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Named by Q Magazine as one of the "5 Best Compilations of 2000," Romeo Must Die: The Album is the soundtrack to the Andrzej Bartkowiak 2000 film, Romeo Must Die. With executive production from Timbaland, Barry Hankerson, Jomo Hankerson and Aaliyah, the film's star, the album features production from Irv Gotti, Rapture Stewart, Ant Banks, Eric Seats, Mannie Fresh and J Dub. Appearances include B.G., Chanté Moore, Dave Hollister, Destiny's Child, Ginuwine, Joe, Lil' Mo, Mack 10, Playa, Stanley Clarke, and Aaliyah, who appears on four songs. The album debuted at number 3 on the Billboard 200 and was certified Platinum shortly after it's release.

Wilurarrakutu is the brilliant debut from Papunya-based artist Keanu Nelson, an intimate exercise in musical storytelling and reflection. The album's eight tracks, sung in both Papunya Luritja and English, are verses of prose and poetry pulled directly from Nelson's notebooks and set to minimalist, DIY electronic arrangements.The evocative musical backdrops_featuring Casio keyboards, drum machines, and subtle synth flourishes_were created in collaborative sessions between Nelson and Sydney producer Yuta Matsumura. The two met by chance on Matsumura's visit to Papunya last year. Their impromptu jam sessions form the foundation for Wilurarrakutu's low-key sonic palette, influenced in parts by Papunya's strong local gospel music scene as well as the reggae beats often passed around the remote community via USB sticks and mobile phone transfers.Over these soundscapes, Nelson sings of family, friends, heritage, and culture, with a tone that balances joy and melancholy. They're themes and emotions that also echo through his work as a painter at the Papunya Tjupi Arts Centre. In this way, Wilurarrakutu becomes an extension of his art practice - a graceful audio portrait of a place that evokes the resonance of home.

"Vangelis (29/3/1943 –17/5/2022) was a Greek musician, composer, and producer of electronic, progressive, ambient, and classical orchestral music. He composed the Academy Award-winning score to Chariots of Fire (1981), as well as for the films Blade Runner (1982), Missing (1982), Antarctica (1983), The Bounty (1984), 1492: Conquest of Paradise (1992), and Alexander (2004), and the 1980 PBS documentary series Cosmos: A Personal Voyage by Carl Sagan. Vangelis started writing music when he was 4 and performed his first live concert at age 6. He started his career as a member of The Forminx. In the sixties, he was a founding member of Aphrodite's Child along with Demis Roussos and Lucas Sideras. He also enjoyed succes as part of Jon & Vangelis early in the eighties. The Best Of Vangelis from 1993 is an absolute classic. It contains Vangelis classics like “Alpha”, “To The Unknown Man”, “Pulstar (Audio)”, “Spiral” and “So Long Ago, So Clear” featuring Jon Anderson from Yes. Now for the first time available on vinyl as a Limited Edition 2LP set, on white coloured vinyl.
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Acclaimed folk-blues singer/songwriter Luke Winslow-King has recently inked a significant deal with the iconic Bloodshot records, coinciding with the label’s 30th anniversary, and marking a revival in the institution’s trailblazer history of outlaw country, folk roots, and rock n roll. To celebrate this exciting collaboration, Luke Winslow-King is set to embark on a midwest tour with guitar maestro Roberto Luti of Tuscany May 17 - June 1 of 2024. Tuscan Slide Guitar Maestro Roberto Luti is a founding member of the Playing For Change band and has collaborated with legends such as Taj Mahal, Keb Mo, Keith Richards, Ringo Starr, Dr. John and numerous others, accumulating over 100 million plays on YouTube. His unorthodox, angular and evocative slide guitar style is based on Mississippi and Chicago blues and is infused by soul and African roots traditions. Fans can expect the sincere and heartfelt roots blues stylings King has become known for, showcased alongside his continual artistic reinvention

Auf ihrem zweiten Album "Anywhere But Here" verfeinern Sorry ihr Songwriting und begeistern einer Mischung aus Post-Punk und Leftfield 90s Pop. Produziert von Adrian Utley (Portishead).

Sorry's Debütalbum "925" (2020) war nicht nur ein künstlerischer Erfolg, es wurde von Kritiker*innen hochgelobt. Der Zeitpunkt der Veröffentlichung hätte nicht unglücklicher sein können: März 2022. Es kam der Lockdown, an Konzerte war nicht mehr zu denken. Trotzdem hat die Band nicht stillgestanden und hat im letzten Jahr die Twixtustwain-EP und ein Charity-Live-Album zur Unterstützung ihres geliebten Venues Windmill veröffentlicht sowie im fleißig Material für ihr zweites Album geschrieben. Als die Zeit reif war, zog die Band nach Bristol, um mit Adrian Utley von Portishead zu arbeiten und die Welt von "Anywhere But Here" zu erschaffen. Das Ergebnis ist ein mysteriöses, grenzüberschreitendes Album, auf dem die Songschreiber*innen Asha Lorenz und Louis O'Bryen versuchen, mit dem umzugehen, was die letzten zwei Jahre für uns alle mit sich gebracht haben. Im Zentrum steht das zeitlose Songwriting des Duos, das zwischen dem hookigen Post-Punk von "Let The Lights On", dem schrägen RnB von "Key To The City" und dem leftfield 90er-Pop von "Screaming In The Rain" hin und her springt und überall dazwischen Halt macht.

