Buscar:mo do

Repress on rosewood coloured vinyl. HOST is the name of a devil worshipping ministry, that in order to spread their unholy gospels and, furthermore, trick mankind into believing that the end is ultimately a good thing, have decided to use the ever so popular rock music medium as a way to achieve their ends. Standing motionless and anonymous beneath the painted faces, hoods and robes which their sect demand, the six nameless ghouls of Ghost deliver litanies of sexually pulsating heavy rock music and romantic lyrics, that glorify and glamorise the disgusting and sacrilegious, with the simple intention to communicate a message of pure evil via the most effective device they can find - entertainment. In May 2010 Ghost were contracted to a UK based gramophone company called Rise Above Ltd, who swore an oath stating that they will assist the group in the task of spreading their musical blasphemies through formats such as Compact Discs, Long Playing Vinyl Records and Digital Downloading. The first full length Ghost album Opus Eponymous will be released in October 2010 and it is understood and agreed that Rise Above Ltd will invest money in areas such as magazine advertising and retail marketing and will employ the services of music publicity specialists in order to expose the music of Ghost to the wider public. Specific attention will be paid to targeting people (research suggests these are most likely to be adolescents) who have a void in their life, perhaps caused by some form of emotional trauma or upset, that can be filled by the music and philosophies of Ghost.

One Voice melden sich mit zweiter Platte zurück und dürften damit definitv ein heißer Mitanwärter auf das Oi!-Album des Jahres werden! Nach ihrem ausverkauftem Debut-Scheibe "Tradition not Trend", zahlreichen Singles und Samplerbeiträgen hat die Band den Nachfolger diesmal bei "Heartbreak Engines"-Okie porduziert und aufgenommen. Und die 12 neuen Songs zeigen eindrucksvoll, dass diese Entscheidung goldrichtig war! ONE VOICE haben ihren Song weiter perfektioniert und konnten dabei ihr Potential voll entfalten, es gibt viel zu entdecken auf "Not everybody's cup of tea": Natürlich kann nicht Jeder so umtriebig sein, wie die drei Freunde Joost, Andre und Phil und alle Bands, in denen die Jungs von ONE VOICE mitspiel(t)en, können wir auch gar nicht aufzählen (Diggerz, On the Rampage, Dörpms, Bunga Bunga Club, Evil Conduct sollen reichen). Der Opener "Back in the Days" ist aber ein leidenschaftlicher Weckruf an alle Szeneveteranen verdammt nochmal ihre Ärsche wieder hochzukriegen, statt in Erinnerungen zu schwelgen...die Szene lebt nicht von alleine "Don't you think it's time again to go to gigs....sing a long, dance and drink with your friends?" Die knackige 3 Akkorde-Hymne "Cheers To You" zollt allen Supportern und Szene-Aktivisten, die das möglich machen ihren tiefsten Respekt. "Not everybody's cup of tea" ist eine Offenbarung für Freunde des klassischen Skinhead-Sounds! Auf den Punkt gebrachte Härte gepaart mit der genau richtigen Dosierung Melodie und Emotionen. Ein Oi!light des Jahres! 180gr vinyl, inside-out cover + printed innersleeve

One Voice melden sich mit zweiter Platte zurück und dürften damit definitv ein heißer Mitanwärter auf das Oi!-Album des Jahres werden! Nach ihrem ausverkauftem Debut-Scheibe "Tradition not Trend", zahlreichen Singles und Samplerbeiträgen hat die Band den Nachfolger diesmal bei "Heartbreak Engines"-Okie porduziert und aufgenommen. Und die 12 neuen Songs zeigen eindrucksvoll, dass diese Entscheidung goldrichtig war! ONE VOICE haben ihren Song weiter perfektioniert und konnten dabei ihr Potential voll entfalten, es gibt viel zu entdecken auf "Not everybody's cup of tea": Natürlich kann nicht Jeder so umtriebig sein, wie die drei Freunde Joost, Andre und Phil und alle Bands, in denen die Jungs von ONE VOICE mitspiel(t)en, können wir auch gar nicht aufzählen (Diggerz, On the Rampage, Dörpms, Bunga Bunga Club, Evil Conduct sollen reichen). Der Opener "Back in the Days" ist aber ein leidenschaftlicher Weckruf an alle Szeneveteranen verdammt nochmal ihre Ärsche wieder hochzukriegen, statt in Erinnerungen zu schwelgen...die Szene lebt nicht von alleine "Don't you think it's time again to go to gigs....sing a long, dance and drink with your friends?" Die knackige 3 Akkorde-Hymne "Cheers To You" zollt allen Supportern und Szene-Aktivisten, die das möglich machen ihren tiefsten Respekt. "Not everybody's cup of tea" ist eine Offenbarung für Freunde des klassischen Skinhead-Sounds! Auf den Punkt gebrachte Härte gepaart mit der genau richtigen Dosierung Melodie und Emotionen. Ein Oi!light des Jahres! 180gr vinyl, inside-out cover + printed innersleeve

Sad days for the kids, but great days for the Skins! Oi! made in Leipzig! THE SPARTANICS, nach Demo, LP, 10" und diversen Sampler-Beiträgen mit ihrem zweiten Komplett-Album. Das Trio kommt zwar aus Connewitz, klingt aber angenehm britisch nach 70`s Lower Class Streetpunk mit smartem Beat, eingängigen Melodien und geschmeidig-scharfem Gitarren-Sound. Schön trocken-schnörkellos, puristisch unterwegs. Mit leichter Sohle und harter Botschaft: ,Shut up, work hard and make money for the rich!" 10 Songs mit englischem Text, grobe Richtung: Knackige Melange aus SPARRER, NEWTON NEUROTICS, EVIL CONDUCT und den LURKERS. Farbiges Marbled Vinyl, kommt mit CD-Version UND DLC!

North Sea Jazz Concert Series - 1981 / 1982 / 1988 by Dizzy Gillespie, released 12 July 2024, includes the following tracks: "Con Alma ", "Jessica's Day " and more.

This version of North Sea Jazz Concert Series - 1981 / 1982 / 1988 comes as a 1xLP.

The vinyl is pressed as a white disc.

Enjoy The Ride Records in conjunction with Morgan Creek proudly presents Stay Tuned (Music From the Original Motion Picture). Available on vinyl for the first time, Bruce Broughton's score to the 1992 cult classic comedy featuring John Ritter, Pam Dawber, Jeffrey Jones & Eugene Levy takes listeners on a musical adventure.

Saying Roy Knable loves television is an understatement. He's so hooked on it that his wife takes a baseball bat to the screen and shatters it. Mr. Spike soon appears at the Knable's door, selling Roy a Satellite dish with 666 channels that aren't available on regular cable (because Spike is sent from hell, and the Knables are about to become part of the Hellevision network lineup). The Knables have 24 hours to make their way through the channels (which are hilariously gory parodies of popular television shows and films of the era) to survive.

Stay Tuned (Music From the Original Motion Picture) is a 2xLP pressed at 45 RPM. It's housed in a gatefold jacket featuring original cover art by Drew Struzan, along with new gatefold and back cover art by Garreth Gibson. Pressing is limited to 1,000 copies.

Enjoy The Ride Records and Drafthouse Films proudly present Miami Connection. Original Motion Picture Soundtrack. Composed and Produced by Angelo Janotti and performed by Dragon Sound, the soundtrack is finally making its debut outside of the cult classic film. Written and directed by 9th degree black belt philosopher/author/inspirational speaker Supreme Grandmaster Y.K. Kim, the film tells the story of the fearless synth rock band Dragon Sound as they embark on a roundhouse wreck-wave of crime-crushing justice in the streets of Orlando, in order to achieve world peace. Score music by Jon McCallum

Available for the first time on any physical format due to destruction from Hurricane Charley*, Miami Connection is pressed on four colorful vinyl variants, housed in a 400gsm gatefold jacket, featuring art by Garreth Gibson.

Enjoy The Toons Records in conjunction with Scholastic proudly present Goosebumps™ Original Television Soundtrack by Jack Lenz. Available as a 2xLP Deluxe Edition, Goosebumps™ Original Television Soundtrack features songs from the 90s television series, along with a handful of unreleased tracks, including the "Goosebumps Gotcha Rap" and unreleased alternate theme song, plus ten additional tracks not included on the previous vinyl release. The screen-printed D side features characters from the beloved series.

