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In the swirl of underground music emerging from Dunedin, New Zealand in the 1980s, Peter Gutteridge stands as one of the era’s most intense and shadowy figures. Despite being a founding member of The Clean and The Chills, Gutteridge would eschew indie-rock fame for the hypnotic and driving sounds of his later bands such as Snapper.

Fittingly, it is Pure—Gutteridge’s lone solo album of intimate home recordings—that serves as the most revealing and celebrated release of his career. As Peter Jefferies writes in the liner notes, “That’s what’s so good about Pure. Not only the songs, but the name, the name for the recording. It is as pure as you can get. That’s the real deal, when it goes from nothing to something and he catches it on his machine.”

Originally released on cassette in 1989 on Xpressway, Pure documents Gutteridge’s stunning use of 4-track as instrument. Featuring lo-fi pop gems and interstitial sketches, the LP combines densely layered keyboards and guitars, distorted drum machines and possessed-sounding vocals to create a truly singular work of undistilled artistic vision.

While Gutteridge denied that he was the architect of the “Dunedin Sound,” Pure sits comfortably next to the most revered Flying Nun releases of its time. Shifting exquisitely from churning rattle to an airy ease without losing momentum, these twenty-one songs hold a lasting place in the canon of DIY music. Recommended for fans of Syd Barrett, Jim Shepard and early Fad Gadget. Includes drawing chosen by Peter’s family.

Woods are in bloom again, inviting you to disappear into a new spectrum of colors and sounds and dreams on Perennial. Formed in Brooklyn in 2004, Woods have matured into a true independent institution, above and below the root, reliably emerging every few years with new music that grows towards the latest sky. Operating the Woodsist label since 2006 and curating the beloved homespun Woodsist Festival for the musical universe they’ve built, Perennial is the sound of a band on the edge of their 20th anniversary and still finding bold new ways to sound like (and challenge) themselves. Perennial grew from a bed of guitar/keyboard/drum loops by Woods head-in-chief Jeremy Earl, a form of winter night meditation that evolved into an unexplored mode of collaborative songwriting. With Earl’s starting points, he and bandmates Jarvis Taveniere and John Andrews convened, first at Earl’s house in New York, then at Panoramic House studio in Stinson Beach, California, site of sessions for 2020’s Strange To Explain. With a view of the sparkling Pacific and tape rolling, they began to build, jamming over the loops, switching instruments, and developing a few dozen building blocks. The album’s resulting 11 songs, 4 of them instrumental, are in the classic Woods mode--shimmering, familiar, fractionally unsettling--but with the half-invisible infinity boxes of Earl’s loops burbling beneath each like a mysterious underground source. From source to seed to bloom, each loop unfolds into something unpredictable, from the jeweled pop of the aching “Little Black Flowers” to the ecstatic starlit freak-beat of “Another Side.” They are blossomings both far-out and comforting, like the Mellotronic cloud-hopping of “Between the Past,” or sometimes just plain comforting, like the widescreen snowglobe fantasia of the instrumental “White Winter Melody,” touched by Connor Gallaher’s pedal steel. Woods have long used the studio as a place of songwriting, naming 2007’s At Rear House after their shared dwelling and recording space. But Perennial also carries with it an even longer view of Woods. Emerging from the process alongside the music was Earl’s reflection that “perennial plants and flowers are nature’s loops,” an idea rolling under the album’s lyrics like the loops themselves. It certainly applies to the band, too, who have quietly tended to a long, committed project of being a band in the weird-ass 21st century, both individually and communally. Though separated by coasts, the communal sprit carries through Earl, Taveniere, and Andrews’ collaboration, a living embodiment of the freedoms rediscovered every time a new collectively created piece of music emerges. For nearly two decades, Woods have survived subgenres, anchored in the fertile soil below hashtags like lo-fi and freak-folk and psychedelic and indie, and built a shared history that’s something to marvel at. As the flagship band for Woodsist, they’ve accumulated a striking extended family of collaborators (and Woods alum) that have made the label one of the most dependable imprints in the kaleidoscopic low-key underground. It’s a glow that’s transferred whole to the blissed-out Woodsist Fests held in Accord, New York in recent years, which have folded in a wide range of diverse sounds, from the the jazz cosmoverse of the Sun Ra Arkestra and adventurous legends Yo La Tengo, to a hard-to-even-count family tree of contemporaries, like Kevin Morby (who served a few tours of duty as Woods bassist) and Kurt Vile (who released his 2009 debut on Woodsist), a living community in sound. Perennial carries all of this, shaped by decades, but made in the moment, and here right now. The smell of the flowers doesn’t remain, but sometimes the flowers do. Jesse Jarnow Recorded and mixed by Jarvis Taveniere at Panoramic House in Stinson Beach, CA with additional recording at The Ship in Los Angeles, CA and Cottekill Bird Sanctuary in Stone Ridge, NY. Produced by Jarvis Taveniere and Jeremy Earl. Mastered by Timothy Stollenwerk at Stereophonic Mastering in Portland, OR. Jeremy Earl - vocals, guitars, drums, percussion, sk-5, mellotron, vibraphone, autoharp, loops Jarvis Taveniere - guitar, bass, upright bass, hammond, vocals John Andrews - piano, organs, mellotron, drums, vocals Connor Gallaher - Pedal Steel Kyle Forester - sax, wurlitzer

Wegene is now available in a limited edition metallic grey pressing. Ayalew Mesfin stands aside the likes of Mulatu Astake, Mahmoud Ahmed, Hailu Mergia and Alemayehu Eshete as a legend of 1970s Ethiopia. Mesfin’s music is some of the funkiest to arise from this unconquerable East African nation. Mesfin’s recording career, captured in nearly two dozen 7” singles and numerous reel-to-reel tapes, shows the strata of the most fertile decade in Ethiopia’s 20th century recording industry, when records were pressed constantly by both independent upstarts and corporate behemoths, even if they were only distributed within the confines of this East African nation. Though Mesfin was forced underground by the Derg regime that took control of Ethiopia in 1974, he has returned almost 50 years later with this triumphant set albums – the first time that his music has been presented in this form. These albums give us a chance to discover a rare and beautiful moment in music history, in anthologies built from Mesfin’s uber-rare 7” single releases and from previously unreleased recordings taken from master tapes. Wegene gives us a chance to discover a rare & beautiful moment in music history, in an anthology built from his uber-rare 7” single releases. Contains an oversized 11” x 11” 16 page book that tells the story of modern Ethiopian music and Mesfin’s role within it.

Rare Montreux festival sessions from 1982.
Live Album by Detroit/Tribe Jazz Icon Reggie Fields.
Featuring an All-Star Line-up.
First ever vinyl reissue.
180g BLACK vinyl limited to 500 copies (w/obi strip) . Non-Returnable.



The Real ShooBeeDoo (AKA Reggie Fields) has always been a consistent name on the Detroit jazz scene … Fields who played with Pharoah Sanders while he was living in Motor City, worked with Sun Ra in the late 1970s and early 80s and who was also a close associate of the Afro-centric TRIBE label and artist collective, leaving his marks on a few essential TRIBE sessions such as Phil Ranelin’s “The Time Is Now!” as well as Ranelin & Wendell Harrison’s masterpiece “A Message From The Tribe”. It was Wendell Harrison who gave Fields the chance to record his landmark solo album (Reminiscing from 1981) to be released on his Wenha imprint. Reggie chose to record under his moniker “The Real ShooBeeDoo” because he built a rock-solid reputation as an internationally acclaimed performer under that name.



In 1982 he embarked on a European tour and performed at various clubs in countries such as Germany, Holland, Belgium, Italy, Switzerland, Luxemburg, France and Norway. This ecstatic touring vibe can later be heard on his fantastic ‘‘Live at Montreux Jazz Festival, 1982” album (simply called ‘Good To Go’).



