their eleventh studio album, Hardwired...To Self-Destruct, on November 18th, via Blackened Recordings. The 2 CD / 2 Vinyl set is the Grammy® Award winning Rock and Roll Hall of Fame inductee's first studio album since 2008's multi-platinum Death Magnetic. Hardwired...To Self-Destruct is available on various configurations including: CD, Vinyl, Digital, Deluxe, and Deluxe Deluxe Versions. The album is produced by Greg Fidelman, who engineered and mixed Death Magnetic.

8 panel digipack, 3 CDs and booklet

Metallica will release their eleventh studio album, Hardwired...To Self-Destruct, on November 18th, via Blackened Recordings. The 2 CD / 2 Vinyl set is the Grammy® Award winning Rock and Roll Hall of Fame inductee's first studio album since 2008's multi-platinum Death Magnetic. Hardwired...To Self-Destruct is available on various configurations including: CD, Vinyl, Digital, Deluxe, and Deluxe Deluxe Versions. The album is produced by Greg Fidelman, who engineered and mixed Death Magnetic.

For decades, Dylan's performance in Manchester was incorrectly labeled 'The Royal Albert Hall Concert'. Now, for the first time, the REAL Royal Albert Hall concert, originally recorded for a live album by CBS Records, is finally being released. The 2CD will be released on 11th November with the 2LP following on 26th November.

These Systems Are Failing.
All of them. We built great cities. Great industries. Great systems. These systems were supposed to protect us, to free us, but instead they've poisoned our air, killed the animals, butchered the land - and destroyed ourselves. We think we've conquered the problems of food production and wealth distribution, yet we're more miserable than ever.
These Systems Are Failing is the name of my new album. It is my first as Moby & The Pacific Void Choir.
I approached this record like a four year old would approach making breakfast out of everything they like: ice-cream, the dog, their toy cars and toast. I put in everything I like: punk and post-punk and new wave and euphoric rave and yelling.
I played this album to some friends in the music business and they said Um, OK, it sounds pretty angry.' So I went away and made it even angrier. I can't offer solutions, only raise issues.
When some of my middle-aged compatriots try to accommodate the pop market place, the results are so anodyne and depressing. Seeing musicians pretend to be young and relevant makes my organs clench with utter sadness. I'm 50 years old: why deny it

The fruits of artistic compromise are rotten.

These Systems Are Failing was created in Los Angeles. I moved here six years ago and it is the strangest of cities. There is so much emptiness. Darkness too. To the east is the desert, to the west a vast ocean, and in the middle a confluence of cultures. This city's art is odd and its paradoxical aspects are utterly compelling. You can't help but be changed by it.

The Void Pacific Choir takes it named from a DH Lawrence quote: People in L.A are content to do nothing and stare at the void pacific.' Often a void is perceived as a big, dark, scary, weird thing - the dark, malicious, Nietzschean void, where if you stare too long into it, it stares back into you. Therefore, I liked the linguistic paradox of a pacific, peaceful void - a benign emptiness.

Pop music remains an interesting and compelling medium. It's possibly not the best way in which to examine incredibly detailed policy minutiae, but to make music you love while addressing issues that concern you and are not a gratuitous waste of time to the listener is always something to aspire to.

Complex music and complex ideas don't necessarily have to sound complex. Nor do heavy topics have to be an oppressive experience for the listener. They can still sound joyous. Bad Brains sang about the Nazi threat on 'Big Takeover', yet it was pure euphoric energy.

I'm happy to be vague and uncompromising and esoteric. I see the phrase These Systems Are Failing as a starting point for people to look around and ask Which systems does he mean' and then perhaps examine the world around them more closely.

Democracy still works, and technological systems too, so there is hope here too. There has to be.

What's clear though is that our best choices are killing us. We're separated from what we once were. We're destroying the world, and we're still miserable. Fat, sick, stupid, and anxious are no ways to live.
These Systems Are Failing. Let them fail.
Change or die.

*Deluxe CD edition with three bonus tracks and lenticular Sleeve*

These Systems Are Failing.

All of them.

We built great cities. Great industries. Great systems. These systems were supposed to protect us, to free us, but instead they've poisoned our air, killed the animals, butchered the land - and destroyed ourselves. We think we've conquered the problems of food production and wealth distribution, yet we're more miserable than ever.