Enjoy The Ride Records in conjunction with Lionsgate, SModco & Destro Films proudly presents the Clerks III Soundtrack. Curated exclusively for vinyl and cassette tape by Kevin Smith and Enjoy The Ride Records, the Clerks III Soundtrack contains a selection of James Lewis Venable's score to the film, along with a collection of songs played throughout the film.

The vinyl release features Matt Taylor's art on the gatefold jacket and has a double-sided full-color insert, featuring stills from the film and additional art from Matt Taylor. Pressed across 5 colorful themed variants RST THC, Clerks III Swirl, Quick Stop, Smoke (Secret Stash), and a Mondo Exclusive Split, this pressing is limited to 1,500 copies.

Celebrated Zambian guitarist and bandleader Paul Ngozi’s concept album about the stuggles of those living in Africa’s 1970s townships Includes Oversized 8 Page Booklet That Details Paul Ngozi and The Ngozi Family’s Arc, Including Rare Photographs, Discography And Annotation. The third entry in an era-defining reissue series on Now-Again centered around this Zamrock legend and his band - previous entries include Day Of Judgement and 45,000 Volts

"Zambia’s Zamrock movement that exploded in the 1970s...provided young musicians access to European and American music, and created a unique sound. At its root, Zamrock melded fuzz-toned psychedelia, chugging garage rock and roiling funk with a broad mix of African cadences and beats...enlivening a scene that included bands like Musi-O-Tunya, Amanaz and the Ngozi Family” (New York Times)

Zamrock was a bona-fide rock scene: on the African continent, only Nigeria can claim one so comprehensive, and Nigeria’s was largely catalyzed and funded by subsidiaries of the European major labels. Zamrock was as independent as the newly-named country, formerly known as Northern Rhodesia. Zamrock is starting in its completeness, especially for a scene that emerged, unfurled and disappeared so quickly. From Musi-O-Tunyaís fusion of Fela’s Afro-beat, Hendrix’s rock, South African jazz and traditional Zambian melodies and rhythms to Salty Dog’s acid folk/rock, Zambia’s rock scene contained all of rock’s subgenres. Zamrock was much more than an imitation of American and European rock music: it quickly became a uniquely Zambian movement, befitting of its name. WITCH, Paul Ngozi and Amanaz sound nothing like other rock music from the African continent - or elsewhere.

Neben seinem Status als einer der besten Songwriter
seiner Generation, sowohl in seiner Solokarriere als auch
als Mitglied der einflussreichen Band Soft Cell, hat sich
Marc Almond den Ruf erworben, einer der größten
Vertreter der Kunst der Coverversion zu sein. Marc hat es
immer verstanden, sich einen Song zu eigen zu machen,
und seine Coverversionen gehören zu den Meilensteinen
der modernen Popmusik - von 'Tainted Love' bis 'The
Days Of Pearly Spencer', von 'Something's Gotten Hold
Of My Heart' bis 'Jacky'.
Für sein neuestes Solo-Album "I'm Not Anyone" hat
Marc es wieder getan, mit einer beeindruckenden Reihe
von tadellos ausgewählten Interpretationen von Perlen wie
Don McLean, King Crimson, Paul Anka, Colin Blunstone
und Mahalia Jackson. Auf "I'm Not Anyone" ist der 11
Songs umfassende Zyklus zu einem einheitlichen,
gefühlvollen Erlebnis mit tiefer emotionaler Resonanz
vereint.

Michael Bublés Album aus dem Jahr 2009 ist auf
limitiertem Lemonade Yellow Vinyl erhältlich.
Der mehrfache Grammy-Preisträger nimmt 11 Standards
plus zwei neue Originale als ultimative Platte über die
unvermeidliche Achterbahnfahrt der Beziehungen auf.
Mit "Haven't Met You Yet", "Cry Me a River", "You're
Nobody Till Somebody Loves You" und mehr, produziert
von David Foster, Bob Rock und Humberto Gatica.










j b3 - Baby (You've Got What It Takes) [with Sharon Jones










[j] b3 - Baby (You've Got What It Takes) [with Sharon Jones

Florian Sievers tut es erneut. Und zwar: Nicht das was wir erwarten. Nach dem zweiten Paradies-Album "Transit" vor zwei Jahren - viel rastloser und glitschiger als der Zenpop des Debüts "Goldene Zukunft" - wäre es jetzt zum Beispiel... das dritte Album. Doch während das im Labor weiter köchelt (Release 2025 Fragezeichen), führt Das Paradies mit "sammlung 2 | soft floor" seine nonchalante EP-Reihe zwischen seinen Alben fort. Dies wird die erste Veröffentlichung von Das Paradies auf dem von Florian Sievers mitgegründeten Label Krokant. Dort erscheint "sammlung 2 | soft floor" zusammen mit der "sammlung 1 | pause an der kurve in vektoria" frisch gepresst auf einer 12" Vinyl.

A journey, in 16 tracks, through the career of this pioneer band of the Latin American Punk 'n' Roll scene, active since 1987 and founded in the city of Quilmes (Argentina). Punk 77, Street Punk and Punk 'n' Roll on glorious vinyl and for the first time in Europe. DESCRIPTION Doble Fuerza is a pioneering band of the Latin American punk 'n' roll scene that has been active since 1987 (hence the title of the LP). Founded in the city of Quilmes (Argentina), south of the Buenos Aires metropolitan area, they have built their own recognizable sound, influenced by punk 77, street punk and punk 'n' roll. For the first time in Europe, on a long-playing record, on glorious vinyl, 16 tracks that represent a detailed tour through Doble Fuerza's 35-year career, remastered for the occasion. The result is most entertaining and activating. Primitive sonorities of angry young men doing street-punk without concessions in "Disturbios" Riots and "La Vida Se Va" Life Goes, give way to heartfelt street love in a hard-power-pop vein ("¿Por Qué No Me Llamas?" [Why Don't You Call Me?], "Encontrarte" [Find You], "Sola" [Alone]) and Ramonesian essences in "Desocupado" [Unemployed]. And all of this leads to their personal punk 'n' roll sound with a Buenos Aires accent, i.e. punk-rock clearly influenced by punk 77 and the rock 'n' roll of the 50s and 60s. In "Leave Me Alone", "Anestesiado" [Anaesthetised], "Grito de Revolución" [Revolution Yell], "Almas Gemelas" [Twin Souls] and "Canción de Libertad" [Song of Revolution] you can sense some of the many bands of the three decades that are part of their wide musical background and that have served as teachers to forge their style. Nor do they forget the cheerful tavern hymns to sing loudly and to overcome the struggle and heartbreaks with good humor, "Otra Vuelta de Cerveza" [Another Round of Beer] and "El Rey del Fernet" [The King of Fernet]. The three covers of this collection deserve special mention. Three adaptations sung in Spanish that the quintet led by Hugo Irisarri makes totally their own: "Pibes de Barrio" (Cockney Rejects), "Laburando" (Cock Sparrer) and "Spanish Bombs" (The Clash). The accent may be different, but the situations, the sound references, the messages... become immediately familiar and recognizable. "1987" is a careful presentation letter on this side of the pond of the Argentinean band's wide repertoire that unites commitment, fun and enthusiasm in equal parts

Lovesick is an Italian based band formed of Paolo Roberto Pianezza and Francesca Alinovi. Two multi-instrumentalists, whose influences are deeply rooted in the American country, rock"n"roll and western swing music of the 40s and 50s. In addition to their vocal harmonies, Paolo plays electric and acoustic guitar, as well as lap steel, Resonator and Dobro guitar. Francesca plays double bass with the addition of a brush pad, a percussion built into the double bass to keep the rhythm with a drum brush. The duo is joined by Alessandro Cosentino on fiddle and drums. Lovesick have played as opening act for Ben Harper, JD McPherson, Zucchero, ToquinIo and Edoardo Bennato and they have played big festivals all around Europe, alongside the likes of The Offspring, Social Distortion, Walter Trout, Fu Manchu, Secondo Casadei Orchestra and Ten Years After.