“Good To Go” which we are proudly presenting you today features 10 tracks consisting of smooth Jazz-rumbas, French avant-garde jazz vocalizations, bass lines that can blow through walls as if they were made from paper, foot stomping rhythmic beats, lyrics that are pure poetry and ecstatic beats that took the crowd on a musical trip that ended in them raving for more. Playing before a large and enthusiastic crowd, Reggie’s spiritual cosmic free-flowing rhythms took the audience by storm…and the stakes were high because the bill was pretty impressive, he shared the stage with some of the biggest names in the genre (the festival bill also included Miles Davis, Dizzy Gillespie and Sonny Rollins).



Also…a quick closer look at the cast of all-star players featured on the album is most likely to be enough to get an impression that this is a very special record. Detroit preferred pianist Earl Van Riper brings his rich musical experience to the table that he perfected during his collaborations with Marcus Belgrave, Eddy ‘Cleanhead’ Vinson, Dinah Washington, Wes Montgomery and countless others. On the tenor saxophone we have Robert Barnes known for his work with Donald Bird…and last but not least we have Tani Tabbal on drums who is famous for his performances and recordings with Roscoe Mitchell and Sun Ra!



All of the above makes this rare album a total must-have that just begs for a prominent place in your record collection.



Tracklist:

Jumping With The Bellboy , Dark Eyes , Qu'est Ceque C’est , Do You Call that Friendship , Oo Shoobee Doo , Crazy She Calls Me , Have You Met Miss Jones , Ye Brac Hareesee , Hit That Jive Jack , Too Late Now

Piotr Kurek’s new album “Smartwoods” is a sprawling root system of tiny melodic phrases that loop and curl around subtly evolving instrumental thickets. The Warsaw-based producer and composer takes his cues from early music, baroque music and experimental jazz, entangling his influences with filigree traces of contemporary computer music and fueling it with sonic vapors from the near future.

Made up of seven distinct segments, the album blurs its acoustic and electronic elements into an illusory hedge of abstract sound. Harp, saxophone, clarinet, double bass, voices and guitar twist into computerized processes and synthesizer chirps, creating an uncanny dreamworld where the real isn’t always what it seems. Each player is entwined with the other to create a living, breathing whole.

Like Kurek’s painterly 2021 album “World Speaks”, “Smartwoods” is also inspired by visual art - particularly the whimsical work of Algerian-French graphic designer Jean Sariano. The album cover features artwork by Polish painter Tomasz Kowalski, whose shapeshifting creatures and miniature stories aptly reflect the music’s wild fantasy. The first manifestation of “Smartwoods” – a live show at Unsound in Kraków in 2022 – featured animations by Italian artist Francesco Marrello, who put together a visual treatment for the single “Harps”.

Music composed, arranged and produced by Piotr Kurek
Anna Pašic - harp
Tomasz Duda - clarinets, saxophone, flute
Wojtek Traczyk - double bass, electric bass
Piotr Kurek - keyboards, MIDI wind controller, electric guitar
Recorded in June and November 2022 by Piotr Kurek, Piotr Zabrodzki (Studio Pasterka) and Tomasz Duda

2023 Repress

CELESTE have been breaking the outer boundaries of heavy music for over fifteen years. When they first evolved from the Lyon hardcore punk scene, they were absolutely brutal and entirely unique, delivering extremity on their own terms that they pushed further and further with each successive album. “We just wanted to get darker and more violent,” says drummer Antoine Royer, until 2017’s Infidèle(s) saw the incorporation of a more melodic streak. Their most focussed record yet, it was tremendously received, critically adored, and backed with the band’s biggest shows to date.

Its follow-up was always going to be something radical. Even by their own inordinately high standards, however, new record Assassine(s) is one hell of a step forward. Even if this album still contains cyclonic walls of guitar, of battering rhythm, and passages of blissful, rushing release. it’s unlike anything the band have ever released; embracing a modern and forward-thinking production, they're just as complex but more direct, diverse and accessible than before. “Our leitmotif here was to open our minds,” says guitarist Sébastien Ducotté. “We made a real effort to think outside of our box.”

During lockdown CELESTE’s members were forced to each write individually. “We each went further into our personal, inner views of what the songs were,” says bassist and vocalist Johan Girardeau. When eventually they began sessions under producer Chris Edrich, it was gruelling. “We ended up exhausted, physically and mentally” says Johan. “There was no break in two weeks. We didn’t see the sun at all during that time. Every night we were so tired that we didn’t enjoy being together as much as we’re used to.” Nevertheless, in the same way the hardships of isolation led to richer and more complex songwriting, it’s that relentlessness that led to the record’s razor-sharp edges.

Above all else, CELESTE are innovators. Whether by pioneering French avant-garde metal when they formed at the turn of the millennium, by making their boldest leaps despite being seven albums deep into their career, or using two years away from live shows to tightly finetune their stagecraft, they refuse at all costs to rest on their laurels. There can be consequences to this instinct – fans of the band’s older work might be thrown off by their constant shifts of pace – but they’re throwing caution to the wind. A bit of backlash “would be a good thing, because it would mean that we’ve really changed,” says Guillaume . “It's not disrespectful, it's just that we never made music to please people, but just to enjoy what we're doing.” In the end, CELESTE are a band so forward-thinking that they can only be judged on the strength of their latest work. And when it comes to a record as bold as Assassine(s), they’ve hit a whole new peak entirely.

In 2015, Cico Beck ( Joasihno, Aloa Input, the Notwist ) and Markus Acher ( the Notwist, Tied & Tickled Trio, Rayon ) started the project "You + Your D.Metal Friend" as a collective for improvisations and ideas apart from their other bands.

They will experiment with different settings and instrumentations and will collaborate with other artists for the music and the cover-artwork.

For "Sonnier", their first recordings, Cico and Markus started with percussion instruments from around the globe, analogue synthesizers and all kinds of acoustic and electronic devices to layer music that sounds like the memory of Gamelan, Italian library-records and minimal electronic experimentation... music, they listened to a lot before recording.

"Sonnier" will be available on vinyl (incl. download-code), limited to 300 for the world, and will not be repressed. Packaged in heavy-cardboard-LP-covers from second-hand records, they collected from their local record-stores with a screen-printed and numbered artwork glued on it. Designed by Richard Greenan from kit-records, London, and printed by Senor Burns (Red Can). Each cover is unique and hand numbered.

BBA was a short-lived super group made up of Jeff Beck (Guitar/Vocals), Tim Bogert (Bass/Vocals), and Carmen Appice (Drums/Vocals). Their brief, meteoric trajectory as a band included the 1973 release of their eponymous debut studio album, Beck, Bogert & Appice. On May 18th and 19th 1973, they recorded a live show at Koseinenkin Hall in Osaka, Japan, which was released as Live In Japan. The album was only released in Japan and has not been in print widely for some time.
Jeff Beck’s team also discovered a previously unreleased live show recorded at the Rainbow Theatre in London on the 26th of January 1974. The original masters were located and cleaned up where necessary by all three band members, with full approval by Carmine Appice, Tim Bogert, who passed away in 2021 and Jeff Beck, who passed earlier this year. These two amazing live shows will now be properly released or the first time in five decades as Beck, Bogert & Appice Live 1973 & 1974.
Both shows include an eclectic mix of rock, blues, boogie and experimental cuts that reflect the musical prowess of the super group. “Superstition” appears in both concerts, with a heavy pocket groove, highlighted by Beck’s solo and Talk Box contributions. “Going Down” and “Morning Dew,” featured in the Japan set, went on to become ongoing staples in Beck’s live show. The skill and musicianship of Appice and Bogert are displayed throughout and Beck’s unmatched guitar process is in full effect.
Beck, Bogert & Appice Live 1973 & 1974 will include an expansive booklet with extended liner notes detailing the story of the group by music journalist/manager Bruce Pilato, along with memorabilia, archival photos, and a replica poster.