These Systems Are Failing is the name of my new album. It is my first as Moby & The Pacific Void Choir.

I approached this record like a four year old would approach making breakfast out of everything they like: ice-cream, the dog, their toy cars and toast. I put in everything I like: punk and post-punk and new wave and euphoric rave and yelling.

I played this album to some friends in the music business and they said Um, OK, it sounds pretty angry.' So I went away and made it even angrier.

I can't offer solutions, only raise issues.

When some of my middle-aged compatriots try to accommodate the pop market place, the results are so anodyne and depressing. Seeing musicians pretend to be young and relevant makes my organs clench with utter sadness. I'm 50 years old: why deny it

The fruits of artistic compromise are rotten.

These Systems Are Failing was created in Los Angeles. I moved here six years ago and it is the strangest of cities. There is so much emptiness. Darkness too. To the east is the desert, to the west a vast ocean, and in the middle a confluence of cultures. This city's art is odd and its paradoxical aspects are utterly compelling. You can't help but be changed by it.

The Void Pacific Choir takes it named from a DH Lawrence quote: People in L.A are content to do nothing and stare at the void pacific.' Often a void is perceived as a big, dark, scary, weird thing - the dark, malicious, Nietzschean void, where if you stare too long into it, it stares back into you. Therefore, I liked the linguistic paradox of a pacific, peaceful void - a benign emptiness.

Pop music remains an interesting and compelling medium. It's possibly not the best way in which to examine incredibly detailed policy minutiae, but to make music you love while addressing issues that concern you and are not a gratuitous waste of time to the listener is always something to aspire to.

Complex music and complex ideas don't necessarily have to sound complex. Nor do heavy topics have to be an oppressive experience for the listener. They can still sound joyous. Bad Brains sang about the Nazi threat on 'Big Takeover', yet it was pure euphoric energy.

I'm happy to be vague and uncompromising and esoteric. I see the phrase These Systems Are Failing as a starting point for people to look around and ask Which systems does he mean' and then perhaps examine the world around them more closely.

Democracy still works, and technological systems too, so there is hope here too. There has to be.

What's clear though is that our best choices are killing us. We're separated from what we once were. We're destroying the world, and we're still miserable. Fat, sick, stupid, and anxious are no ways to live.

These Systems Are Failing.
Let them fail.
Change or die.

#TheseSystemsAreFailing
thesesystemsarefailing.com

Moby & The Void Pacific Choir.
Los Angeles, California. 2016.

These Systems Are Failing.

All of them.

We built great cities. Great industries. Great systems. These systems were supposed to protect us, to free us, but instead they've poisoned our air, killed the animals, butchered the land - and destroyed ourselves. We think we've conquered the problems of food production and wealth distribution, yet we're more miserable than ever.

These Systems Are Failing is the name of my new album. It is my first as Moby & The Pacific Void Choir.

I approached this record like a four year old would approach making breakfast out of everything they like: ice-cream, the dog, their toy cars and toast. I put in everything I like: punk and post-punk and new wave and euphoric rave and yelling.

I played this album to some friends in the music business and they said Um, OK, it sounds pretty angry.' So I went away and made it even angrier.

I can't offer solutions, only raise issues.

When some of my middle-aged compatriots try to accommodate the pop market place, the results are so anodyne and depressing. Seeing musicians pretend to be young and relevant makes my organs clench with utter sadness. I'm 50 years old: why deny it

The fruits of artistic compromise are rotten.

These Systems Are Failing was created in Los Angeles. I moved here six years ago and it is the strangest of cities. There is so much emptiness. Darkness too. To the east is the desert, to the west a vast ocean, and in the middle a confluence of cultures. This city's art is odd and its paradoxical aspects are utterly compelling. You can't help but be changed by it.

The Void Pacific Choir takes it named from a DH Lawrence quote: People in L.A are content to do nothing and stare at the void pacific.' Often a void is perceived as a big, dark, scary, weird thing - the dark, malicious, Nietzschean void, where if you stare too long into it, it stares back into you. Therefore, I liked the linguistic paradox of a pacific, peaceful void - a benign emptiness.