Over 19 tracks, Wayfaring Strangers: Cosmic American Music mines gold from dollar bin country-rock detritus to reconstruct events as seen from the genre's wild west - Americana's vast private press substructure. As progenitor and contemptuous poster boy for the music that came to be Cosmic American, Gram Parsons found himself mired in a recording career spent mostly in scouting the perimeters of chart success. "He hated country-rock," Parsons collaborator Emmylou Harris would later reflect. "He thought that bands like the Eagles were pretty much missing the point." Parsons had been orbiting the idea of Cosmic American Music for some time. In 1968 he'd parted ways with the Byrds and was looking to take air with a new project. "It's basically a Southern soul group playing country and gospel-oriented music with a steel guitar" he told Melody Maker, on the subject of The Flying Burrito Brothers. So it was that when A&M's Burrito Brothers debut The Gilded Palace of Sin made it to shelves in February of 1969, early adherents to the Cosmic American gospel were already echoing its message from areas flanking Gram Parsons' Southern California hills and canyons. There was F.J. McMahon in coastal Santa Barbara, Mistress Mary further inland in Hacienda Heights, and Plain Jane of Albuquerque, New Mexico, each responding by committing their own private readings to tape before day one of the 1970s. Parsons himself might've disdained them, had he even been aware of such minor ripples, shimmering at the edges of his desert oasis. But these were true believers all the same, given over fully to his roots music concept, each filling vinyl grooves with non-rock instrumentation like fiddle, banjo, and pedal steel guitar, the last undoubtedly Cosmic American Music's most distinguishing stringed signifier. Only too predictably, big labels did the grunt work of confining and defining the movement, as ABC, United Artists, RCA, and more played catch-up with Asylum's raptor rock juggernaut, via backwoods crossover also-rans with names like Gladstone, American Flyer, and Silverado. Twang reigned, the shitkickers kicked shit, and the vaguely western-sounding guitar records piled up. Country-rock became "the dominant American rock style of the 1970s," as Peter Doggett's comprehensive Are You Ready for the Country put it much later. Wayfaring Strangers: Cosmic American Music picks up and dusts off golden ingots from the dollar-bin detritus of that domination, to reconstruct events as seen from the genre's real Wild West-America's one-off private press label substructure.

Daniel Avery returns to fabric Originals with his second EP of 2024 following on from the ‘Wonderland / Running’ EP back in March, Avery’s only officially releases for this year.

“Broken euphoria. The other side of Room 1 that will crush your skull and fill your soul in equal measure. Being blinded by the most beautiful light you’ve ever seen.”

Daniel Avery plays fabric, 15th November – ALL NIGHT – Divided Love Party

Vinyl lands 6th December

Repress!

Voodoos and Taboos first appeared in 2019. A mysterious outfit, their melting pot sound immediately caught the ears of the faithful; acid cut with house, electro beats shot through with a punk D.I.Y. attitude. Their escapades didn’t miss us here at Bordello.

Reversible Dreams collects four examples of this chameleon club style that Voodoos and Taboos have cultivated, the EP opening with the title piece. Cascading chords and whispered samples give way to rich bass strings as a playful piano melody transforms into squirming acid beams.

Claps and neat notes introduce “Unconditional Love”, vocoder lyrics mingling with spoken word and juddering space TB303 squawk. The flip adopts a darker hue. Off-kilter bars and stern beats introduce “Animae”, alien electro melodies descend as a fizzing late night energy takes hold. BPMs drop for “Destino Lontano.”

Warm basslines and Eastern scented synth-play weave their way through the piece, delicate strings and dawn sunshine leading to a close.

IT DEEL is the multi-year project of the Kleefstra Bros together with Popfabryk; production house for Frisian pop culture.

For IT DEEL III the Kleefstra Bros have entered into a collaboration with the Belgian multi-instrumentalist Karen Willems. Together they worked in the Thomaskerk in Katlijk on new material that was released on vinyl by Moving Furniture Records.

The Kleefstra Bros are poet Jan Kleefstra and guitarist Romke Kleefstra, both also members of Piiptsjilling, The Alvaret Ensemble, CMKK, Tsjinlûd and Kleefstra|Bakker|Kleefstra. Based on a deeply felt mission, the makers want to create awareness of the universal connection between people and nature and use the means available to them to this end: poetry and music.

The Belgian multi-instrumentalist Karen Willems is active in various fields. Started as a drummer in rock and pop groups such as Zita Swoon Group, Jan Swerts, Pascal Deweze, Yuko, Novastar, Mauro Pawlowski and others. With a number of musicians she built a tradition in improvised music and sound art. Just like the Kleefstra Bros, Karen Willems is intrigued by the forests, landscapes and nature that can be heard in her work.

30D Records celebrates a decade of modern sonic exploration. Since its inception at the end of 2014, and initially taking inspiration from 40's & 50's science fiction culture, the label has been offering to listeners a vast array of genres, being experimental, creative and forward-thinking dance music its main mission.

For its 10th anniversary, the cutting-edge electronic music label very proudly announces five distinctive releases, each one across their respective sub-labels.

30drop, in constant evolution towards experimentation, leaves aside once again the obvious 4x4 pattern to dive into melancholic, dense and gritty musical landscapes. These four tracks, each one carefully crafted to convey a specific feeling at a specific moment, were created through layers and harmonics that work as a whole thing.