This record"s origin story is as elusive as Pharoah was about everything Pharoah. It was born out of a misunderstanding between him and the India Navigation producer Bob Cummins, and was recorded at a crossroads in his career with a group of musicians so unlikely that they were never all in the same room again. There was a guitarist who was also a spiritual guru, an organist who would go on to co-write and produce "The Message", and a classically trained pianist - his wife at the time, Bedria Sanders - who played the harmonium despite never having seen one. At times ambient and serene, at others funky and modal, PHAROAH radically departed from his earlier work. It would become one of the artist"s most beloved records and one of the great works of the 20th century. With Pharoah Sanders" blessing, the limited edition embossed version of this 2 LP box set presents the definitive, remastered version of PHAROAH, his seminal record from 1977, along with two previously unreleased live performances of his masterpiece "Harvest Time". This is the first official rerelease of PHAROAH, which has been bootlegged often since its original release in 1977. These exceptional live versions of "Harvest Time" - which Pharoah performed during an intense European tour in the summer of "77 and which are included here for the first time - turn the original, beloved composition on its head. PHAROAH will be released a year after the legendary tenor saxophonists" untimely passing, and two years after the release of what was to become his final album, the widely acclaimed PROMISES, a collaboration between the composer Floating Points and Pharoah Sanders, featuring the London Symphony Orchestra. The first pressing of this limited edition box set comes with an embossed cover and is accompanied by never-before-shared photographs and ephemera, as well as a 24-page booklet featuring rarely seen photographs, interviews with many of the participants, and a conversation with Pharoah himself.

Foxbam Inc is a new label from underground Scottish talent Foxtrot and countryman and long-time acid lover Egebamyasi. Both feature on this first EP which is a various artists affair inspired by many years of playing and partying in the dance world. HIs 'Freaky Foundations' kick off with flat-footed and hard-assed techno, then comes Mr Gasmark who has roots in back metal but loves "a dark acid cocktail". He serves up a high-octane 303-laced monster banger here in the form of a remix of Araknoid. Egebamyasi's 'Fryer State Of Unconsciousness' is a wall of distorted noise and sheet metal synths that never let up. Last of all is a remix from Mark Archer, half of the legendary Altern8, and here offers up a jacking house cut with fat acid lines tearing it up.

Federica Grappasonni aka Mistura Pura is an Italian DJ, composer, singer, vinyl collector and music producer. She started to play and produce music at the age of 19 in Bologna, Italy. Before becoming a DJ she wrote and performed her songs live, either as a duo or with a complete band. In the ‘Acid Jazz’ era she was totally immersed in Bossanova, Jazz-funk and Jazzy Hip Hop music. At the time she wrote poetry and songs, singing melodies that burned in her mind. ‘Ed è…’ is one of the first songs she wrote. While ‘Vamo Vive’ is the result of the mix of more songs connected as part of her repertoire, made as a later piece of her musical puzzle.

At the end of the ‘90s and for the following decade Federica became known in the so called ‘lounge scene’ as a selector with Mistura Pura DJ sets in great demand, she gained residencies in the most beautiful and cool places in Milan, the isle of Panarea, Eolian Islands, and Sicily. Coming into the present day she decided to edit and rework some of her repertoire with both songs being revisited while keeping the original voice she recorded at the time and with the support of the pianist and co-arranger Alberto Napolioni and the flautist Carlo Nicita whom worked very well to define the harmonies of the musical works. After 25 years from that period and during the pandemic, Federica repeatedly told herself as a loop ‘go to live Fede’. It was during a walk on the beach that she remembered capturing a frame of a couple of children building a castle in the sand on the Adriatic sea with all the meaning and poetry that this image portrays; a sense of freedom, innocence and truth. In this sense ‘Vamo Vive’ and ‘Ed è…’ is a gentle scream of hope in a time when humanity was closed and living like prisoners in their own houses.

Meister Musik Vinyl! Meister der Tournee 2023! Kaum wartet man ein Vierteljahrhundert, schon gibt's endlich ein Jubiläum im Hause J.B.O.!
Die Erfinder des Comedy-Metals zelebrieren zum 25. Geburtstags ihres Meisterwerks "Meister der Musik" das gesamte Album live, am Stück! Schließlich war diese Platte 1998 das erste Top 10 Album (von insgesamt acht) der "Könige des Spaßmetalls". Außerdem finden sich auf diesem Album - das nicht wenige Fans als das Beste von J.B.O. überhaupt bezeichnen - etliche Kult-Songs, die im Live-Konzert die Hütte wackeln lassen: "Verteidiger des Blödsinns", "Ällabätsch", "Wir ham ne Party" und natürlich darf auch "Ein guter Tag zum Sterben" nicht fehlen!
Nachdem das Album als CD inzwischen nicht mehr lieferbar ist, haben J.B.O. mit ihrer damaligen Plattenfirma eine limitierte Vinyl-Auflage als dreiseitiges Doppelalbum ausgehandelt, die kurz vor der Tour erscheinen wird - und wenn noch welche übrig sind, wird es die auch bei den Live-Konzerten zu kaufen geben!
Da J.B.O.-Konzerte aber deutlich länger dauern, als so eine LP, bleibt auch noch genug Zeit für "Alles nur geklaut", "Bolle", "Der Hofnarr" oder auch neuere Songs wie "Metal Was My First Love". Langjährige J.B.O.-Fans werden sowieso die Hallen stürmen, aber auch wer "früher mal J.B.O. gehört hat", kann hier die gute alte Zeit wieder erleben! Natürlich kann man diese Gelegenheit auch nutzen, um zum ersten Mal die wohl bescheuertste Band der Welt auf der Bühne zu sehen.
Gerade die komplette Live-Aufführung des "Meister der Musik"-Albums mit all seinen wahnsinnigen Zwischenspielen und herrlich blödsinnigen Quatsch-Einlagen, gepaart mit knackigen Metal-Riffs und biergeschwängerter Partystimmung, bietet auch Anfängern im J.B.O.-Universum die perfekte Chance, auch zu einem Meister zu werden. "Meister der Musik" - das 25jährige Jubiläum! Live, in voller Länge und laut!
Gatefold-Plattenhülle und auf Seite 4 ein lustiges Etching!

We’ve waited over 20 years and finally Vince Watson is releasing the follow up to his seminal ‘Moments In Time’ album released on Ibadan and Alola, entitled ‘Another Moment In Time’. Over the twenty years since the release of ‘Moments In Time’, Vince has put out more than ten LPs of various flavours. Here he returns to the vibe and feel of those early works. ‘Another Moment in Time’ wastes no time in exploring those rich, melancholic tones with his stunning piano chords and an essence of nostalgia that is both thought provoking and deeply satisfying. This album takes Vince Watson ever further into his original sound but with a pristine quality and finesse that his early work was yet to benefit from.

There are many highlights, from the opener with its rich acid deepness and subtle keys, to the energetic and deeply fulfilling ‘Flashback’ that gives a nod to Funk d’Void’s Diablo or KiNK. ‘Peace Of Mind’ features the incredible talents of the hallowed Underground Resistance ‘Timeline’ keyboard master Jon Dixon as co-writer, this combination of both musicians is an ear to behold; the piano and Rhodes playing is straight up high-tech jazz. ‘Lost In the Deep’ takes its cues from Detroit but hits different with twisting chords and grooves. ‘Whispers’ delivers the most melancholic deepness on the LP, whereas ‘Sunshine’ is pure out and out happiness with its twisting chords and a firm foundation in Detroit. Written on the first sunny day after the winter, you can hear the breath of relief within the track.

‘Rendezvous Finale’ is the 3rd and final version of a cut that’s had a long and satisfying journey. Originally released on Carl Craig’s Planet E in 2006, it was then formatted into Afro House for Osunlade’s Yoruba Records in 2018, and in ‘22 this new version was debuted for Carl Cox’s Birthday at DC10 in Ibiza for Vince’s live set. The reaction sealed the deal! ‘Forever’ and ‘Make A Wish’ are straight up club cuts that featured on a single also in ‘22. The album closes out with the peacefully beautiful ‘Sleep’ that rounds things off to sonic perfection.