Pop music remains an interesting and compelling medium. It's possibly not the best way in which to examine incredibly detailed policy minutiae, but to make music you love while addressing issues that concern you and are not a gratuitous waste of time to the listener is always something to aspire to.

Complex music and complex ideas don't necessarily have to sound complex. Nor do heavy topics have to be an oppressive experience for the listener. They can still sound joyous. Bad Brains sang about the Nazi threat on 'Big Takeover', yet it was pure euphoric energy.

I'm happy to be vague and uncompromising and esoteric. I see the phrase These Systems Are Failing as a starting point for people to look around and ask Which systems does he mean' and then perhaps examine the world around them more closely.

Democracy still works, and technological systems too, so there is hope here too. There has to be.

What's clear though is that our best choices are killing us. We're separated from what we once were. We're destroying the world, and we're still miserable. Fat, sick, stupid, and anxious are no ways to live.

These Systems Are Failing.
Let them fail.
Change or die.

#TheseSystemsAreFailing
thesesystemsarefailing.com

Moby & The Void Pacific Choir.
Los Angeles, California. 2016.

(...)Please, try to imagine a score sounding by itself without a conductor, orchestra even without musical instuments. This magic is possible by using musical synthesizer ANS'. ANS' is an instrument with which a composer can not only create but even draw his music without notes and orchestra. A Soviet scientist Evgeni Murzin spent about 20 years to create this apparatus which can join together three processes: music creation, recording and performing. All these processes are rather complicated. You can see twinkling of different lamps, rotation of gured discs made of glass. Notes are cut on a glass disc covered with a special layer. The drawings on the glass are sounding notes'. To listen to the drawn picture you should press the button and a wonderful transformation will begin. E. Murzin dedicated his apparatus to A. N. Scriabin, that's why he called it ANS. A. N. Scriabin the creator of the Poem of Ecstasy' used in his works a highly chromatic new type of harmonic style designed to express his beliefs, views and wishes. Soviet music lovers know already some recordings made on ANS' for films Into Space', Solaris', Mirror', Siberiade' and some others. Works of well known Soviet composers E. Artemiev, O. Buloshkin, E. Denisov, S. Gubaidulina, A. Schnittke featured on this LP were recorded at the Electronic Music Studio (...) From original Liner notes

Russian LP of electronic interpretations of 'classical' pieces by Claude Debussy and Monteverdi among others . Yuri Bogdanov features on every track, on some tracks together with Edward Artemiev, composer for Andrei Tarkovsky and others. Other tracks feature Vladimir Martynov.
The record is made on the basis of a kaleidoscope: it interspersed with pieces of various styles, genres and eras. For example, these pieces the authors wanted to show a variety of ways to use a synthesizer, starting with the direct simulation of now or once existing instruments, to the establishment of new not yet known sound systems. Thus, the record is like a small musical walk through time, we realized with SYNTHY100 synthesizer (...)' from original liner notes

Picturing the planet Midori Hirano is setting to music for us is like sauntering through a meadow. There's plenty of scents surrounding us, a vast field of different sound sources braiding together to one captivating scenery. It's a rich and colourful place to be in and it's everything but minor.

The soil is made of soft piano tunes, enriched by indefinable, layered field recordings and exceptionally well put electronic components. What sprouts from those seeds is a most astoundingly patient and genial atmosphere. Midori's compositions sometimes seem like a dance of barely there melodies, touching but almost at the edge of drifting apart, the next moment sounds like strolling through wondrous surroundings not knowing how long the charm might last that you are wrapped up in. In a way the album embodies an uncertainty, reminding us to savour these rare moments of sheer beauty: it's an ode to now, wherever that is and whatever it looks like.

With her first record for Sonic Pieces, Midori Hirano is stepping out of the conventional paths of modern classical, ambient and electronic music without trying to be anything other than herself. Minor Planet eludes categorization and it's a most satisfying experience to listen to something this honest.

Picturing the planet Midori Hirano is setting to music for us is like sauntering through a meadow. There's plenty of scents surrounding us, a vast field of different sound sources braiding together to one captivating scenery. It's a rich and colourful place to be in and it's everything but minor.