30D Records celebrates a decade of modern sonic exploration. Since its inception at the end of 2014, and initially taking inspiration from 40's & 50's science fiction culture, the label has been offering to listeners a vast array of genres, being experimental, creative and forward-thinking dance music its main mission.

For its 10th anniversary, the cutting-edge electronic music label very proudly announces five distinctive releases, each one across their respective sub-labels.

Denise Rabe, a regular face into our roster, is back to the label with a full release for the very first time. True to the meaning of the word in itself, Mastermind Ep is a highly clever and complex exercise of dark and oppressive but also psychedelic, magical and almost ritualistic broken-beat techno music, which defines Denise's own sound, and that clearly explains why she is becoming increasingly a key piece for the evolution and development of the current techno scene.

For the first time on vinyl, a great Australian High Energy classic from Brother Brick, led by Stew Cunningham, one of the best guitarists to emerge from the antipodes. On the same level as other classics such as Bored!, Asteroid B612, New Christs... A gem of OZ rock. Attention all rock enthusiasts and vinyl collectors! The wait is finally over. For the first time ever, Brother Brick's legendary 1997 album A Portable Altamont is being released on vinyl, fully remastered to capture the raw power and energy that defined their high-octane sound. This release showcases the band's gritty fusion of blistering guitar riffs, pounding rhythms, and unforgettable melodies--reminiscent of Detroit's finest like The Stooges and MC5, but with that unmistakable Aussie edge. Led by the iconic Stewart Cunningham, known for his work with other influential projects like Proton Energy Pills, Leadfinger, Asteroid B612, and The Yes-Men, Brother Brick carved out their own space in the '90s Australian rock scene. A Portable Altamont is a testament to their uncompromising spirit, packed with all the attitude and authenticity that made them a standout in the Sydney underground. Originally only available on CD, A Portable Altamont is a high-energy masterpiece of Australian rock, packed with blistering guitars and melodies that have been screaming to be heard on the rich, warm tones of vinyl. This remastered edition brings new life to tracks that defined a generation of raw, unapologetic rock. If you're a fan of loud guitars, powerful melodies, and pure rock 'n' roll attitude, this is the vinyl you've been waiting for. Don't miss your chance to own a piece of rock history--A Portable Altamont is now available in a limited edition vinyl pressing! TRACKLIST SIDE A A1 The Same A2 Chip On My Shoulder A3 Beyond My Hands A4 Chokito Bar A5 Derelict Eyes A6 No Turning Back SIDE B B1 Rock'n'Roll Marie B2 Feel Strung Out B3 Drives Me wild B4 Help Yourself B5 We're Not Like You B6 Rock Action

Wunderhorse is the alias of British musician Jacob Slater Jacob fronted The Dead Pretties, a London band who arrived in a haze of hedonism and hype, bowing out before the dust had time to settle. Blink and you'd have missed them. Time- stamped yet timeless. If there's any justice, he'll soon be played out live in sticky basement rooms up and down the country, limbs everywhere, sweat dripping from the walls. An absolute mess, but what a beautiful one.

Repress!

Desde los oídos de un sapo

We are very excited to announce a new chapter in our journey. Here we are blazing a new trail, making our way to document and leave a first-class record of sound design, Field Recording and cutting-edge electronic music made in South America. We present our first album, 'Desde los oídos de un sapo', by our favourite amphibian, a man ahead of his time, the Uruguayan Lechuga Zafiro.

"How could I call it my sound if I had not found it myself?"___

States the artist, who finished forging his outstanding musical identity based on field recordings. Metal, wood, plastic, glass, rock, toads, birds, sea lions, pigs and water (in its various forms) captured in Uruguay, El Salvador, Chile, China, Argentina and Portugal, coexist and exchange harmonic and dynamic properties. By altering, editing, or simply letting the sounds manifest themselves, Lechuga generates a wide and complex rhythmic-timbral universe. These are 7 tracks that never cease to have consistency and a fierce character.

Lechuga's debut album is a milestone in Latin electronic music. This document opens a new territory, one so genuine and challenging, so real and fertile, that we are confident it will be a must-have anywhere on the planet. This collaboration is our new contribution to the mission of contemplation, so please stop, come to this frog's ear, to feel with both Pablo and us.

"Through the old school" ist ein wütend-kompromissloses Manifest gegen den Ungeist dieser Zeit und hochexplosiver Hybrid aus NYHC und englischem Streetpunk/ Oi der rauhen Sorte. Die Südeuropäer von "No Restraints" könnte man auch als "Italien's Agnostic Front" bezeichnen! Nach ihrem längst vergriffenem Debüt-Album "Stand your ground" und der Split mit "This means War" haben sie sich nicht nur live einen exzellenten Ruf erspielt - ihr Song "Streetcore Worldwide" ist längst über alle Grenzen zur Szene-Hymne geworden. Mit dem Opener "Another kind of hate" ihrer neuen 5-Track Mini-LP setzen sie ihre Mission beeindruckend fort: Fernab von Klischee's und aufgesetzter Strassenromantik knallt dieser kranken "world of deception" die ganze Verachtung und Hass von Shouter Johnny Wesson entgegen. "No Restraints" wissen wovon sie singen! "Suburban Dreams" sind alles andere als "easy living". Ihren Sound hat die Band dabei weiter perfektioniert ohne ihren Stil zu verändern. Eben "through the oldschool"! Einseitig bespieltes 5-Song Minialbum als klassisch schwarzes oder Blutrot mit Schwarz farbiges Vinyl!