20 years is a long time to wait, and it would do ‘Another Moment in Time’ no justice to simply say it was worth the wait. This feels like the next evolution in Vince Watson. The finesse, the musicality, musicianship, and the production levels are of the highest level. ‘Peace of Mind’ and ‘Flashback’ may well be two of the biggest tracks that Watson has released to date.








g D1 Rendezvous Finale

2023 marks the 40th anniversary since the original release of the Roy Ayers album “Silver Vibrations” on Uno Melodic Records in 1983. For the first time, “Good Good Music” from that album is released here for the first time on 7” single.

Founding member of Buffalo Springfield and folk-rock supergroup Crosby, Stills, Nash & Young, Stills' first solo album, Stephen Stills, earned a gold record, is the only album to feature both Jimi Hendrix and Eric Clapton, and climbed to #3 on the album charts. Stephen Stills’ single "Love the One You're With" became his biggest solo hit, peaking at number 14 on the Billboard Hot 100 and is the first track on this collection. 14 tracks from Stephen Still’s First US Tour, previously unissued and recorded Live at The Berkeley Community Theater in 1971, featuring David Crosby on two songs. In 1971 Stephen Stills embarked on a US tour, opening each show with an intimate acoustic first set, and closing each night with a riveting electric set featuring the Memphis Horns. These historic, previously unreleased recordings took place over two nights at the Berkeley Community Theater, with David Crosby joining him on vocals and guitar for "You Don’t Have To Cry" and "The Lee Shore." These recordings find Stills at peak performance in both vocal delivery and musicianship, effortlessly incorporating alternate instrumentation on his instantly recognizable tracks, including a seamless medley of “49 Bye Byes" and "For What It’s Worth” unexpectedly played on piano. Hand-picked by Stills from his personal archives, this album captures timeless and era defining performances. Fans who were lucky enough to catch his historic debut trek, dubbed “The Memphis Horns Tour,” were treated to the balladeer, the raving troubadour, the acoustic bluesman, the soul driver, and by far the most passionate music maker. Backed by a loyal cast of friends, including his usual steady rhythm section—drummer Dallas Taylor and bassist Calvin “Fuzzy” Samuels—along with keyboardist Paul Harris, guitarist Steve Fromholz, and percussionist Joe Lala, these Northern California shows were one of the most unique and intimate stops on the tour This album, rather than being an artifact from a bygone era, sparkles and stimulates. It cajoles you into thinking, feeling and—most importantly—moving. Stephen Stills Live At Berkeley 1971 is a cornucopia of priceless sound—and all of it bears the distinct and loving fingerprint of Stephen Stills.

All vinyl is in a Gatefold jacket w/ two 12pg booklets, printed insert + download card. SH289LPCB // SH289LPIE are both for Indie stores only. CD Packaging: Digipak w/ 12pg lyric poster insert. The Armed return with their new album Perfect Saviors, the first new music since 2021 breakout release ULTRAPOP. Providing a full accounting of album contributors for the first time, Perfect Saviors was produced by the band’s Tony Wolski along with Ben Chisholm and Troy Van Leeuwen, with contributions from Julien Baker, Sarah Tudzin, Mark Guiliana, Justin Meldal-Johnsen, Eric Avery, Stephen Perkins, Josh Klinghoffer, and many more. The album was mixed by Alan Moulder. Vocalist Tony Wolski offered this statement on the album: “Too much information has made us dumb and confused. Too many ways to connect have inadvertently led to isolation. And too much expectation has forced everyone to become a celebrity. Predictable primal dangers have given way to newer social ones. And the result is a world that is confounding and terrifying but ultimately still beautiful. We hope this record is exactly all of that, too. Perfect Saviors is our completely unironic, sincere effort to create the biggest, greatest rock album of the 21st century.” Perfect Saviors is the conclusion of a trilogy of albums examining and dissecting what constitutes “pop culture” in a world of limitless information and access. Using “pop music” loosely as a format in which to express these ideas, each album used composition and presentation as a way to challenge these questions further. Perfect Saviors is the ultimate product of this evolution. Using one of the world’s most well-known mixing engineers to create a beautiful album fully immersed in the language and world of pop through the inherently unique, extreme, and perverse lens, The Armed communicate their art. Perfect Saviors follows 2021’s critically acclaimed album ULTRAPOP which landed on numerous Best of 2021 lists including Pitchfork, New York Times, Stereogum, Revolver, and many more. Album announce along with first single/video "Sport of Form" and which features Julien Baker on vocals and Iggy Pop playing God set for June 27th . Indie Exclusive Sea Blue vinyl in gatefold jacket w/ two 12 page booklets + printed insert Limited to 1500. FADER cover confirmed to run with announce and additional Cover story features confirmed with The Guardian, Revolver and Kerrang! will run. Supporting Queens of the Stone Age on their North America Headline arena tour in August, UK/EU headline tour scheduled for early 2024. An interactive ARG campaign with numerous stages of engagement is underway and will continue through release. A website, media mailings and various social media interactions are leading fans to find easter eggs including songs, album info, videos and much more. Videos for all three focus tracks are completed and will be released along with each song. UK PR handled by Adrian Read at Inside/Ou.

Ole Kirkeng is finally ready to drop his highly anticipated debut album. On Still Not Lost, the listener is treated to an artist bursting with talent and creativity. The young singer-songwriter impressed on the 2021 EP Rocking Chair – a release that landed him a deserved Spellemann award (the Norwegian “Grammy”) on his first try. So, this time around, the expectations are high. Not only for the songs that make up Kirkeng’s first album, but also for the artist he is becoming. Looking back at the searching musician who arrived back in Norway after years abroad, we now see an entirely different artist unfolding. The confidence he exudes on stage, the wittiness and wordings of his lyrics, and – last but definitely not least – the songs! If he isn’t already a star, he is fast becoming one. Still Not Lost was recorded and produced along with Norwegian guitar legend and studio wizard Geir Sundstøl, and the result is just top class craftsmanship in all areas. Ole Kirkeng is a songwriter of the old school, who can stand comparisons to names such as Nick Lowe, Randy Newman, Jackson Brown and Father John Misty. He puts a lot of time and effort into the songwriting trade, and that’s obvious when listening to this collection of tunes. From the immediately catchy “Stupid Questions” via the cute and humorous “I Fell in Love WIth You (at IKEA)” to the epic Dylanesque title track, Still Not Lost contains eight songs, flowing freely between americana, folk and indie – all killer, no filler. Still Not Lost is Ole Kirkeng’s debut album and is released on Die With Your Boots On Records on September 8, 2023. After touring both US and Eu with the likes of Courtney Marie Andrews and Molly Tuttle, he has a lot of experience as a touring musician, but as a solo artist this is still a new life for Ole Kirkeng. «Still Not Lost» is Ole's debut album, and will be released on September 8th. It's a beautiful collection of songs, which makes a perfect follow up to his first EP, «Rocking Chair».