The soil is made of soft piano tunes, enriched by indefinable, layered field recordings and exceptionally well put electronic components. What sprouts from those seeds is a most astoundingly patient and genial atmosphere. Midori's compositions sometimes seem like a dance of barely there melodies, touching but almost at the edge of drifting apart, the next moment sounds like strolling through wondrous surroundings not knowing how long the charm might last that you are wrapped up in. In a way the album embodies an uncertainty, reminding us to savour these rare moments of sheer beauty: it's an ode to now, wherever that is and whatever it looks like.

With her first record for Sonic Pieces, Midori Hirano is stepping out of the conventional paths of modern classical, ambient and electronic music without trying to be anything other than herself. Minor Planet eludes categorization and it's a most satisfying experience to listen to something this honest.

Le Groupe de Recherches Musicales (The Group of Musical Research) of the O.R.T.F. (Office of the French Radio-Television) is known in the world principally as the promoter of an original technique of realization as well as reflection : Musique concrète. For more than fifteen years, the Groupe de Recherches Musicales has thus founded its experience, its methods of research and particular techniques upon a confrontation between the musical act, reflection upon its elements, experimentation on sound sources, and the electroacoustical means. Grouped around Pierre Schaeffer and Francois Bayle, composers and researchers try to give new direction to musical activity through the conjugated action of a program of Fundamental Research on the languages of music (concrete, electronic, but also instrumental and oriental) and a program of Expression, resulting in original compositions as well as essays for the ballet, theater, cinema, or television (...) In this LP you can find some great examples of the incredible production of many of the most celebrated composers of the 'movement': Boulez, Stockhausen, Parmegiani among others.

At the end of the previous millennium, Dr. John found himself having recorded not a single album of straight up New Orleans R&B in almost a decade. He soon rectified that with Creole Moon in 2001. This personal interpretation of New Orleans contains 14 slabs of Crescent City soul soaked in the daily life in his beloved city of birth.
The album marked a return to the sound of his classic mid-70s records, right from the spidery electric piano and testifying back-up vocals. Most of his band, the Lower 9-11 Musician Vocaleers, had been playing with him for close to 20 years, and provided a solid accompaniment. Guests include David Fathead' Newman, slide guitarist Sonny Landreth, fiddler Michael Doucet, and a tight horn section led by Fred Wesley. This first time on vinyl version celebrates the albums 15th anniversary with a 180 grams audiophile 2LP with an etched D side and insert.

Broadway legend & worldwide superstar BARBRA STREISAND returns to her roots, with this superb new album of standards from stage & screen. A x10 trk LP Vinyl & CD, plus a deluxe CD containing x4 additional songs. Guest collaborators include:- Hugh Jackman, Melissa McCarthy, Seth MacFarlane, Jamie Foxx, Antonio Banderas, Anthony Newley, Alec Baldwin & more... Heavyweight national TV ad campaign across all networks. 'Good Morning Britain' interview. Radio ads & spot plays across R2 & ILR specialist shows. Press ads, features, interviews & reviews across music mags, gay press, gossip/glam mags, tabloids & broadsheets. Online & social media activity. Poster campaign. Mailout.

Koen Holtkamp's music is never quite what it seems. There are distinct textures, tones, structures, relationships, and references —the things that bring us back again and again, but the undercurrent remains elusive.

For listeners unaware of Holtkamp's solo efforts, most will have encountered him as half of the Brooklyn based duo Mountains (Thrill Jockey) —a project which has pushed musical boundaries for more than a decade. Voice Model wades effortlessly into this same ambitious territory, but focuses on the breadth of possibility activated by a narrow band of sonorities. It's two interrelated works, Scene One and Scene Two, feature Holtkamp on piano, modular synth, bowls, cymbals and processing, as well as contributions by Nina Mehta on Flute and Josh Millrod on trumpet. Both sides, though in clear conversation, weave autonomous worlds - collapsing the ground between the historic efforts of Groupe de Recherche Musicales (GRM), New Age, and contemporary avant-garde practice, while sculpting their own worlds of sonic potential and understanding.