Two track EP from the Italian early 90's cult label, Interactive Test, helmed by legendary Falsini brothers. Both sides going generously past the 8 minute marker and well into the upper 120 BPM class of affairs, "Farf-Ability" is another show case of the experimentally excursive approach to the early Italian progressive sound, this time on behalf of Francesco Farfa. Two flavours served confidently: uplifting daytime ravey on the A side, and darker trancier night time on the B side, heavy on the percussive samples. Remastered and re-issued with new full cover artwork, featuring photographic evidence of a special moment in time for Italian rave culture.

Shall Not Fade celebrate their 8 year anniversary with a double LP featuring brand new music from their label family!

"We Can Live Together is the first full LP by Earthtones on Wonderwheel. The title is a message, a prayer, and a vision for humanity. It is a reminder that we are in this life together, that love binds us all, and it is only the ideologies and social systems built to prohibit our ability to recognize how close we are that hold us back. We can live, together. The record is based in Folkloric Futurism, a movement that explores the convergence of global folk traditions with technology. Channeling the influence of proto House & Techno pioneers like Mr. Fingers, Kevin Saunderson and Inner City, Earthtones combines analog synthesizers & vintage drum machines with folkloric vocals and instrumentation in a way uniquely his own. It's a celebration of the intersection of past and future, here and there, ancestry and technology. It celebrates themes of spirituality, feminism, love, and most of all, peace. Highlights include "Ọ̀sanyìn", a prayer to the Orisha Ossain, with Maikel Alberto Salazar of rumba super-group Obbatuké on vocals. Recorded in Santiago De Cuba, the track is evocative of Mala's classic "Mala In Cuba" album that broke down barriers between electronic music & traditional music. "La Mujer Serpiente", having seen a sellout 7" last year features Polaris prize winning artist Lido Pimienta-behind the live cumbia rhythms, bass synths, analog keys, 808 drums & guitars, the vision of this track is one of uplifting womxn and femmes everywhere. Ancestral and contemporary Colombian voices are present on the mid-tempo dancefloor track that is the single "Limones" with Semblanzas Del Rio Guapi, Oliwa & the chugging analog rap soundscapes of "Quiero Que Mami" with Verito Asprilla . The album also touches into ambient moments ("Song of the Wind" , Waves") – inspired by friends Carlos Nino, Matthew David, Colloboh and the vibrant West Coast environmental sound movement. credits







g 07: Selam (Dub) [feat. Etsegenet Mekonnen]

Northern Soul’s most loved and hardest working DJ looks back at his pioneering Rare Soul Uncovered album series that shook the scene in 1984. Compiled and researched by Dave shortly after Wigan Casino had closed its doors where he was a main-stage DJ for eight years. At the time Dave hosted a weekly Northern Soul show on Signal Radio and was the Midlands regional sales manager for Charly Records. Now, forty years on, Dave Evison is reunited with Charly to present the ultimate in Rare Soul Vinyl – 16 unreleased at the time recordings – some of which have never been heard before

Northern Soul’s most loved and hardest working DJ looks back at his pioneering Rare Soul Uncovered album series that shook the scene in 1984. Compiled and researched by Dave shortly after Wigan Casino had closed its doors where he was a main-stage DJ for eight years. At the time Dave hosted a weekly Northern Soul show on Signal Radio and was the Midlands regional sales manager for Charly Records. Now, forty years on, Dave Evison is reunited with Charly to present the ultimate in Rare Soul Vinyl – 16 unreleased at the time recordings – some of which have never been heard before.

“On ‘The Nashville Sessions’ as throughout Van Zandt’s entire catalogue, the more wretched he sounds, the better - and on the best parts of ‘The Nashville Sessions’ he almost makes melancholy sound a condition to be envied.” Uncut In 1974, Townes Van Zandt recorded what would have been his seventh album, ‘Seven Come Eleven’. Business issues prevented its release until the recordings surfaced two decades later as ‘The Nashville Sessions’ In 2014, Townes Van Zandt’s original manager and producer Kevin Eggers gave Charly Records’ Rob Caiger and engineer Pete Reynolds the only surviving tapes to restore and remaster to present a stunning document of the folk-blues master at his absolute peak, originally released on vinyl for the first time in 2015. “You did a first-class with the record. The packaging looks sensational and the records sound great. That was what matter most to me over the years. I know Townes would be very pleased. The simple truth is the only things that matter to him was his songs and his music. All the rest was bullshit and he could have cared less. We began as dear friends and that’s how it ended just before his death. When it came to the music he gave all he had to give.” Kevin Eggers - 26 March 2015

Featuring the rare 1975 album Truth & Rights – rated “the best deejay LP in a long time” by Carl Gayle in the magazine Black Music, April 1976 – Straight To The Heart includes many of I-Roy’s hits from that year plus 4 bonus dub tracks. This set includes some heavy I-Roy songs, filled with improvised humour, infectious rhythms and thoughtprovoking themes. This 15-tracker features the hit ‘Dread In The West’, a stunning combination of Lee Perry’s terrific rhythm track on ‘Three Blind Mice’ and Roy’s razor sharp social commentary. A companion release to Sunshine For I (CPC 1027)

In the penultimate episode of his widely popular and critically acclaimed HBO series, Painting with John, its creator, John Lurie, sat in a Manhattan recording studio, working out musical parts for the show’s soundtrack. “After the illness started, I didn’t think I’d ever be able to do this again,” said Lurie.

Even as he occupies an enigmatic, multi-faceted, five-decade career characterized by the unexpected, perhaps even Lurie is surprised by this new release of a double-album collection of music, Painting with John, extracted from the series.

Go back a quarter-century or so: As an exotic saxophonist and composer whose pieces alternately recalled cracked-mirror reflections of Thelonious Monk, or Fela Kuti, or Raymond Chandler, Lurie led the vastly influential, downtown NYC jazz ensemble, The Lounge Lizards, through dazzling albums and tours across the globe. He scored indie films and Hollywood hits, collecting a Grammy nomination for Get Shorty along the way and releasing his own surreality-TV series, Fishing with John.

BACK IN PRINT ON VINYL!!! Originally seeing the light of day in April of 1992, Harsh 70s Reality was not just a high water mark for that year, but for the ages. Technically this was the band’s fourth long-play outing, and as a double-album, it followed (and was ever so slightly informed by) two formidable juggernauts that preceeded it: Twin Infinitives and Lake. But it was Harsh 70s Reality that left the decade stronger and more resonant than it came in. People say that rock music died with the passing of Kurt Cobain. But The Dead C slaughtered it in its sleep with this tremendous set of grinding thud. It is in every sense the ultimate post-rock album. To hear it is to understand why one scribe back in the day referred to their sound as “a garbage truck backing over the abyss.” A legendary release from a legendary band on a legendary label.

The Eminent Jay Jay Johnson Volume 2,” released in 1955 under Blue Note Records, continues showcasing J.J. Johnson’s exceptional trombone talent. Accompanied by notables like Horace Silver on piano and Paul Chambers on bass, the album is marked by remarkable technical performances and deep lyricism. Tracks like “Too Marvelous for Words” and “Pennies from Heaven” illustrate Johnson’s agility and creativity, solidifying his status as a master of the trombone in modern jazz.

A seminal set from Jorge Ben  one that mixes samba soul with more baroque arrangements from the legendary Arthur Verocai! The record's got a different feel than some of Jorge's other work  almost a wider vision of music that ties his usual funky style to some of the more ambitious modes being explored by Marcos Valle and Edu Lobo at the time  expressed here in some larger instrumental passages that shade the tunes lightly, while still letting Jorge step out strongly on vocals and the usual mix of tight percussion and raspy guitar. Titles include "Que Maravilha", "Rita Jeep", "Comanche", "Porque E Proibido Pisa Na Grama", "Cassius Marcelo Clay", "Palomaris", "Maria Domingas", and "Negro E Lindo".

2024 reissue

American jazz pianist and composer Weldon Irvine dropped his fourth and some say best album, In Harmony, in 1974. It came originally on the legendary spiritual jazz outlet Strata-East and now gets reissued by Japan's equally well regarded P-Vine. It has got a fresh mastering job for the occasion so sounds as good as possible with standout cuts like 'What Are Ou Doing For The Rest Of Your Life' and 'Pleasure, Pain & Me' exemplifying Irivine's unique conversational style and ability to lay down spiritual jazz sounds that energies and refresh mind, body and soul.