Formed in 1992, Boris boldly explores their own vision of heavy music, where words like "explosive" and "thunderous" barely do justice. Using overpowering soundscapes embellished with copious amounts of lighting and billowing smoke, Boris has shared with audiences across the planet an experience for all five senses in their concerts, earning legions of zealous fans along the way. This is the highly-requested, unbelievably-anticipated official vinyl and streaming release of Boris's 2002 album and first dive into the stoner rock idiom, originally released in Japan on CD only. Heavy Rocks (2002) is heavy, sure, but fuses sludge, noise, stoner rock and hardcore all together for a deeply bone-shaking and unforgettable trip. For fans of: Melvins, Kyuss, Fu Manchu, BORIS

“It just feels good to scream at the top of my lungs,” admits UNITYTX vocalist Jay Webster. “And not even at anyone. Sometimes you just need to scream.” Truer words have rarely been spoken in the context of recent history, and on their debut Pure Noise LP, FERALITY, UNITYTX confront the last few years head-on with a blistering cocktail of car crash energy, sludgy horror-show macabre, industrial metal sheen and sinister subliminality. Produced by Andrew Wade (A Day To Remember, Wage War), FERALITY follows the band’s 2019’s Madboy, their first EP for Pure Noise that elevated the Dallas-based quartet (Webster, guitarist Ricky Cova, bassist Kendrick Nicholson and drummer Jonathan Flores) onto tours with the likes of Silverstein, The Amity Affliction and Poppy and shone a spotlight on the genre-bending sonic blend UNITYTX have been building in the underground since 2014.

No Other Voice And Artist Influenced And Basically Created The Female Fronted Symphonic Metal Genre As Much As Tarja. A Pioneer In Goth And Symphonic Metal, The Classically Trained Finn Rose To Fame With The Band Nightwish, Whose Face And Voice She Had Been For 9 Years. Tarja, Whose Vocal Range Goes As Far As Three Octaves, Started Her Solo Career After Stepping Out Of Nightwish In 2004.
Releasing Several Very Successful Solo Albums, Awarded Gold And Platinum In Various Countries, Such As Germany, Poland, Czech Republic Or Finland, Tarja Turunen Has Been Touring The World With Her New Band. The Most Successful Finnish Solo Artist Is One Of The Most Versatile And Passionate Musicians Originating From But Not Limited To The Heavy Music Scene: Her Pure Classical Work 'ave Maria - En Plein Air' Charted In The Classical Charts In Germany And Has Led To Sold Out Classical Concerts All Over Europe. Adored By Many Fans As Their 'goddess', The Finnish Soprano Has The Skill To Carry Her Fans Away Just By Her Presence - Probably More Than Any Other Female Artist In This Genre. When Classic Meets Rock And Heavy Metal, It Inevitably Leads To Tarja

Filmed during Tarja's world tour 'The Shadow Shows', during which the influential heavy rock singer circled the world 7 ½ times with over 300.000 km travelled and played over 200 shows in 40 countries in front of 1 million people, 'Act II' consists of the singer's very intimate 75 minute set filmed and recorded live at the Metropolis Studio in London, UK and the breathtaking live performance of one of her shows in Milan, Italy, and previously unreleased interviews and photo galleries. The theatrical rock adventure 'Act II' combines two incredible, yet slightly different live performances on video: The first chapter, 'Metropolis Alive', has been filmed two months prior to the release of Tarja's 2016 success 'The Shadow Self'. 20 winners from all over Europe were lucky to witness Tarja's intimate, yet rocking 75 minute set at renowned Metropolis Studios in London, UK where the singer performed songs from her then unreleased album - for the first time in front of an audience. 'Act II's' second chapter has been recorded on November 29th, 2016 at the magnificent Teatro della Luna Allago in Milan, Italy and includes numerous hits from all four Tarja albums such as 'Innocence', 'Die Alive', 'Until My Last Breath' as well as an incredible cover of Muse's classic 'Supremacy'. That night's set list also enchants the soprano's
long-time fans with a medley consisting of the distinctive Nightwish evergreens 'Ever Dream', 'Slaying The Dreamer' and 'The Riddler'. All topped off with a remarkable acoustic set which presents Tarja classics in a brand new way. Even though the shows deliberately differ in look, sound, approach to the music and adrenalin, both have one thing in common: from the very first to the very last tune, the state of the art production displays Tarja's energetic performance and her graceful, charming presence.
'Act II' is going to be released as 2CD digipak, 3LP Gatefold (180g, black), DVD, Blu-ray, Limited Mediabook 2CD+2BD (incl. two full live shows filmed at Hellfest in France and Woodstock Festival in Poland as bonus) and Digital.
'ACT I', Tarja's first ever live release, charted Top 10 all over Europe as well as almost all over the world, with a sensational #5 in Germany's General Charts. The video version even remained for over two months at the peak of the Finnish music video charts.

“Can’t Slow Down“ was originally released in 2009, 15 years after Foreigner’s previous studio album. It marked the Melodic Rock comeback of the year; praised by fans and critics alike. “It was our first studio album with the new lineup and I think it has a tremendous amount of energy in it“, says founding member and lead guitarist Mick Jones. “The title just seemed to sum up the way we were feeling at the time. It captured the fact that Foreigner had become a powerful live band and was ready to take on the world again. I’m happy to say that it drew the attention of Foreigner fans, old and new, and went on to become a chart album in several countries.“ CD1 includes the complete studio album, produced by Mick Jones & Marti Frederiksen (Aerosmith, Ozzy Osbourne, Mötley Crüe) and featuring the song ‘Fool For You Anyway‘, produced by the acclaimed Grammy Award-winning producer Mark Ronson. Exclusive to this 2CD Deluxe Digipak Edition is the second CD „B-Sides And Extra Tracks“ which includes a carefully selected set of Foreigner’s biggest hits as well as beloved fan favourites – all recorded in energetic live versions of which some will be released the first time on CD. This collection istopped of by an exclusive Radio Edit of “Can’t Slow Down“’slead single ‘In Pieces‘. CD2 will also become available as a Strictly Limited Heavyweight Double LP Edition on transparent orange vinyl.

Following nearly 20 years of working together as a trio, and numerous cross-collaborations in different configuration between them, Ideologic Organ presents Placelessness, the debut full-length by Chris Abrahams, Oren Ambarchi, and Robbie Avenaim, comprising two long-form works at juncture of ambient music, minimalism, rigorous experimentalism and improvisation, and machine music. Having carved distinct pathways across a diverse number of musical idioms for decades, Chris Abrahams, Oren Ambarchi, and Robbie Avenaim are each, respectively, among the most noteworthy and groundbreaking figures to have emerged from Australia's thriving experimental music scene. Ambarchi and Avenaim first encountered Abrahams when seeing the Necks - the project that has served as the primary vehicle for his singular approach to the piano since its founding in 1987 - together during the late 1980s, not long after having met in Sydney's underground music community. The pair's collaborations date back more than 35 years, criss-crossing Ambarchi's pioneering solo and ensemble work for guitar and Avenaim's visionary efforts for SARPS (Semi Automated Robotic Percussion System), robotic and kinetic extensions to his drum kit. In 2004, fate brought the three together in a trio performance at the What Is Music? Festival, the annual touring showcase of experimental music founded and run by Ambarchi and Avenaim between 1994-2012. For the nearly two decades since, Abrahams, Ambarchi, and Avenaim have intermittently reformed in exclusively live contexts, in Australia and abroad, cultivating and refining the fertile ground first tilled in that early meeting. Placelessness is the first album to present this remarkable trio's efforts in recorded form. Placelessness is the joining of three highly individualised streams, working in perfect harmony; the point at which friendship, mutual respect, and decades of creative exploration produce a singular spectrum of sound. Featuring Abrahams on piano, Ambarchi on guitar, and Avenaim on drums, the album's two sides draw on each artist's enduring dedication to long-form composition. Its two pieces, Placelessness I and Placelessness II, initially began as a single, 40 minute work, before being divided and reworked into distinct, complimentary gestures for the corresponding sides of the LP. Beginning with restrained clusters of reverberant piano tones, Placelessness I progresses at an almost glacial pace, with Abrahams' interventions increasing met by sparse responses, darting within vast ambiences, on guitar and percussion by Ambarchi and Avenaim. Remarkably conversational within its convergences of tonal, rhythmic, and textural abstraction, over the work's duration a progressive sense of tension unfurls and contracts, refusing release, as each of the ensemble's members contribute to an increasingly tangled sense of density at its resolve. While an entirely autonomous work, Placelessness II rapidly realises a distillation of the energy hinted at across the length of its predecessor. Following a luring passage of harmonious calm, Abrahams' launches into shimmering lines of repeating arpeggios, complimented at each escalation of tempo by Avenaim's machine gun fire percussion work and Ambarchi's masterful delivery of tonality and texture, as the trio collectively generate dense sheets of pointillistic ambience within which individual identity is almost lost, before slowly unspooling into unexpected abstractions and dissonances that deftly intervene with the work's inner logic and calm. What could easily be termed a maximalist take on Minimalism, Placelessness is a masterstroke of contemporary, real time composition, that blurs the boundaries between ambient music, experimentalism, free improvisation, and machine music. Drawing on Chris Abrahams, Oren Ambarchi, and Robbie Avenaim's decades of respective solo and collaborative practice, and the culmination of nearly twenty years of working together as a trio, it's two durational pieces - Placelessness I and Placelessness II - take form with a startling sense of effortlessness and grace, neither shying away from explicit beauty or rigorously tension within their forms.