"Through the old school" ist ein wütend-kompromissloses Manifest gegen den Ungeist dieser Zeit und hochexplosiver Hybrid aus NYHC und englischem Streetpunk/ Oi der rauhen Sorte. Die Südeuropäer von "No Restraints" könnte man auch als "Italien's Agnostic Front" bezeichnen! Nach ihrem längst vergriffenem Debüt-Album "Stand your ground" und der Split mit "This means War" haben sie sich nicht nur live einen exzellenten Ruf erspielt - ihr Song "Streetcore Worldwide" ist längst über alle Grenzen zur Szene-Hymne geworden. Mit dem Opener "Another kind of hate" ihrer neuen 5-Track Mini-LP setzen sie ihre Mission beeindruckend fort: Fernab von Klischee's und aufgesetzter Strassenromantik knallt dieser kranken "world of deception" die ganze Verachtung und Hass von Shouter Johnny Wesson entgegen. "No Restraints" wissen wovon sie singen! "Suburban Dreams" sind alles andere als "easy living". Ihren Sound hat die Band dabei weiter perfektioniert ohne ihren Stil zu verändern. Eben "through the oldschool"! Einseitig bespieltes 5-Song Minialbum als klassisch schwarzes oder Blutrot mit Schwarz farbiges Vinyl!

+ REPRESS OF THE LONG OUT OF PRINT DEBUT ALBUM BY THE COATHANGERS + LIMITED EDITION FOURTH LP PRESSING ON NEON BUTTERFLY VINYL + REMASTERED WITH TWO BONUS TRACKS + EXPANDED ARTWORK BY BRADFORD COX (DEERHUNTER, ATLAS SOUND) + HOUSED IN A GATEFOLD JACKET + DL COUPON // Eighteen years ago, four young Atlanta women picked up instruments without any prior musical experience or lofty aspirations and decided that they were going to start a band so that they could play a friend's party. The house-show begat more shows around town, and the feisty and fiery live sets begat an album. Recorded during a single graveyard shift at a local studio and mixed the following night, the self-titled debut album by The Coathangers was a raw, rowdy, and revelrous affair. What it lacked in polish it made up for in its undeniable energy and charisma. "We didn't think anyone was going to listen to it," says vocalist/guitarist Julia Kugel. "We knew our friends in Atlanta would get it, but we didn't think it was going to go anywhere. We were just excited to make a record." Little did Kugel or her bandmates_vocalist/drummer Stephanie Luke, bassist/vocalist Meredith Franco, and keyboardist Candice Jones_know that their scrappy house show-anthems would catch on, prompting years of international tours, a slew of excellent LPs and singles, and, eventually, a deluxe version of their boisterous debut, The Coathangers. The eponymous debut album by The Coathangers is a whirlwind ride of a band at the most frenzied, celebratory, and free moment of their existence. As a standalone record, it's a brash and bawdy rocker sure to please anyone who likes their rock n' roll sweaty and messy. As a piece in the band's legacy, it's an exhilarating reminder of the band's youthful care-free beginnings. The deluxe remastered version of The Coathangers includes the bonus tracks "Wife Eyes" from the Hard Candy EP and the title track from the Never Wanted You EP. The Coathangers on vinyl features expanded artwork by Bradford Cox (Deerhunter, Atlas Sound) in a gatefold jacket.

Erstes umfassendes Archivprojekt für The Police, welches erweiterte, mehrformatige Wiederveröffentlichungen enthält. Dazu enthält das Projekt bisher unveröffentlichtes Bonusmaterial, neue Linernotes und Interviews, sowie seltene Archiv-Memorabilien und Fotos.
Alle Tracks wurden direkt von den Originalbändern durch Audio-Remastering in den Abbey Road Studios
neu bearbeitet

6 artists, 4 tracks for the first release of various artists of yay recordings.

Techno, house, breakbeat and a bit of acid are the ingredients of this album that should not be missing in your bag.

Soul4Real returns to the south with a selection of eleven songs from Malaco, Muscle Shoals Sound Studios and Alarm Records.
There is no doubt that in the 1970s and 1980s, Malaco in Mississippi and Muscle Shoals Sound in Alabama were both highly significant in defining the southern soul sound. Malaco’s Studio had opened in 1967, while Muscle Shoals Sound Studio opened its doors for business in 1969, when four musicians left nearby Fame Studios to go it alone. Alarm Records, meanwhile, based in Shreveport, Louisiana, provides us with four of the tracks on this album.
Independent producers and major record companies sent their artists south to record, taking advantage of both Malaco and Muscle Shoals Sound’s talented array of musicians, writers and producers. Muscle Shoals Sound, in particular, started to receive artists from Atlantic Records from the get-go; R.B. Greaves, Baby Washington, Sam & Dave and Solomon Burke led the way, along with Scotland’s Lulu. The first relesase on their own record label was the timeless “It Hurts So Good” by Katie Love. Meanwhile, Stax (amongst others) sent some of their artists to record at both studios, and Malaco would also lease some of its own productions out to Atlantic. Alarm Records was a smaller set-up which also produced some wonderful records.
This album opens with the only female singer featured – Dorothy Moore. Her exquisite “Girl Overboard” has been justifiably popular on the soul scene for decades. The other ten tracks showcase an array of fine male singers, most of whom (Bobby Bland and King Floyd aside), sadly and perhaps unjustly, never really made the big time. It is the first showing on vinyl for three of the tracks here (previously having only been issued on CD), and Jimmy Jules’ reading of “Having A Little Talk With Love” has never appeared anywhere before. As always, sit back and savour the music!