2024 repress

Music From Memory is excited to announce a special compilation that they’ve been working on for some time now; MFM053 – VA – Heisei No Oto – Japanese Left-field Pop From The CD Age (1989-1996). Compiled by long-time friends of the label, Eiji Taniguchi and Norio Sato, Heisei No Oto delves into a world of music released almost exclusively on CD and brings together a fascinating selection of discoveries from a little known and overlooked part of Japan’s musical history.

The last ten or so years have seen a global wave of interest in Japanese music encompassing ambient, jazz, new wave and pop records from the 1980s, some of which is increasingly considered the most innovative and visionary music of that time. Although some music from this period, in the form of ‘City Pop’ or ‘rare groove’ records, had been coveted by collectors and DJs for a number of years, most Japanese music from the time was little known outside and often even within Japan.

Sometime around the mid 2000s, two Osaka record store owners, Eiji Taniguchi of Revelation Time and Norio Sato of Rare Groove, along with a handful of deep Japanese diggers such as Chee Shimizu of Organic Music records in Tokyo, began to explore beyond the typical ‘grooves’ or ‘breaks’. Much like their counterparts in Europe and the US, they began delving into home-grown ambient, jazz, new wave and pop records, discovering visionary music, often driven by synthesizers or drum computers, that broke beyond the typical confines of their genres.

Spending tireless hours in local record stores and embarking on digging trips across the country, Eiji Taniguchi and Norio Sato, much like Chee Shimizu, have been at the forefront of unearthing and introducing many of the very Japanese records now loved and sought after around the world. Yet as YouTube algorithms and vinyl reissues would transport such music into the global consciousness and demand and therefore scarcity intensified for such records, so Eiji and Norio have recently begun to turn their attention to CDs.

The title of the compilation Heisei No Oto refers to the sound of the Heisei era, which began in 1989 and corresponds to the reign of Emperor Akihito until his abdication in 2019. Marking the culmination of one of the most rapid economic growths in Japanese history, 1989 also coincided with the music industry’s final shift away from vinyl in favour of CDs. And, although compact discs were first introduced seven years earlier it wasn’t until late into the ‘80s that, beyond dance music labels, CDs became the exclusive format for major and independent labels in Japan and throughout the world.

This however didn’t signal the end of the innovation in Japan. Many of those same musicians who have become known for their work in the ‘80s would continue to produce outstanding music well into the mid ‘90s, as greater innovation and advances in musical equipment allowed Japanese musicians and producers to refine and explore new sounds. While musicians such as the seminal Haruomi Hosono, whose productions feature on a number of tracks, would continue to push the boundaries of these new technologies, these technological advances also meant less established musicians were able to make use of increasingly affordable but state-of-the-art equipment.

Including music by Haruomi Hosono as well as Yasuaki Shimizu, Toshifumi Hinata and Ichiko Hashimoto who have become known and loved around the world in recent years, Hesei No Oto also features Japanese pop star Yosui Inoue, producers Jun Sato and Keisuke Kikuchi in aaddition to less established artists from the contemporary, jazz, new wave, pop and dance music scenes. Bringing together a selection of tracks that seem to define these specific genres and in fact move fluidly between a number of them, the music on the compilation is again underscored by experimentations with synthesizers and drum computers though with something of a gentle Pop sensibility. Reimagined here then under the encompassing term ‘Left-field Pop’, this is an exciting chapter in Japanese musical history that has only just begun to be fully explored.

VA - Heisei No Oto - Japanese Left-field Pop From The CD Age (1989-1996) is a 2xLP/2xCD that includes liner notes by Chee Shimizu and artwork by Hagihara Takuya and is released on February 28th.

Repress!

Formed in 1968, Jazz Sabbath was considered by many to be at the forefront of the new jazz movement coming out of England at the time. The eagerly awaited debut album, scheduled for release on Friday 13th February 1970, was cancelled when news broke that founding member and pianist Milton Keanes was hospitalised with a massive heart attack which left him fighting for his life.


The record company shelved the album and cancelled the scheduled release out of financial uncertainty of releasing a debut album from a band without its musical leader. When Milton was released from hospital in September 1970, he found out that a band from Birmingham, conveniently called ‘Black Sabbath’, had since released two albums containing metal versions of what he claims were his songs.


All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner, leaving only a few bootleg tapes of Jazz Sabbath’s live performances as proof of existence.


The album masters were said to be lost in the fire, but were actually misplaced and gathered dust in the basement vaults of the recording studio. These tapes have now been remixed and, half a decade later, will finally be heard; proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.

Driven by lust-fueled limerence and drifting far from conformity, Butterflies Don't Go Away captures Majesty Crush's transient, yet subversive mark on the landscape of American shoegaze to come. Tracked between 1991-1995, the quartet reimagined the collapse of the American rust belt as a late-night, nail biting fever dream/revenge fantasy. This deluxe 2xLP compiles their Love 15 album, singles, EPs, and rarities, all remastered from the original tapes, with thorough annotation and visual documentation in a 24-page booklet. An immortal transcendence if there ever was one.

Antoni Maiovvi Has Established a Distinguished Career Spanning 15 Years, Boasting an Extensive Discography Featured on Labels Including Tusk Wax, Vivod, Omnidisc, Giallo Disco, Italo Moderni, and Bordello a Parigi. Profoundly Experienced in Music Production, He Channels the Enigmatic Facets of Disco, Synthesizer-Driven Beats, and the Captivating Allure of Italo Disco, Creating a Sound Steeped in Vintage Analog Essence. His Latest Ep Represents a Masterful Fusion of Diverse Influences. We Extend a Warm Welcome as He Returns to Our Specialized Sub-Label, Cosmic Club, Tailored for This Genre. His Work Is Undeniably Destined to Become a Future Classic, a Testament to His Auditory Craftsmanship. the Tracks on This Ep Offer a Captivating Journey Through a Diverse Spectrum of Electronic Music Styles. on the A-Side, "Lucidario" Introduces Us to a Meticulously Crafted Blend of Moroder-Esque Soundscapes, Offering a Profoundly Cinematic Experience. Following This, "Cenotaph" Presents a Beguiling Mix of Pop Sensibilities, Echoing the Spirit of Legowelt. Closing the A-Side, "Cyberia" Enigmatically Concludes This Part of the Record With Its Electronic Allure and Sonic Intrigue. on the B-Side, We're Met With the Remarkable "Ghosted Again," an Explosive Dark Italo-Disco Gem With Undeniable Dancefloor Appeal. "Levitation Technique" Continues the Sonic Journey, Delving Into Ethereal Realms of Electronic Music, and "Today Is Yes" Provides a Fulfilling Conclusion to the Ep. Each Track Is a Unique Sonic Exploration, Showcasing the Artist's Ability to Weave Diverse Influences Into a Coherent and Engaging Musical Journey. Antoni Maiovvi's Musical Universe Harmoniously Resonates With the Enigmatic Gesloten Cirkel and the Enchanting "Gesamtkunstwerk" by Dopplereffekt, Solidifying His Status as a Future Classic in the Making....

What vision can they have? Visions of Visa cards and cracked countertops at the butchers. Visions of plastic chairs under the stairs and rat-ridden broom cupboards. Nostalgia slayed by shit vivid memories. And the future? Upgrade today and get our latest updates FREE! New Backpacks! Introducing: The Art of The Raised Eyebrow. NEU - Adicolor Frühjahrskollektion. Nope, neither, either. What is left? What is left to be charmed by? What is left that doesn’t perpetually degrade? What will roll another morning into view, dappled with springlike dew? Maybe Peach and maybe this.

Vengaboys is one of the most successful Eurodance acts in the world. With a string of global top 10 hits, including ‘Up & Down’, ‘Shalala Lala’, ‘We Like To Party’ and the UK No.1 singles ‘Boom, Boom’ Boom Boom!’ and ‘We’re Going To Ibiza’ they dominated the charts in the late 90’s and early 00’s. These songs have also been embraced by younger generations, with several global viral TikTok trends.

This brand new 14-track Greatest Hits compilation is pressed on transparent pink vinyl.