A.R. Kive collates the three most astonishing works from that most miraculous of duos - A.R. Kane - comprising the ‘Up Home’ EP from 1988 that signified the band’s dawning realisation of their own powers and possibilities, their legendary debut LP ‘sixty nine’ (1988) and its kaleidoscopic, prophetic double-LP follow up ‘i’ (1989).

In founder-member Rudy Tambala’s new remastering, the music on these pivotal transmissions from the birth of dream pop, have been reinvigorated and re-infused with a new power, a new depth and intimacy, a new height and immensity. Vivid, timeless and yet always timely whenever they’re recalled, these records still force any listener to realise that despite the habits of retrospective myth-making and the
safe neutering effects of ‘genre’, thirty years have in no way dimmed how resistant and dissident to critical habits of categorisation A.R. Kane always were. Never quite ‘avant-pop’ or ‘shoegaze’ or ‘post-rock’ or any of those sobriquets designed to file and categorise, A.R. Kive is a reminder that those genres had to be coined, had to be invented precisely to contain the astonishing sound of A.R. Kane, because
previous formulations couldn’t come close to their sui generis sound and suggestiveness. This is music that pointed towards futures which a whole generation of artists and sonic explorers would map out. Now beautifully repackaged, remastered and fleshed out with extensive sleeve notes and accompanying materials, ‘A.R. Kive’ reveals that 35 years on it’s still a struggle to defuse the revolutionary and inspirational possibility of A.R. Kane’s music.

A.R. Kane were formed in 1986 by Rudy Tambala and Alex Ayuli, two second-generation immigrants who grew up together in Stratford, East London. From the off the pair were outsiders in the culturally mixed (cockney/Irish/West Indian/Asian) milieu of the East End, with Alex and Rudy’s folks first generation immigrants from Nigeria and Malawi, respectively. The two of them quickly developed and fostered an innate and near-telepathic mutual understanding forged in musical, literary and artistic exploration. Like a lot of second-generation immigrants, they were ferocious autodidacts in all kinds of areas, especially around music and literature. Diving deep into the music of afro-futurist luminaries such as Sun Ra, Miles Davis, Lee Perry and
Hendrix, as well as devouring the explorations of lysergic noise and feedback from contemporaries like Sonic Youth and Butthole Surfers, they also thoroughly immersed themselves in the alternate literary realities of sci-fi and ancient history (the fascination with the arcane that gave the band their name), all to feed their voracious cultural thirsts and intellectual curiosity.

It was seeing the Cocteau Twins performing on Channel 4 show the Tube that spurred A.R. Kane into being - “They had no drummer. They used tapes and technology and Liz Fraser looked completely otherworldly with those big eyes. And the noise coming out of Robin’s guitar! That was the ‘Fuck! We could do that! We could express ourselves like that!’ moment”, recalls Tambala - and through a mix of
confidence, chutzpah, ad hoc almost-mythical live shows and sheer innocent will the duo debuted with the astonishing ‘When You’re Sad’ single for One Little Indian in 1986. Immediately dubbed a ‘black Jesus & Mary Chain’ by a press unsure of WHERE to put a black band clearly immersed in feedback and noise, what was immediately apparent for listeners was just how much more was going on here - a
tapping of dub’s stealth and guile, a resonant umbilicus back to fusion and jazz, the music less a conjuration of past highs than a re-summoning of lost spirits.
The run of singles and EPs that followed picked up increasingly rapt reviews in the press, but it was the ‘Up Home EP’ released in 1988 on their new home, Rough Trade that really suggested something immense was about to break. Simon Reynolds noted the EP was: Their most concentrated slab of iridescent awesomeness and a true pinnacle of an era that abounded with astounding landmarks of guitar-reinvention, A.R. Kane at their most elixir-like.

If anything, the remastered ‘Up Home’ that forms the first part of ‘A.R. Kive’ is even more dazzling, even more startling than it was when it first emerged, and listening now you again wonder not just about how many bands christened ‘shoegaze’ tried to emulate it, but how all of them fell so far short of its lambent, pellucid wonder. This remains intrinsically experimental music but with none of the frowning orthodoxy those words imply. A.R. Kane, thanks to that second generation auto-didacticism were always supremely aware about the interstices of music and magic, but at the same time gloriously free in the way they explored that connection within their own sound, fascinated always with the creation of ‘perfect mistakes’ and the possibilities inherent in informed play.

‘sixty nine’ the group’s debut LP that emerged in 1988 had
critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves, ‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary.

The final part of this ‘A.R. Kive’ contains 1989’s astonishing double-LP ‘i’ which followed up on ‘sixty nine’s promise and saw the duo fully unleash their experimental pop sensibilities over 26 tracks, plunging the A.R. Kane sound into a dazzlingly kaleidoscopic vision of pop experiment and play. Suffused with new digital technologies and combining searingly sweet and danceable pop with perhaps the duo’s strangest and boundary-pushing compositions, the album did exactly what a great double-set should do - indulge the artists sprawling pursuit of their own imaginations but always with a concision and an ear for those moments where pop both transcends and toys with the listeners expectations. Jason Ankeny has noted that “In retrospect, ‘i’ now seems like a crystal ball prophesying virtually every major musical development of the 1990s; from the shimmering techno of ‘A Love from Outer Space’ to the liquid dub of ‘What’s All This Then?’, from the alien drone-pop of ‘Conundrum’ to the sinister shoegazer miasma of ‘Supervixens’ — it’s all here, an underground road map for countless bands to follow.” Perhaps the most overwhelmingly all-encompassing transmission from A.R. Kane, ‘i’ bookended a three year period in which the duo had made some of the most prophetic and revelatory music of the entire decade.

After ‘i’ the duo’s output became more sporadic with Tambala and Ayuli moving in different directions both geographically and musically, with only 1994’s ‘New Clear Child’ a crystalline re-fraction of future and past echoes of jazz, folk and soul, before the duo went their separate ways. Since then, A.R. Kane’s music has endured, not thanks to the usual sepia’d false memories that seem to maintain interest in so much of the musical past, but because those who hear A.R. Kane music and are changed irrevocably, have to share that universe which A.R. Kane opened up, with anyone else who will listen. Far more than other lauded documents of the late 80s it still sounds astonishingly fresh, astonishingly livid and vivid and necessary and NOW.

The first Matador pressing of Pavement’s ‘Westing (By Musket And Sextant)’, the compilation of Pavement’s early work from 1989-1993.

The new pressing coincides with this year’s release of the ‘Terror Twilight: Farewell Horizontal’ 4LP box set and a 30th Anniversary vinyl edition of ‘Slanted & Enchanted’.