The Holiday Album That Turned Mariah Carey into the Queen of Christmas: Featuring the Standard “All I Want for Christmas Is You,” the Singer’s Blockbuster Merry Christmas Exudes Joy, Spirituality, and Conviction
Sourced from the Original Master Tapes, Presented in Audiophile Sound for the First Time, and Strictly Limited to 3,000 Numbered Copies:

Mobile Fidelity’s UltraDisc One-Step 180g 33RPM LP Set Plays with Superb Detail, Openness, and Definition
1/2" / 30 IPS / Dolby SR analogue master to DSD 256 to analogue console to lathe

Mariah Carey didn’t become the Queen of Christmas just because of her fervent love of the holiday. Or as the result of a brilliant marketing plan. The iconic singer earned her title by way of her blockbuster Merry Christmas, a 1994 album that quickly joined the likes of Bing Crosby’s White Christmas, A Jolly Christmas from Frank Sinatra, and Nat King Cole’s The Christmas Song as an all-time holiday vocal classic. Featuring a balanced mix of inspired originals and well-chosen covers, Carey’s fourth studio record has only grown in stature as new generations discover its magic. Mobile Fidelity’s 30th anniversary edition reissue of Merry Christmas makes her spellbinding performances and upper-tier register come alive like never before.

Sourced from the original master tapes, pressed at Fidelity Record Pressing, and strictly limited to 3,000 numbered copies, the pioneering label’s UltraDisc One-Step 180g 33RPM LP set of Merry Christmas plays with superb detail, depth, and dimensionality. Available in audiophile quality for the first time since its original release three decades ago, and featuring the bonus track “God Rest Ye Merry, Gentlemen,” the nine-times-platinum set breathes with a newfound openness and transparency that enhance the spirituality, passion, and festive tenor of Carey’s singing.

Benefitting from superb groove definition, a nearly inaudible noise floor, and dead-quiet vinyl surfaces, the music takes on a heightened energy and anticipatory emotion synonymous with the holiday season. Carey’s signature vocals explode with liveliness and dynamics, the full scope of her acrobatic range presented in clear, transparent sound that practically places her on a small stage in your listening room. This collectible version also breathes with the kind of warmth, intimacy, and coziness you want from a landmark vocal album.

Recorded when Carey helped put “diva” back into everyone’s vocabulary, Merry Christmas gave the New York native another smash right out of the box. What nobody knew at the time was the degree of the album’s staying power — and how, many years removed from its initial promotion cycle, its legend would still grow and even spark a 2010 sequel. Having re-entered the Top 200 charts every year since 2019, Merry Christmas ranks as one of the three most commercially successful holiday LPs ever made and, in due time, will likely earn the top distinction in that class. A global blockbuster, it seamlessly ties together Christian, gospel, and secular threads and speaks to a boundless audience, independent of denomination.

Most obviously, the record remains inescapably connected to “All I Want for Christmas Is You,” an uptempo anthem that towers as a holiday standard and one of the biggest-selling singles in history. Punctuated with celesta chimes, sleigh bells, springy keyboards, and joyous beats, the song echoes the simple albeit engaging melodies and doo-wop style of beloved holiday classics of yore — and blends such elements with contagious dance-pop rhythms to create an atmosphere rich in joy, wonder, and excitement. Radiant with golden soulfulness and sincere conviction, Carey’s exuberant singing and on-point phrasing put it all over the top. And how.

The song stands as the only effort in Billboard history to top the Hot 100 chart during at least three separate runs. Carey’s blockbuster has already hit No. 1 during five runs, spanning every year between 2019 and 2024. That’s just one of the many records the singer holds — and only one of the multiple highlights from Merry Christmas, which includes two other Carey-penned originals, “Miss You Most (At Christmas Time)” and “Jesus Born on This Day.”

Though slightly lesser known, Carey’s remarkable rendition of Darlene Love’s “Christmas (Baby Please Come Home)” further links her album with the big, lush, Wall of Sound heritage that helped inspire its production. Carey’s heartfelt take and transformation of the traditional “Santa Claus Is Coming to Town” into an animated tune that even adults can believe, as well as her clairon reading of “Joy to the World” — cleverly augmented with bits of Three Dog Night’s 1971 hit of the same name — further reinforce her status as Queen of Christmas.

At the peak of her powers, Carey finds equivalent success when tapping more spiritual veins. Witness the reverence she brings to the timeless carol “Silent Night,” the piousness she invests in “Jesus Oh What a Wonderful Child,” and the sacred feeling she conveys throughout “O Holy Night.” You’ll also never think of “Hark! The Herald Angels Sing” and “Gloria (In Excelsis Deo)” the same way again after hearing Mimi pour her heart and soul into them, and pair the songs together.

Indeed, it’s Carey’s pliable voice, melismatic technique, and five-octave range — on display here in definitive fashion — coupled with her undeniable love for Christmas and understanding of the religious significance of the season that make Merry Christmas a must-have holiday staple. And on Mobile Fidelity’s LP, something you better add to your wish list.