Der Fußabdruck, den das Duo Modern Talking hinterlassen
hat, ist unbestreitbar. Bereits in den 1980er Jahren war der
von Dieter Bohlen, Luis Rodriguez und Rolf Kohler kreierte
Sound eine Inspiration für viele Produzenten elektronischer
Discomusik aus Ländern wie Italien, Frankreich, USA,
Griechenland, Niederlande, Schweden oder der Schweiz. Die
Sehnsucht nach der romantischen Disco verblasst nicht, und
einer ihrer interessantesten Vertreter ist das rumänische
Projekt Romantic Avenue. Perfekt nachempfundene Klänge
und Abläufe, als ob sie 1985 im Studio 33 entstanden wären.
Jetzt, wo die Vinyl-Version dieses sehr erfolgreichen Albums
gerade erschienen ist, liefern wir die digitale Version mit
gekürzten Versionen, die speziell für eine Vinyl-LP gemischt
wurden.

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Formed in 1968, Jazz Sabbath was considered by many to be at the forefront of the new jazz movement coming out of England at the time. The eagerly awaited debut album, scheduled for release on Friday 13th February 1970, was cancelled when news broke that founding member and pianist Milton Keanes was hospitalised with a massive heart attack which left him fighting for his life.


The record company shelved the album and cancelled the scheduled release out of financial uncertainty of releasing a debut album from a band without its musical leader. When Milton was released from hospital in September 1970, he found out that a band from Birmingham, conveniently called ‘Black Sabbath’, had since released two albums containing metal versions of what he claims were his songs.


All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner, leaving only a few bootleg tapes of Jazz Sabbath’s live performances as proof of existence.


The album masters were said to be lost in the fire, but were actually misplaced and gathered dust in the basement vaults of the recording studio. These tapes have now been remixed and, half a decade later, will finally be heard; proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.

Iner and his wife Oiuna on vocals made a joint mini-album on DOBRO. Vadim invited legendary producers from France and Germany, Johannes Albert and Crowd Control, to make remixes!
The release turned out to be powerful! There are beautiful tracks and super bangers here!

“Featuring appearances from: Special Guest DJ, Ben Bondy, Hysterical Love Project and some other people we can't name for legal reasons"

The holographic swarm that is Downstairs People returns with their latest collection of subconscious songwriting. Simply titled ‘DSP’, Downstairs People’s sophomore album expands on their surreal horoscope of Top 40 musings, with nine works that explore the altered states of pop.

DSP reimagines the FM radio spectrum with distorted hooks, sour candy production and cascading vocal harmonies with no lyrics. Sung to us in an unknown language, it’s an archive of warped transmissions from beyond our solar system, conveniently recorded and presented as a flat, spinning monolith.

A brief history of having no time, and an ode to the subversive power of pop music.

After a relative rest for the two Liège heads, it is time to get back to business. And this business requires four hands to play, very rapidly, and two ears, to be listened to very loudly. Trapped in a frantic chase on a Belgian highway, finally on a slope, this time, we are missing the brakes... and avoiding the famous ruts is imperative for survival. So here we are, grazing the slide in a shower of magnificent sparks, while being hit by these ten punchy pieces releasing a crazy energy. Even if the forays towards EBM become more and more pop (if we can use that word here), Punk becomes always more synthetic, Kraut is percussive and martial, but with PRINCE HARRY, it's a long time that the Indus has been moving very fast: at 140bpm on the emergency lane. "A Long Way Down" is the fourth LP from the Belgian duo to find asylum on the Parisian label. After 5 years of discretion - almost absence - this curious pink album propels us to the unthinkable frontiers of electronic punk, lo-fi EBM and garage new-beat.

Blue marbled vinyl LP. First time available on vinyl since 2020. The Night Monitor's 2019 debut album 'This House Is Haunted' returns to vinyl in its 5th anniversary year. Limited to 200 copies on blue marbled vinyl. 'This House Is Haunted' is an audio accompaniment to Guy Lyon Playfair's classic book documenting the infamous Enfield Poltergeist case of the late 1970s. "...an eerie radiophonic soundtrack... The album is strong on verisimilitude: there are knockings, white noise and tantalisingly indecipherable hints of electronic voice phenomena, amidst slabs of atmospheric music concrète that Doctor Who fans will find deliciously reminiscent of Roger Limb's percussive, synth-drive compositions for the show

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KMD (Kausing Much Damage, or a positive Kause in a Much Damaged society) was a Hip Hop group in the early 90s perhaps best known for launching the career of acclaimed MC/Producer MF Doom (known during his KMD tenure as Zev Love X). After guesting on 3rd Bass' "The Gas Face," the trio (Zev, brother Subroc, and Onyx) released the acclaimed and overlooked "Mr. Hood" full-length. Their political outlook was similar to the group Brand Nubian, who guested on Hood; however, the style was more comical and included a great deal of clips from old children's recordings, mostly notably a sample of the Seaseme Street character Bert on the single "Who Me" This is the official Elektra Records/Traffic Entertainment Group re-release with original artwork and track listing in it's entirety. Cutting edge, ahead of it's time production and skits from KMD and Stimulated Dummies (John Gamble and Mr. Dante Ross). Features the singles "Peachfuzz", "Who Me" and "Nitty Gritty" (feat. Brand Nubian). This is one Rap album that is not to be missed.

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Disc 1~4 ＝ Reissues of the original EP

●Special Disc 5 ＝Instrumental versions of crystal clear sound


Theme songs from the movies “Nausicaa of the Valley of the Wind” which was released 35 years ago, “Castle in the Sky” and “My Neighbor Totoro” have been loved by many people up until now and even appeared in music textbooks. The original 7” singles will be reissued and included in the box set. Remastered for this time, you can enjoy the vinyl only sound. We hope you experience the greatness of vinyl record.

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Classic Music Company are proud to present Black Girl Magic, the highly anticipated sophomore album from the inimitable Honey Dijon. An artist in every sense of the word, across 15 tracks of attitude, energy, heart and community, Honey demonstrates a broad range of disciplines and influences, enlisting A-List collaborators such as Channel Tres, Eve, Pablo Vittar, Josh Caffe, Mike Dunn and more for an unmissable, boundary-pushing LP.

Redefining what it is to be a DJ in 2022, this year Honey’s production capabilities have been enlisted by the upper echelon of musicians. Producing two records for Beyonce’s chart-topping album Renaissance and remixing lead single ‘Break My Soul’, as well as working in the studio with Madonna on new material. Now unapologetically expressing her own sound on Black Girl Magic, she unveils the next chapter of her development as a producer and songwriter.

Since the first teaser of the album, the BBC Radio 1 playlisted collaboration with Atlanta singer-songwriter Hadiya George ‘Not About You’, to the most recent single ‘Show Me Some Love’ featuring Compton royalty Channel Tres, the Black Girl Magic project has consistently illustrated Honey’s dedication to profiling diverse vocal talent. Shining a spotlight on a new generation of queer people and people of colour, Honey’s intentions to “keep this culture in the conversation,” are demonstrated with the featured artists on the LP.

Behind the scenes Honey has worked closely with Classic Music Company founder and close friend Luke Solomon, as well as regular collaborator Chris Penny on the production of the album. Her most adventurous and explorative output yet with a diverse range of influences, Honey’s Chicago musical upbringing is a driving force behind the LP, with her sights set on demonstrating how she first experienced the music of her hometown felt deeply across the record.

Working with British sculptor Jam Sutton, an artist who explores the relationship between technology and antiquity, 3D sculptural digital renderings of Honey have formed the artwork for all preceding singles leading into Black Girl Magic. Exploring identity, form, technology and classical portraiture, the artwork for the album comes as the final piece in the series of bespoke displays of Honey.

From her stratospheric DJ career, to her fashion line with COMME des GARÇONS: Honey Fucking Dijon, to soundtracking some of the most iconic fashion shows of the 21st century, Honey’s influence is felt far and wide across the worlds of music, fashion and art, with Black Girl Magic a powerful physical statement of her interdisciplinary artistic impact.

Russian born, Spanish resident, Artur Nikolaev is next on BAR Musica. Delivering two track with his unique elegant style, combining complex grooves with spanish vocals, Artur makes his debut on the label, and we are even more happy to have a great remix by Shaun Reeves to add that club touch to the ep.