Pavement begin several months of touring by headlining Primavera Sound Barcelona, before continuing onto sold-out tour dates in North
America and Europe

"Friendly Fires" was the debut album from the St Albans-three piece, Ed McFarlane, Edd Gibson and Jack Savidge. Featuring hit singles "Jump In the Pool" and "Paris", it was an era-defining record. It launched the band to huge critical and commercial success, nominated for The Mercury Prize and a Brit Award. The LP is now reissued for its 15th Anniversary on silver vinyl. Aeroplane"s remix of Friendly Fires" "Paris" has been out of print on vinyl for over a decade. A cover more than a remix, their version of Friendly Fires" first big single was all over the radio waves when it was first released, surely due to its sweet female vocal provided by Au Revior Simone. Now reissued for its 15th Anniversary on gold vinyl, the 12" also contains a remix by Justus Köhncke.

Producer Scrappy Jud Newcomb and Cleaves teamed up for the third time in early 2022 between Covid surges to record a new batch of songs, Slaid's first in five years.

Familiar themes of struggle and resilience will be a surprise to no one. As Scrappy puts it, "This album speaks to the hopeful, the hard working, the battered, confused, and the sad. But above all to the believers in the city of freedom that we heard in the stories of our youth and all those FM radio hits."

The first single, "Through the Dark," was co- written with Slaid's long- time collaborator and life- long friend, Rod Picott ("Broke Down," "Take Home Pay").

Slaid describes it simply as "a song about offering comfort in hard times."
Joseph Hudak of Rolling Stone calls Cleaves "a master storyteller, one influenced not by the shine of pop-culture but by the dirt of real life."

"More than 20 years into his career, Slaid Cleaves just keeps getting better . . .

There are few contemporaries that compare. He's become a master craftsman on the order of Guy Clark and John Prine." - Austin Chronicle

For their fourth album, »Bear In Town«, indie avant-pop supergroup Spirit Fest made a virtue of distance, with group members split across Europe, and recording sessions taking place after a brief 2021 tour of Europe. It’s an object lesson in perseverance and commitment, as the music here is some of Spirit Fest’s most moving yet. The six songs on this album illuminate different aspects of the transnational quintet’s character – lovely, heart-rending pop songs; melancholy chants; the joys of simple repetition – with the group’s guitar pop tended by gentle flourishes of piano and electronics.

Some of those flourishes were spirited onto »Bear In Town« across the waves, with Mat Fowler (Bons, Jam Money) contributing from Britain, while the body of the music was recorded in a small apartment studio in Munich by the other members of Spirit Fest: Saya and Ueno (Tenniscoats), Markus Acher (The Notwist) and Cico Beck (Joasinho, Aloa Input). »Bear In Town« is concise and powerful, the infectious joy of the spirit communicated, beautifully, by melodies that balance the heartfelt with the melancholy. Reflecting on those sessions, Acher says, »I think the album captures how well we played together at that time.« It’s all the more impressive given this material was put down live in the studio, with a few vocal overdubs. The depth of feeling at the core of Spirit Fest’s music is evident from the opening notes of »Bear In Town«.

»Kou-Kou Land«, the first song on the album, recalls several earlier Tenniscoats songs, like »Baibaba Bimba«, in the way the musicians weave gentle complexity around a simple, repeated chant; the stop-start structure of »Kou-Kou Land« builds anticipation, while Saya’s simple melody is lovely, delivered in an absent-minded hum that’s deeply affecting. »Lost & Found« revolves around a delightful descending chord change that breaks up the swaying, folksy verses, gorgeous electronic whirrs and purring winds floating through the song. The following »In Our House« possesses such sweet sadness, it’s one of Spirit Fest’s most moving songs yet.

»Like A Plane« repurposes a song that Markus Acher originally wrote and recorded for his solo EP of the same title, released on a 2022 10-inch single on Morr Music. The original was a gentle, introverted lament, but the version on »Bear In Town« has a widescreen tenderness, its melancholy framed by raindrop piano. The album concludes with two moments of playful splendour, the bossa-inflected »Hill Blo«, and the driving title track, both led by Saya, who is in stunning voice on this album; on »Bear In Town«, her awestruck wonder perfectly captures the sense of possibility in the song’s capacious chords. Like the rest of the album, it’s full of kindness, rich with psych-pop splendour… a balm for troubled times.

“Finding The Sacred Heart - Live In Philly 1986” was recorded at The Spectrum in Philadelphia during the second leg of the “Sacred Heart”
tour in June 1986.
It is a spectacular show with Ronnie James Dio’s in fine voice as ever while the band delivers a blistering performance featuring tracks from Dio’s first three albums alongside Black Sabbath and Rainbow classics. This monumental live show is now becoming available again on black vinyl.
Produced on 180g virgin vinyl, this edition will please fans of heavy 80s rock.

It is always our pleasure to have new talents in the house, and we've been following Notzing's development since long ago. His approach to techno is absolutely personal and complex, hard and intrincated, mental and physical.

Protae is the first missile in this box full of weapons, a super busy techno exercise with compacted drums, drilling synth lines and random metallic hits breaking the monotony. The effect on the floor is devastating and has been tested extensively in dancefloors worldwide by label owner Oscar Mulero in the past months. 7 minutes of pure dancefloor mayhem.

Fagus continues with the sickness, with hysterical synth washe repeating an hypnotic chant, adding layers of sound as the groove goes by. Repetition is here the key to proper trance, not exactly with pleasant tones but by aggression.

Ekaterin is gummy and elastic with formant synth sounds chewing frequencies and changing constantly in shape. Another mental mantra with a physical drive.

Molniya slows down the pace and dives into profound sound scapes full of unnatural underwater sounds and washes providing a feeling of scuba diving.

To end this sonic odyssey, Emision goes completely beatless, growing from the profound sub bass frequencies to crispy and crunchy surface noises, creating the soundtrack of floating in outer space with no gravity. Please beware of the super intense bass tones when playing on a big sound system.
The perfect combination of experimentation and punchiness, keep an eye on this guy, is gonna make some proper noise in the coming years.

The Vaselines have long been celebrated by musicians and music enthusiasts across genres and across the globe, including super-fan Kurt Cobain. Emerging in the mid-eighties under the wing of The Pastels' Stephen McRobbie, The Vaselines came to define the sly wit and irresistible pop hooks of the era's Scottish indie scene. Sub Pop's remastered reintroduction of The Way of The Vaselines is an opportunity for those already familiar with the Scottish band's brief career to delve deeper into their body of work, while those new to their music can experience firsthand why so many hold them in such high regard. Originally mastered from a cassette tape (and since remastered on much better equipment in the new millennium), The Way of The Vaselines compiles the band's two EPs (Son of a Gun and Dying for It) and their sole LP release (Dum-Dum). This 2023 edition is the first ever vinyl release of The Way of The Vaselines, which originally came out on CD in 1992.

The Vaselines have long been celebrated by musicians and music enthusiasts across genres and across the globe, including super-fan Kurt Cobain. Emerging in the mid-eighties under the wing of The Pastels' Stephen McRobbie, The Vaselines came to define the sly wit and irresistible pop hooks of the era's Scottish indie scene. Sub Pop's remastered reintroduction of The Way of The Vaselines is an opportunity for those already familiar with the Scottish band's brief career to delve deeper into their body of work, while those new to their music can experience firsthand why so many hold them in such high regard. Originally mastered from a cassette tape (and since remastered on much better equipment in the new millennium), The Way of The Vaselines compiles the band's two EPs (Son of a Gun and Dying for It) and their sole LP release (Dum-Dum). This 2023 edition is the first ever vinyl release of The Way of The Vaselines, which originally came out on CD in 1992.