Sourced from the Original Master Tapes and Strictly Limited to 4,000 Numbered Copies: Mobile Fidelity’s 180g 45RPM 2LP Set Plays with Insightful Depth, Definition, and Transparency
1/2" / 30 IPS / Dolby SR analogue master to DSD 256 to analogue console to lathe

Rock and Roll Hall of Fame Member Little Richard is a musical institution. The Architect Of Rock ’n’ Roll’s 1970 return. Pressed on opaque pink vinyl. Mastered by Grammy®-winning engineer Michael Graves. Lacquers cut by Jeff Powell at Take Out Vinyl/Sam Phillips Recording Service in Memphis. Packaging contains liner notes from Bill Dahl. Some successful recording artists are lucky to enjoy a lengthy career and perhaps one successful comeback after their popularity wanes over time. Rock ’n’ roll pioneer and absolute legend, Little Richard, achieved several. In the ’50s he racked up a non-stop string of smashes for Specialty Records with producer Bumps Blackwell like the blistering cuts, “Tutti Frutti,” “Long Tall Sally,” and “Rip It Up.” The Georgia Peach was deemed too uninhibited and unpredictable for TV variety shows to present to the nation, but the records were undeniable hits. He was clearly, an artist far ahead of the culture and times. Little Richard returned in 1970 with The Rill Thing and instead of sticking around his adopted home of Los Angeles, Richard set out for Rick Hall’s FAME Recording Studios in Muscle Shoals, Alabama to record the album for Reprise, joined by Bumps, who was now his manager. The opening track, “Freedom Blues,” was released in April of 1970 and hit #28 on the charts. The second cut, “Greenwood Mississippi,” was also released as a single in August and also made a Billboard appearance. The marathon title track (running a whopping 10 minutes and 20 seconds) was an intense funk jam that was captured in one take. The album also featured covers of tunes by The Beatles and Hank Williams—it was a different sound by far than the savagely rocking attack he’d ridden to fame like a rocket at Specialty close to a decade and- a-half earlier, but it was every bit as effective. The Rill Thing bore the slogan “The Little Richard Sound” on its labels. “He was at his peak with his vocals on there,” says guitarist Travis Wammack admiringly. “He was just singing his booty off!” The Rill Thing is back as a 12" long player, and pressed on opaque pink vinyl with a printed inner sleeve that includes liner notes by Bill Dahl.

Limitiert auf 500 Stk. – 100 Stk.


OSS! Spy vs. Spy! MI6! All operating in the shadows of darkness and danger... listen...underneath that double-trouble of uncertainty lays the groove. The exotic and the erotic sounds. 007! The music with a license to kill and thrill. When the clock strikes five and it is cocktail time, no man is a match for the soundtrack of the Femme fatale of the underworld. Shake that thing baby-don"t stir it....and the Martini too. The spy universe has been quite an inspiration for composers and orchestras. Lounge music, Exotica and symphonic, this record will have you spinning the globe hitting every longitude and latitude from Bangkok to Rio. So drop that needle and get on board this second volume as this jet is leaving the gate right on time.

« Most aresting, however, is the film's use of sound and music, which give each scene an atmospheric lilt. »

Maya Phillips

In order to celebrate the first anniversary of Sirocco and the Kingdom of Winds, the animated film by benoît Chieux, Stereo Rônin Records partners with Cristal Publishing, Sacrebleu Production, Take Five, and Ciel de Paris to offer a limited vinyl edition of the original soundtrack composed by Pablo Pico.

The soundtrack of Sirocco and the Kingdom of Air Currents, composed by Pablo Pico, stands out for its melodic richness and immersive atmosphere. It accompanies the journey of Juliette and Carmen through a fantastical world. The music blends traditional instruments with modern sounds, creating a nostalgic yet dynamic ambiance. The themes evoke adventure, discovery, and magic, enriching the film’s visual narrative. With his captivating compositions, Pablo Pico captures the essence of the story, providing an auditory experience that perfectly complements the film's universe.

Synopsis

Juliette and Carmen, two fearless sisters aged 4 and 8, discover a secret passage to the Kingdom of Air Currents, their favorite book. Transformed into cats and separated from each other, they must show courage and daring to reunite. With the help of the singer Selma, they will try to return to the real world by confronting Sirocco, the master of winds and storms... But is he as terrifying as they imagine?

“Being able to release this magnificent soundtrack composed by Pablo Pico is a great pride and a real pleasure. I want to open our catalog to unique works and universes. Being able to do this from our second published title, with a first foot in the world of animation, with Sirocco is an important shift for the label”

Frédéric Claquin – Stereo Ronin

“Sirocco’s music is like a deep breath. It was inspired by the fantastic universe of the film, the epic breath and the fantasy of the characters. I hope that with this vinyl edition, you will be able to relive the adventures of Juliette and Carmen and that the songs of Selma will take you far to the Kingdom of Air Currents”

Pablo Pico – Composer

“Cristal is a music publishing house, specializing in music for images, committed to working alongside composers for over 25 years. Our mission is to highlight the emotions sought in audiovisual productions, we choose our projects carefully, Sirocco was a real favorite, both on the subject and on its treatment, where music has its place, and becomes a real actress in the film. The talent of Pablo Pico brings this accuracy to the story”

Eric Debègue – Cristal Group.