When speaking of Keinemusik as the performing unit featuring Rampa, &ME and Adam Port, one easily can assume the last months being quite momentous. Wherever you look on the globe, chances are one of their frenetically celebrated shows has been taking place there just recently. And the prospects of the upcoming months are looking even brighter. That’s where this highly anticipated new single comes in. Emotively reminiscing all the past touring memories and building up momentum for the ones to come, „Thandaza“ boils down the Keinemusik sentiment to the essence, shaping yet another one of those set-highlights that will turn heads and hips alike. And for this one, they brought in congenial assistance by South African producer Arabic Piano, gracing the tune with his heartwarming croon and old companion Alan Dixon providing one of his utmost catchy and touching piano lines.

Black/White Split Colour Vinyl. Recorded in a little bedroom studio out in Durham, North Carolina, Amelia Meath and Nick Sanborn's debut LP as Sylvan Esso arrived in 2014 at the juncture of pop and experimental. Even now, years later, the LP remains an urgent and fitting introduction to a push-and-pull that would go on to inform the duo's sound - a thoughtful headiness that also wants you to get out on the dance floor. A blend of analog and digital, Meath and Sanborn were two unexpected puzzle pieces fitting together with singular ease, producing a ten-track LP that was both minimalist and shimmering, with dark undulations rippling beneath the synthy-surface and crystalline quality of Meath's voice. Before all of the international touring and festival headlining and critical acclaim and Grammy nominations, Sylvan Esso was just a shot-in-the dark of musical chemistry gone right. The original album bio for the self-titled presciently sets the stage for the thesis that has gone on to guide Meath and Sanborn's writing since then: "a collection of vivid addictions concerning suffering and love, darkness and deliverance" arriving as "a necessary pop balm, an album stuffed with songs that don't suffer the longstanding complications of that term." And so, even as the band continues to evolve and becomes amorphous, there's still that argument about what pop can be at its core. This is just the beginning of that conversation captured on tape. In honor of the record's ten year anniversary, North Carolina-based indie label Psychic Hotline will release a deluxe reissue, complete with previously unreleased material. Featuring essential singles "Coffee", "Hey Mami," and "H.S.K.T.", the expanded edition also includes remixes from J Rocc, Rick Wade, Helado Negro, Dntel, and more. The deluxe 2LP package sports an all-over foil inversion of the original album's iconic foil "SE" logo.

Im Januar wurde bekannt, dass Thom Yorke den Soundtrack für Daniele Luchettis Film "Confidenza“ komponiert hat, eine Adaption des italienischen Dramas, das auf dem gleichnamigen Roman von Domenico Starnone basiert. Der Film feierte seine Premiere auf dem Internationalen Filmfestival in Rotterdam und wird am 24. April in die italienischen Kinos kommen. Produziert wurde der Film von Indiana Production und Vision Distribution, der Vertrieb erfolgt durch Vision Distribution. Erscheinen wird der Soundtrack am 26. April zuerst digital. Am 12. Juli folgt die Veröffentlichung auf Vinyl und CD. Schon heute erscheint das Musikvideo zur Single "Knife Edge" mit Elio Germano und Federica Rosellini in den Hauptrollen, das eine neu geschnittene Sequenz aus dem Film sowie einen B-Seiten-Track mit dem Titel "Prize Giving" enthält. Der Intro-Track "The Big City" wurde von Yorke im Februar in seiner Playlist für BBC 6 angeteasert.

"Confidenza“ folgt auf Yorkes vorherigen Score zum "Suspiria“-Remake. Dafür erhielt Yorke eine GRAMMY-Nominierung für den besten Song für visuelle Medien erhielt. Produziert von Sam Petts-Davies (Suspiria, The Smile Wall Of Eyes), arbeiten Petts-Davies und Yorke bei "Confidenza“ erneut mit dem London Contemporary Orchestra und einem Jazz-Ensemble zusammen, zu dem auch Robert Stillman und sein Bandkollege von The Smile, Tom Skinner, gehören. 2019 steuerte Yorke Musik zu Edward Nortons "Motherless Brooklyn“ bei und 2022 schrieb er zwei Songs für das Serienfinale von "Peaky Blinders“.

Zuletzt war Yorke mit The Smile (Tom Skinner, Jonny Greenwood, Thom Yorke) auf Tour, die im Januar ihr zweites Studioalbum "Wall Of Eyes“ veröffentlichten,
das auf das 2022 erschienene Debütalbum "A Light For Attracting Attention“ folgt.

Over the past decade, Kasra V has blossomed as a prominent figure in the music industry, particularly through his renowned residency on NTS Radio which has expanded his profound knowledge and expertise in music. Since landing his radio residency in January 2014 he has successfully broadcast over 200 radio shows, making use of the format to explore a wide array of sonic attitudes, styles and systems. To celebrate his achievement Kasra V launches his own imprint V-Sion which he will not only use for his own release output but also to propel his vision of contemporary dance music. To kick things off he presents a stunning 9-track compilation '10:10 Kasra V presents 10 years on NTS Radio' featuring unreleased tracks from some of his most revered guests who have graced his show throughout the years. Each contribution is wholly in line with Kasra V's genre-spanning approach. Over the years some periods have seen him playing straightforward club music, others featuring an extended notion of listening music. One hears a whole breadth of influences in his releases on acclaimed labels such as Radiant Records and Shaytoon Records: collected strands of rave, acid house, San Francisco breakbeat, new beat, ambient, oddball pop from 90s and 80s, UK bleep and so on. The regularity of a broadcasting residency pushed him to carry out a constant study of the history of dance music, and he envisions V-Sion as an output to curate musical output, contributing to the ongoing dialogue between past, future and the ever-changing fulcrum of the sonic present. The tracks presented on 10:10 are also emblematic of this historically-informed approach to dance music. They are all tuned for the floor, but present a range of possible floors to conjure: Fantastic Man's progressive opener, "Neural Filter", is airy and laced with delicate breakbeats, while "Archangel Waltz" by Sepehr presents a shadowy drama of string samples and throbbing bass swells."Qadak" by 500SEC lays an anthemic Arabic melody over bubbling electro; 2 tracks prior, Angel D'Lite circulates a whisper and moan through the mix of a euphoric, rave-stabbed anthem. The latter encouraged Kasra to put out this very compilation, which is just a testament to the value of the company we keep.

When Jazz Meets Italo-Disco. Two Italian legends meet and deliver a unique contemporary jazz-house fusion! ''Stefano Cantini is a well-known saxophonist in the Italian and international jazz scene. In recent years he has focused on a project called Living Coltrane with Ares Tavolazzi, Francesco Maccianti and Piero Borri. Stefano and Maurizio Dami (Alexander Robotnick) had worked together for a while in the mid '80s and Stefano also played on GMM's album (''Love Supreme'' is the best known track). Since then, Stefano has focused totally on Jazz whilst Maurizio Dami produced World Music in the '90s and later on, under the artist name Alexander Robotnick, retrieved in 2000, turned to electronic music again, so the two musicians lost track of each other for 40 years. Robotnick says, ''In March 2023 I received a call from a club in Pisa, Cantiere San Bernardo. They asked me whether I could play live with Stefano ''Cocco'' Cantini on the occasion of a special event dedicated to Giovanotti Mondani Meccanici. I called him and he answered enthusiastically. Shortly before the concert we rehearsed at the Follonica Music School which he directs. He improvised with me on the bases of my live. We liked our rehearsal and a few days later, on June 2nd 2023, we played in Pisa with much success. So came the idea of doing something together. We decided to produce an EP featuring 3 tracks. On some of my bases Stefano created a harmonic texture to improvise on. I mainly took care of the arrangement and the production. But what we play is the result of improvisation, with hardly any editing. It's amazing how we managed to work together so smoothly after so many years, as if we had never stopped. We called this project 'Robocok'''. They are modal tracks with a techno approach and harmonically open. Almost a provocation to the staticity of contemporary dance. On ''Francocco'' and ''Frigiococco'' Stefano plays soprano sax whilst on ''Afrococco'' he plays alto. Guglielmo Bottin took the task of making a remix. He picked ''Francocco'' and skilfully turned it into a pure drums and piano groove. Perfect for the dancefloor.''