Pressing Info: 180g black vinyl double LP, etched D-side, hand-numbered gatefold sleeve, limited to 500, download card included. Porto-based trio 10 000 Russos will release their new 'Live In Berlin' double LP on March 24th 2023 via Rubber Duck, a new live album imprint by Fuzz Club Records. The record captures the band storming through their subterranean motorik psych-drone live at Berlin's Astra Kulturhaus on October 16th 2021. Recorded whilst out on a European tour, 'Live In Berlin' finds 10 000 Russos performing their 2021 'Superinertia' LP in full the album's five songs expanded and taken to even more transfixing and hedonistic heights in a live setting. These shows were 10 000 Russos' first with the new, more-electronic line-up and sound, with newly-recruited synth player Nils Meisel making his debut on the 'Superinertia' LP and completing the line-up alongside founding members Joao Pimenta (drums/vocals) and Pedro Pestana (guitar). Across the hour-long set, Pimenta's deadpan sprechgesang vocal and machine-like percussion, Pestana cascading psych guitar-loops and Meisel's repetitive synth basslines all combine on a performance that will pull you into a trance at times and get you on your feet at others.

This concert from 2016 marks the first time Heart played at London’s famous Royal Albert Hall.

To make the sold-out night even more special, the band was accompanied by the Royal Philharmonic Orchestra, who added further depth and an epic scale to Heart’s songs.

The set included hits, fan favourites and both new and reinterpreted tracks from their most recent album at that time: “Beautiful Broken”. The chemistry between the band and orchestra added a truly magical quality to a concert that will live long in the memory of those Heart fans lucky enough to have been present.

Recorded in May 2004, the classic Yes line up - Jon Anderson, Steve Howe, Chris Squire, Rick Wakeman and Alan White, join forces once again to celebrate their historic 35 years, creating music and memories together. This magical show features songs spanning their career, including the classics “Roundabout”, “Starship Trooper”, “I’ve Seen All Good People”, “Owner Of A Lonely Heart” and many more! For the first time ever, this concert will be made available on vinyl and truly be a wonderful gem in every progressive rock fan’s music collection.

"Marathon was formed in 2019 by Mark Kelly, the keyboard player with Marillion.

Together with Guy Vickers, Oliver M. Smith (vocalist), Pete “Woody” Wood (guitar,) John Cordy (guitar), Henry Rogers (drums) and his nephew Conal Kelly (bass), Mark Kelly turned his vision into reality. Marillion bandmate Steve Rothery also joined the band and contributed the lead guitar to the song “Puppets”.

The band recorded their debut album in separate locations between March and July 2020 during lockdown. The members of the band came together (some meeting for the first time) at Peter Gabriel's Real World Studios on the 28th & 29th of July to record and film a live version of the album, which will be available as a Bonus DVD together with the album."

Stomu Yamash'ta's ultra-rare cult 1971 LP is reissued for the first time, it is a deep, cosmic, at time ambient performance recorded live and
featuring two other Japanese legends: Takehisa Kosugi from the TajMahal Travellers and jazz pianist Masahiko Satoh

Remastered from the master tapes with original gatefold artwork, obi and newintroduction by Paul Bowler. Recorded live at Yamaha Hall in Tokyo on April 18, 1971, the all- night concert was recorded in front of an invite- only audience consisting of friends and musicians. Yamash'ta had Satoh on keyboards along with Fluxus master and leader of the Taj Mahal Travellers Takehisa Kosugi on violin and Hideakira Sakurai on electric shamisen.

Edited down to fit two sides of an album that will become 'Sunrise From West
Sea', the performance is both hypnotic and ethereal. It starts with Kosugi's
distinctive electric violin and develops into a deep, spiritual free form
conversation between the four musicians, giving them all the space, they need to
freely improvise and interact with each other, mixing electronics, percussion,
electric organ and shamizen without ever clashing. The interaction alternates
between quiet, tranquil Eastern meditations and more paced parts, fuelled by
Yamash'ta's extraordinary percussion playing.
Yamash'ta never reached the creativity heard in 'Sunrise From West Sea' again.
The album was recorded during one of the most fertile periods in Japan where
such groups as Les Rallizes Denudes and Taj Mahal Travellers and jazz
musicians like Masahiko Satoh and Yamash'ta were revolutionising the Japanese
music scene.

Repress

Superb mystical-acid ambiance with the first tune from Sparks.
Bennou then brings a minimal and mental evolutive tune with a special kick and an acid surrounding ambiance. Powerfull.

The flip opens with Win and "The Message"... Supa Dark and heavy at the hardcore Frontier, with a mental progressive structure... heavy ambiance :-/
The Finish comes with Doodax & TKC : this time for sure a Doom pure tune : Haunted melody with bold 156 BPM Kick.

Clear Vinyl

Repressed! Get On Down proudly present Mecca And The Soul Brother, the critically acclaimed 1992 full-length debut from Pete Rock & CL Smooth. The album is considered as one of the greatest Hip Hop albums of all time. Boasting tracks such as the first single, “They Reminisce Over You (T.R.O.Y.)”, a dedication to their deceased friend; “Trouble T-Roy”, which went on to become not only their signature hit, but also one of Hip Hop’s all-time great songs. The album is propelled forward by Rock’s quick, soulful interludes; usually bits of old R&B tunes layered with his signature trumpet and sax loops. Smooth’s liquid freestyle delivery pieces together the perfect vocal match that, together, creates a sprawling, nearly 80-minute-long album on which not a single song or interlude is a throwaway or a superfluous piece.
Mecca And The Soul Brother has stood the test of time. The release has been named one of the essential recordings of the 90s by Rolling Stone, appears on Ego Trips listing of the Top 25 Hip Hop albums released from 1980-1998, and appeared on The Source’s 100 Greatest Rap Albums of all time.

Today, Anjimile Chithambo, better known as Anjimile, announces his new album, The King, out September 8th, his first full-length since 2020’s breakthrough Giver Taker. To herald the announcement, he shares lead single, ‘The King’, accompanied by a visualiser by Daniela Yohannes, whose striking painting takes centre stage on the album cover.

Highlighting the artistic shift from Giver Taker to now, ‘The King’ opens with a lofty, melodic choir, an intro that belies the song’s motives. Suddenly, sinister arpeggios interrupt the reverie, and the voices grow darkly serious. Deeply steeped in the confusion, grief, and rage of being Black in America, ‘The King’ pushes back against the tired adage, “what doesn’t kill you makes you stronger,” hissing, “What don ’t kill you almost killed you// What don’t fill you//pains you// drains you.”

“If Giver Taker was an album of prayers, The King is an album of curses.” In his second album, Anjimile continues exploring what it means to be a Black trans person in America. The brutally honest reflection of 2020’s deadly summer is less reminiscent of the pink cloud of early sobriety and more rooted in the reality of seeing brutality with clear eyes. Drawing from influences ranging from religion, Phillip Glass, and lived experiences, the album is a grand step forward for Anjimile. Nearly every sound you hear on The King comes from two instruments: an acoustic guitar and Anjimile’s own voice. Other than a few beautiful contributions from Justine
Bowe, Brad Allen Williams, Sam Gendel, and James Krivchenia (Big Thief), the album is the result of a year in LA working intimately with Grammy and Juno winner Shawn Everett.

Structured chaos- perhaps the most fail-safe description of the ins and outs of being an artist. Between the peculiar highs and all too relatable lows, chaos follows art like houses in motion; all lofty ambitions, and fast-paced progress. For Brighton’s Porchlight, chaos, and the art of being a band, in all its complex commodities, is nothing more than mere childsplay, in the grand scheme of lawless artistry.

Loosely inspired by tales of small-town rural England- cottage villages with dark exteriors, ‘Wives Tales & Hymns of the Earth’ as a whole, is the outcome of five individual tales coming together to form a conceptually emphasised entity to end all conceptually emphasised entities. Completed by the poetic brood of ‘Blue Chalk’, the jagged anxieties of ‘Spin Doctor’ and Porchlight aficionado familiarities of opening track ‘From Monday’, in just short of twenty minutes ‘Wives Tales & Hymns of the Earth’ perfectly captures the sweeping emotions of a debut; a soul-stirring, ear-pounding documentation of a group taking their first steps into a whole new unknown of their own fine-crafted design.