Voice Model's fascinating intricacy works gradually like the sediment of time, gathering beneath a pool of conflicting streams, and defying the normal expectation of structure and artistry. Though the album fits seamlessly into the larger body of Holtkamp's output, his hand remains elusive. Sounds appear to have sculpted themselves - to have appeared from an organic inevitability. This is an exploration of discrete encounters within an electronic ecosystem - a world of chance, where the dimensions of time unfold. As its tones ricochet off each other, they lead us not to themselves, but towards a whole. Single tones and textures expand and bleed, generations of influence raise their heads and disappear into the shadows.

Recorded in 2014 and 2015 before being allowed to percolate for the better part of a year, Voice Model finds an artist at the height of his powers —curious, and at equal ease with challenge and invitation. It's singular and mature and welcomes listeners both seasoned and new to these territories.

Looking On is the third album by The Move, released in
December 1970 and is their first LP to feature Jeff Lynne.

With Wood's use of cello and woodwinds and Lynne's piano in addition to their usual guitars and vocals, anticipating the work they would later pursue in The Electric Light Orchestra, whose debut album they were starting to record at around the same time.

The Move was effectively a dead band walking when Lynne joined in February 1970 after fronting (and producing) The Idle Race. Wood had wanted to launch a new group with Lynne that would feature rock and strings, to pick up, in theory, where the Beatles' "I Am the Walrus" had left off.

"Brontosaurus" was eventually covered by Cheap Trick and "Feel Too Good" was later featured on the soundtrack of the movie Boogie Nights as well as in the pilot episode of the UK series "Life on Mars".

Paganini Horror is the second release on SUB OST, the soundtrack focused sub label of Subsound Records. For the first time ever on vinyl, this is the original soundtrack of Dario Argento protégé Luigi Cozzi's movie, composed and arranged by electronic composer and wizard Vince Tempera in 1989. Sinister like the sounds of a violin, this is a classic Italian horror score finally available on 2LP in a limited edition colored vinyl or black wax. Includes original artwork by E. Sciotti.

Paganini Horror is the second release on SUB OST, the soundtrack focused sub label of Subsound Records. For the first time ever on vinyl, this is the original soundtrack of Dario Argento protégé Luigi Cozzi's movie, composed and arranged by electronic composer and wizard Vince Tempera in 1989. Sinister like the sounds of a violin, this is a classic Italian horror score finally available on 2LP in a limited edition colored vinyl or black wax. Includes original artwork by E. Sciotti.

A special pop-up book version of the British alternative rock band's fifth studio album. Features a 64-page hardback pop-up book designed by David A. Carter, the album on both CD and coloured vinyl, stickers and stencils, a colour poster and other exclusive content.

Tanya Donelly war nicht nur Gründungsmitglied der legendären Indierock-Bands Throwing Muses und The Breeders, sie rief auch zusammen mit dem Bassisten Fred Abong 1991 die Formation Belly ins Leben. Komplettiert wurde die Besetzung seinerzeit durch die beiden Brüder Tom (Gitarre) und Chris Gorman (Schlagzeug). Ihr erstes Album "Star" kam 1993 auf den Markt und zündete sofort. In den USA wurde das Debüt mit Gold ausgezeichnet und für zwei Grammys nominiert, weltweit verkaufte sich "Star" über zwei Millionen Mal. Die Single-Auskoppelung "Feed The Tree" knackte in Großbritannien sogar die Top-40-Marke. 1995 erschien mit "King" noch ein zweites Belly-Album, das kommerziell allerdings nicht an "Star" anknüpfen konnte. Im Jahr darauf war Belly Geschichte, da sich Tany Donelly ihrer Solo-Karriere widmen wollte. Die von 4AD liebevoll aufbereitete Wiederveröffentlichung des Dreampop-Klassikers erscheint als limitierte Doppel-LP auf weiß-marmoriertem Vinyl im Klappcover. Während Chris Gorman dem Artwork ein gelungenes Update verpasste, setzte Chris Bigg ein opulentes Verpackungsdesign obendrauf. Abgerundet wird das Spektakel durch eine "Star"-Bonus-CD.
















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To celebrate their highly-anticipated, sold-out residency at London's Royal Opera House this July, Pet Shop Boys have announced a special 12" vinyl release of their single 'Inner Sanctum'.

Limited#