We're back! And we've brought some local aussie legends to join us on a cosmic outback bush boogie with 4 x epic dub-olicious, psych rock, Afro disco jams. On the A-side is the Space Jockeys who consist of Ash Moses (Tunnel Signs) and David Smith of mid 80's and 90's seminal dance act 'Boxcar' fame. If you don't know who Boxcar are then you need to hit that search tab and get familiar! Space Jockeys deliver an epic twist on Kingdom Comes - Time Captives, followed by Barney In The Tunnel with their take on classic Australian psych rock group The Ferrets - Tripsville. On the B-side Jerk Boy delivers some JB Edit re rubs of Snakeskin Tracksuit by African Head Charge followed by Super Mama Djombo's funky number tittled Dissan Na M'bera. JD Twitch (Optimo) - super good Charles Webster - headcharge edit is my fave here....thnx Fred Everything - Sankeskin and Time Captains for me thanks! Rob Da Bank () - wondrous music! Kenny Carpenter - Love this track. Horse Meat Disco (Severino) (Severino) - yeeeeees DJ Coco (Nitsa / Primavera Sound) - great, thanks!

Valley of Rain was Tucson’s Giant Sand’s debut album recorded in 1983, and eventually released by 1985. It included Howe Gelb on vocals, guitar and Winston Watson on drums for most of it, Tommy Larkins on drums for some of it and Scott Garber on fretless bass for all of it. At the time of the recording, Howe was unacquainted with the possibilities of tube (valve) amps and had recorded most of the album with a Roland JC120 at the miraculous 8 track facilities of The Control Center in Korea Town, Los Angeles by Ricky “Mix” Novak. This impromptu recording had occurred because the band refused to cancel their first Los Angeles live gig, at Madame Wong’s, when the band (Giant Sandworms) had broken up days before in Tucson. Instead, Howe headed out anyway with Scott, the newest member who’d only been in the band for about a year, after band mainstays Billy Sed and Dave Seger reasonably decided ‘enough was enough’ following a rough and tenuous year spent in the lower east side of NYC attempting to further the band circa 1981/82. Tucsonan Winston Watson, (who would go on to tour with Bob Dylan in the 90s, as well as Alice Cooper, Warren Zevon etc ) was already living in Los Angeles and was brave/kind enough to jump in for the live date with no rehearsal. The result was so sparked with adrenalin, that the trio set up an impromptu studio session the next day to attempt to capture the sonic thrust on tape. The total cost of the day and a half recording was $400 including one 1” reel of 30 minute tape. When Enigma Records offered to release the album they requested another 15 minutes of music to make it a full LP. Ron Goudie was then called in to oversee the extra recordings at a Venice, CA studio called Mad Dog with Eric Westfall engineering. Tommy Larkins, who had been on the previous country punk album of Howe’s “The Band of ... Blacky Ranchette” came in to drum for those last 3 songs. It was there when Howe borrowed an amp that had been stored at the studio did he discover the bolster of a tube amp and his world changed. The amp was a slightly modified Fender Twin Reverb owned by Robbie Krieger of The Doors. 30 some years later, now that the band had been put to sleep indefinitely, those very first songs had begun creeping into the last Giant Sand tours. It somehow seemed appropriate to give them another shot with the proper amp just to see what they could’ve been. What made the idea more approachable was the availability of both original drummers living back in Tucson. The first attempt came last summer with both Winston & Tommy and Thøger Lund on bass, as well as the 2 newest members, 29 year old Gabriel Sullivan and 23 year old Annie Dolan on double neck guitars. The sound was insane. The funny part was Gabriel, who engineered and mixed the session, gave it an intentional 80s production sound. Howe later explained to Gabe he had been at war with that production trend since those first original recordings. So they all tried it again at Christmas time, this time with a newly discovered Fender 30 amp that had only been in production from 1980 – 1983. This new re-recording of that first album now sounds like it should’ve sounded. It was re-done for $400 and the same day and a half session time as the original. Scott Garber even drove up from Austin TX with his fretless to play so that the album is literally the originally line up for at least half of the songs. And yes, no pedal boards were used too. The band intends to tour this summer playing only those Valley of Rain songs. Giant Sand Returns To Valley Of Rain.

"RZA’s third solo effort under his Bobby Digital alias is presented on vinyl for the first time ever. Digi Snacks continues the story line from Digital Bullet (issued on vinyl for RSD 2022) and includes features from Inspectah Deck (among others). Though RZA handles the production on almost all cuts, he does pull in a few outside producers for an assist. Most notably David Banner for “Straight Up The Block.” RZA describes the project as “simply fun hip hop - a perfect blend of reality, fiction, sci-fi and martial arts.” Digi Snacks debuts on vinyl for RSD Black Friday."

" Since the release of his previous album 'Paradise for all' , the profile of Guts has grown a lot to become one of the main french producer and a recognized name on the European scene.

His hit 'Brand new revolution' was played by many radios worldwide and even synchronized in Grand Theft auto V. His compilation series ' Beach Digginï' is now a reference for summer and quality music.

After 3 instrumental albums, Guts decided to come back to his Hip Hop roots (he created the french rap Band Alliance Ethnik in the 90s) and invited quality MCs and singers to join him in the studio. You can find on this album, some Hip Hop legend as Grand Puba, Masta Ace, Bob Power, Rah digga some singers as Cody Chestnutt, Patrice and a batch of new talents as Leron Thomas, Lorine Chia, Quelle Chris & Denmark Vessey, Dillon Cooper.

This albums contains hit singles like'Man Funk' Want it back (feat. Patrice)' Open wide'

Vinyl deluxe edition : double LP gatefold Replica sleeve with insert & download card.

About this release:


Without hip-hop, Guts wouldn't be half the producer he is today. Hip-hop as inspiration, a gateway to so many different musical styles, the trigger for a continually expanding musical bulimia, the springboard from which he dived into a bottomless musical well.
Hip-hop � which has been Gutsïtrue love for the last 25 years, despite its taking futile, gangsta and materialistic paths.
Hip-hop � which in quarter of a century has driven him to spend whole nights with samplers, drum machines, expanders and vinyl, tapping on pads, adjusting the drums and honing his samples.
Hip-hop � which is often done remotely nowadays by sending digital files back and forth. Guts has opted to make it shine like when it was all brand new, decided after three entirely instrumental albums to re-establish contact with rappers, vocalists, jazz players and soul men by packing up his productions and heading across the Atlantic to record them in their home surroundings in New York and California.
Backed up on production by the inexhaustible DJ Fab (Hip Hop Resistance) and supported from Paris by his label Heavenly Sweetness (�A French label spreading colourful music for the soul, Guts explores a host of styles, flows and atmospheres to build up a mosaic of 16 tracks, each nestling inside the other to form a single concept: Hip Hop After All."


[b] Open Wide [Feat Lorine Chia]
[c] The Forgotten (Don't Look Away) [Feat Quelle Chris &Amp; Denmark Vessey]
[d] Go For Mine [Feat Tanya Morgan]%U2028
[e] As The World Turns [Feat Rah Digga &Amp; Akua Naru]
[f] Man Funk [Feat Leron Thomas]

[h] Forever My Love [Feat Grand Puba]
[i] It's Like That [Feat Dillon Cooper]
[j] Want It Back [Feat Patrice &Amp; The Studio School Voices NYC]
[k] Enlighten [Feat Cody Chesnutt &Amp; Murs]

[m] Innovation [Feat Masta Ace]
[n] Come Alive [Feat Lorine Chia]

[p] Roses [Feat Leron Thomas]

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RYUICHI SAKAMOTO'S 1985 ELECTRONIC AND AMBIENT CLASSIC RELEASED OUTSIDE OF JAPAN FOR THE FIRST TIME SINCE ITS ORIGINAL RELEASE WITH NEW LINER NOTES BY ANDY BETA AND AUDIO REMASTERED BY SEIGEN ONO