Celebrating the 20th anniversary of Callisto's impactful debut album, Svart Records is proud to bring it to you for the first time ever on wax! Callisto is a post-metal band from Turku, Finland formed in 2001. They've headlined several tours in Europe, opened for High On Fire on their UK tour, and showcased in Canada and the United States. Whilst their early works are hardcore and metal, the debut album True Nature Unfolds has a strong sludge metal and doom influence. It was recorded in 2004 by the late Mieszko Talarczyk (Nasum) and introduced to Earache Records a year later through Johannes Persson (Cult Of Luna), earning the band worldwide distribution. True Nature Unfolds was originally released only on CD in 2004 by Fullsteam Records in Finland and Earache Records in the US and UK a year later. The album delivers a breathtaking mix of atmospheric soundscapes, heavy riffs, and haunting melodies. Each track invites you on an emotional journey, blending post-metal intensity with introspective lyricism. Don’t miss this powerful musical experience—let the journey begin! The 20th anniversary edition of True Nature Unfolds is presented on double vinyl in a glorious gatefold cover, with new album art by the band's drummer Ariel Björklund. Available versions are the Svart exclusive green/red/black marble vinyl, limited golden yellow vinyl, and classic black vinyl. Release date December 13th, 2024.

Comprising someof Denmark"s most prominent young musicians, Copenhagen"s trailblazing neo-jazz quintet OTOOTO refer to their innovative blend of jazz tradition and modern indie-pop as "homeshake meets the jazz messengers". Their third studio album"2nd Quake" is set to release on November 8th on April Records. OTOOTO, consisting of Jonas Due (trumpet and flugelhorn), Oilly Wallace (alto sax and flute), Calle Brickman (keys), Andreas Svendsen (drums and percussion), and Matthias Petri (bass), has been a fixture on both the Danish and international jazz scenes since their 2021 debut "This Love Is For You". Their new release marks a new chapter in their journey, reflecting a bold, mature artistic vision that promises to cement their place as leaders in Scandinavian contemporary jazz. "Our mission is to reflect the modern society and put a sound to its vibrations. And through this sound we seek to transmit purity, love, and joy." Navigating through a wide array of inspirations from 70"s rock and European church music, to the pioneering sounds of Jean-Michel Jarre and Vangelis, the five piece - led by trumpeter Jonas Due and saxophonist Oilly Wallace - self describe their sound as"a roaring sea of analogue synths and velvety horns". Featuring eight meticulously composed original pieces, 2nd Quakebalances strong memorable melodies with intricate orchestration, a continuous sense of groove, thick layers of texture and fearless, lyrical improvisations. A collaboration with electronic producer Sofie Birch, the record is an electro-organic sonic exploration of the union between acoustic instrumental timbres and electronic manipulation, spearheaded by the sound of the legendary Juno 106 synth alongside stellar jazz-informed musician-ship.

Das Trio "Last Bolt Ceremony" spielte sich mit einer gelungenen Mischung aus Grunge, Stoner- und Punkrock in den letzten zwei Jahren einmal quer durch die Republik, um erste Aufmerksamkeit auf sich zu lenken und konnte über überzeigende Auftritte erfolgreich Fans gewinnen. Das nun mit Spannung erwarteten Debütalbum von LAST BOLT CEREMONY: "Neuzeit" erscheint Ende November 2024 via Paranoia Productions Braucht es noch eine neue Stoner-Band, wo doch jede Woche hunderttausende neue Songs auf Portalen wie Spotify veröffentlicht werden? Aus Sicht der drei von LBC ist die Antwort ein klares "Ja", auch wenn sie genau wissen, dass sie die Musik nicht neu erfunden haben. Doch bereits mit ihrer ersten selbst-vertriebenen Demo-EP und dem Drang, ihre Songs live in die Welt zu tragen, erspielten sich Last Bolt Ceremony auf diversen Festivals wie Stoned From the Underground, Motorville und Choppermania in kürzester Zeit eine erste treue Fangemeinde. Das nun erscheinende erste Studioalbum "Neuzeit" beschreibt den neuen Hafen der drei, die schon in Bands wie Daily Thompson, Addicted to Machines, Dan Dryers und den Diabolic Tigerqueens gespielt haben. Über mehrere Wochen von Jens Kriegel (Addicted to Machines) produziert und von Tony Reed (Mos Generator, Pentagram) gemastert, verbindet das Album die Vielfalt von Natur und Industriekultur (Punkrock und Stonerrock) optimal und stellt somit auch für Last Bolt Ceremony eine Verbindung von alter und neuer Zeit dar. Das Cover-Artwork, das von Ex-Daily-Thompson-Schlagzeuger Matze zusammen mit der Band entworfen wurde, verdeutlicht diese Vielfalt von Alt und Neu des Kosmos' der Band optimal. Mit "Neuzeit" verbinden die drei Westfalen ihre abwechslungsreiche Reise in eine neue Gitarrenära mit einer guten Prise Hitpotential, bereit für den nächsten Schritt. Erhältlich in klarem Vinyl oder CD sowie limitiert auch als rote Vinyl-LP!

"Ire" bleibt dem klassischen Parkway-Drive-Sound treu, dennoch haben die elf neuen Stücke deutlich mehr Tiefe als alles andere, was die im Sommer 2003 gegründete Band bislang abgeliefert hat. Damit liegt es nahe, das Album als konsequent-mutige und neugierig-kreative Weiterentwicklung zu charakterisieren. Diesbezüglichen Einsatz lassen Sänger Winston McCall, die beiden Gitarristen Luke Kilpatrick und Jeff Ling, Bassist Jia O"Connor sowie Schlagzeuger Ben Gordon auch im "echten Leben" nicht missen.

Warehouse Find!

Vega Records are proud to present the re-release of EOL Extensions by Elements Of Life, the second album from Louie Vega’s critically acclaimed live orchestral project. With an allstar cast of remixers the lineup is a who’s who of worldwide talent. On the repertoire are Jazzy Jeff, Kenny Dope, Dj Spinna, Joe Claussell, House of Rumba, & Dj Gregory, along with EOL Alumni lead vocalists Josh Milan, Anané & Raul Midon. The Vinyl release is in two parts, two double packs, get it on your turntable, close your eyes and listen to the cosmic sounds of EOL. The new tracks “Messin’ About”, “Our People”, and the unreleased mix of “Love Is On The Way” are ones not to be missed.

In 2016, the Walter Anderson Museum of Art and Luther Dickinson (North Mississippi All-Stars) set out to interpret the breathtaking Community Center Murals of American Regionalist, Walter Inglis Anderson through music - This venture followed in the footsteps of the adventurous artist who once wrote "all movement is to invisible music although few people hear it" Dickinson teamed up with John Medeski, Johnny Vidacovich and Dominic Davis to create these improvisational soundscapes on the spot - The result is a gorgeous tableau of sonic expression worthy of Anderson's iconic murals.

The Fluid are arguably the great unsung band from the fertile underground rock scene of the late '80s and early '90s. The Denver five-piece - John Robinson (vocals), James Clower (guitar), Matt Bischoff (bass), Garrett Shavlik (drums), and the dear departed Ricky Kulwicki (guitar) - fused the fire of '80s hardcore with crunching Detroit protopunk, '60s garage rock, and '70s rock swagger. Think MC5, Faces, '70s Stones, all cranked up and really high on Sex Pistols and Black Flag singles. Rising from the ashes of early-'80s Denver bands Frantix (whose "My Dad's a Fuckin' Alcoholic" is a true gem of American punk) and White Trash, The Fluid were the first non-Seattle band to sign to Sub Pop, and Clear Black Paper was the second full-length album the label ever released. The label honchos were fans of Frantix, and happily got involved with The Fluid when the opportunity arose via the label's European licensing partner, Glitterhouse. Witnessing The Fluid's dominant live presence helped - a particularly fiery early show at Seattle's Central Tavern featured The Fluid, Mudhoney, Mother Love Bone, and Soundgarden all trying to outdo one another on stage. The band fit right in on Sub Pop's nascent roster of acts who, wherever they stood on the spectrum of punk/rock/metal, shared a commitment to thunderous riffs and explosive live shows. Legendary for their ferocious stage presence, The Fluid toured all over the US and Europe, holding their own and then some on bills with Mudhoney, Nirvana, Soundgarden, Dinosaur Jr., and other powerhouses of the era. From 1986 to 1993, The Fluid put out four albums and a number of EPs and singles, including a split 7" with Nirvana in 1991, before doing one album for a major label and promptly disbanding. Yet, while their partners-in-crime bulldozed into the mainstream, The Fluid remained something of a cult band, their audience confined to those who got hip during the band's existence, and crate diggers who nabbed original vinyl or CDs, which had quickly become rarities after selling through their original runs. Why? Record industry machinations? The fickle finger of pop culture? Being from Denver, not Seattle? Who the hell knows_ and who cares! The point is the band ripped, and the world deserves to hear them again. The Fluid took influences they shared with their contemporaries and ran in their own direction, focused on ass-shaking grooves more than misanthropic sludge. Rock anthems like "Cold Outside" sit alongside Stooge-oid rhythmic poundings ("Black Glove"), bluesy romps ("Leave It"), the occasional grungy dirge ("Wasted Time"), and raw punk bangers ("Is It Day I'm Seeing?" from the seminal 1988 Sub Pop 200 compilation). The band wasn't shy about their inspiration, either: scattered through their catalog are covers of The Troggs, The Rolling Stones, MC5, Iggy Pop and James Williamson, and Rare Earth. The Fluid stand out as champions of a feral, urgent, exuberant approach to rock 'n roll. As it turns out, that wasn't a recipe for stardom in the era of hyper-slick pop, boomer dinosaurs crying tears in heaven, and hair-metal power-ballads. But someone had to do it. To set things right, Sub Pop, The Fluid, and producer Jack Endino (Nirvana, Soundgarden, High on Fire, Mudhoney) teamed up to refresh and reissue The Fluid's entire indie-label catalog: their 1986 debut, Punch N Judy; 1988's Clear Black Paper; 1989's Roadmouth; the 1990 Glue EP (produced by Butch Vig, of Nevermind fame); and a treasure trove of rarities and previously unreleased material. All the music has been remastered from original tapes by Endino and JJ Golden, and the bulk of it has been meticulously remixed by Endino and the band, righting some sonic quirks that diminished the impact of the original records. Now, with their definitive material sounding better than ever, it's high time The Fluid get their due.

Forest On Stasys takes the plunge here and launches a new label, Aura Sonora, which debuts with a hugely limited and high-quality new 12" from the boss. The imprint will be "a platform designed for sound experimentation" and the first missive backs that up with a great blend of drum & bass, half-time and techno. 'Magnetismo' is a prickly opener with slippery rhythms underpinned by bold bass. 'Domo' is a darker sound with menacing low ends and prickly percussive patterns while 'Sideral' is another late-night prowler with low sling sounds, eerie atmospheres and a real sense of futurism. A great start to life for Aura Sonora.