Wewantsounds continues their Ryuichi Sakamoto reissue series with the release of the 1985 album "Esperanto", composed for a performance by New York avant garde choreographer Molissa Fenley. Produced and performed by Sakamoto with contribution by Arto Lindsay and Japanese percussionist Yas-Kaz, "Esperanto" is a fascinating instrumental work mixing electronica, ambient and synth pop. Released in Japan in 1985 on Midi Inc.s' School label, the album has never been released outside of Japan until now. This special reissue comes with original artwork including a 2 pages insert with a new introduction by Journalist Andy Beta. The audio has been remastered in Tokyo by Seigen Ono.
"Esperanto" originally came out in 1985 and was Ryuichi Sakamoto's sixth solo album. Coming after his stint with the influential Yellow Magic Orchestra, and also the worldwide success of Sakamoto's 1984 soundtrack for the film "Merry Christmas Mr. Lawrence" (in which he starred alongside David Bowie), "Esperanto" was a return to Sakamoto's leftfield roots.
?Composed as the soundtrack to a performance by New York choreographer Molissa Fenley (a show commissioned by Japanese producer Shozo Tsurumoto), the album was masterminded by Sakamoto with the help of the cutting-edge electronic technology of the time (the only external contributions are by Arto Lindsay on guitar and Japanese composer Yas-Kaz on percussion).
?Indeed, the album is a fascinating soundscape experimenting with the new sampler technology - which, according to Ryuichi Sakamoto from a conversation with journalist Andy Beta mentioned in the liner notes, needed a computer that was huge at the time.
?Esperanto is composed of eight tracks displaying a varied mix of influences. "A Wongga Dance Song" is pulsating with rhythms while "A Rain Song" adopts a minimalist mode with its distinctive
repetitive pattern. "Dolphins" and "A Carved Stone" are captivating ambient pieces showcasing Sakamoto's talent for setting beautiful abstract melodic ornaments over atmospheric tones.
?One of the highlights of the album is "Adelic Penguins", a fascinating proto techno piece with a funky twist stretching over six minutes which echoes the electro funk of 1981's album "Hidari Ude No Yume." "Ulu Watu", a collage-like piece featuring bird motives and a tropical soundscape closes the album with an experimental note. It's interesting to note that, a year later, the tracks from "Esperanto" would be turned into an experimental video project by New York visual artists Kit Fitzgerald and Nam June Paik collaborator Paul Garrin.
?A unique album in Ryuichi Sakamoto's rich discography, "Esperanto" is a groundbreaking work worth rediscovering in its full glory.

Repress!

The 25th of September will see two of house and techno’s most-established talents collaborate on their debut release together, as Hot Creations head Jamie Jones teams up with Mood Records boss Nicole Moudaber on Pepper Shake.

Short, sweet and with no filler involved, Pepper Shake gets us underway swiftly, and the name certainly does the track justice. Up-tempo hats whistle beside a driving bassline, before a female vocal reels in and out. The styles of both artists are present throughout, with Jamie’s signature groove providing the foundation and Nicole’s deeper techno style coming through in the synths. Bubble Ride completes the release. Dark, gritty and harder-edged than its predecessor, this is a stripped-back peak-time club cut, with a penetrating bassline and hard-hitting kick patterns. The occasional pulse of an atmospheric sample further enhances the body of the track, to form something that’s built solely for the dancefloor.

As a world-renowned DJ and producer, head of Hot Creations and founder of the global Paradise event series, Jamie Jones has etched out a legacy in electronic music that few others can attest to. His personally curated Paradise series offers an international showcase of house and techno’s most recognisable artists, whilst his flagship label, Hot Creations, continues to pioneer a contemporary house sound. At the forefront of the MOOD brand, with offshoots including a record label (Mood Records), warehouse parties (MoodRAW), festival stages (MoodZONE) and a renowned global radio show (In the MOOD), Nicole Moudaber has rightfully established herself as a worldwide techno mainstay.

The world’s most prominent bass driven instrumental rock act, Australia’s The Omnific, return with their sophomore opus, The Law Of Augmenting Returns, an audacious and magnificent triumph. Green smoke coloured vinyl.

Circling guitar lines; the rise of fall of delicate bass; deep, breathy horns: sonic elements that exist in a state of slow, perpetual motion, like ideas sprouting from some kind of cognitive compost. With wonder and charm, G. S. Schray's new solo album, Whispered Something Good, evokes a realm of new growth while offering a fitting soundtrack for its exploration, as if tailor made for both the daydreamer and silly adventurer.


We start in the darkness of "Unlit Center" with elliptical phrases of jazz guitar. A conversation between double bass, synthesiser, and piano plays out on "In Tears Twice A Page" before we're ushered into the reflective zone of "Another Haunted Mirror." There is synth mist which trumpet cuts through decisively like a shaft of light from the sun: warm and clear. As the album proceeds, firmer rhythms coalesce. On "Prelude for Probably," clattering drums lock into a triumphant groove with horns. And then, to close, the instrumental art-pop of "Gone in Amber," probing not necessarily towards a final destination but another stop-off, one of distant birdsong and the faintest flicker of synth. Intimate and inviting, the act of listening to Whispered Something Good is akin to digging through an imagination. It's a place of subliminal melodies blooming into rhizomatic musical shapes, stray musings coalescing as bolts of inspiration — change fostering yet more change.

Side A / Double A / Gotta be a Sucka 4 Luv
After almost two years on digital, Double A’s “Gotta be a Sucka 4 Luv” finally gets its vinyl
release. Blending elements of classic funk and soul with “that vocal!”, it’s an instant party
rocker. Snappy drums, bigged up for the dance floor, an unmistakable bass line, and horn
stabs for days are the icing on the cake. You know the sound!
Side AA / King Most / Standing Out
Another long-awaited vinyl pressing for a digital-only sure-shot! San Francisco’s King Most
delivers the goods once again. Classic funk and R&B vibes with a killer male vocal and drums
for the club. This one has been a staple in digital crates for a while now, and hits any time of
night.

- 10TH ANNIVERSARY EDITION OF TESS PARKS DEBUT ALBUM.
- GOLD VINYL, GATEFOLD SLEEVE, HANDWRITTEN LYRIC BOOKLET.
A native of Toronto, Tess Parks moved to London, England at the age of seventeen where she briefly studied photography before deciding to focus on music.
Tess made an impression on industry legend Alan McGee, founder of Creation Records, albeit the timing of their meeting could hardly have been less ideal; McGee was no longer involved in music and Tess was due to move back to Toronto. After moving back to her hometown in 2012, Tess formed a band on the advice of McGee and less than a year after their meeting, he returned to music with his new label, 359 Music.
Tess became one of his first signings and released her debut record ‘Blood Hot’ in November 2013 to excellent reviews. One reviewer described her as “Patti Smith on Quaaludes”. Others have mentioned her “gauzy psychedelic sound” and“smouldering voice”.
Alan McGee himself said: “She’s only 24 and is already an amazing songwriter... she just doesn’t quite know she is yet ... her most beautiful quality is her lack of ego. Tess is an amazing lady”.
‘Blood Hot’ is inimitably confident. It’s slow and psychedelic at times, while being loud and ready to fill a stadium at others. There isn’t a moment on the album that isn’t relatable or that doesn’t ring to the tune of a timeless classic to be talked about for years to come (the same way people discuss The Velvet Underground or My Bloody Valentine records today).
Her cult-like following has turned into a movement. And Tess is gladly leading us all back into that space within ourselves, both deeply personal and entirely universal. Incredibly relevant yet timeless.Cool and anti-cool. An enigma that doesn’t need solving. Tess Parks is as she’s always been. Her best work is already out there. And her best yet is still to come.

Uun returns to his imprint Ego Death for its 7th release. The vinyl version is pressed onto a special marble red and black color variation created specifically for this release. The artwork is printed on a partially translucent mylar lithograph.

“The more things change, the more things stay the same. The progression of the digital space from a place where like minded individuals can get together over shared interests has gone the way of everything else in the modern world. There is money to be made after all, and data is worth more than gold. All around us are rent-seekers, hucksters, and those who seek to profit from what was never theirs.

Platform Decay is the beginning of the end result. Everything that is unique and interesting is being flattened for maximum palatability and consumption. It is what the advocates like to call content. We have given all of ourselves away, so that we can be advertised to. All to chase the algorithm; the black box where art, culture, and creativity enter and only an amalgamation of disparate nothing exits.

Atrahasis is the genesis, the original story, the prime instance of human creativity and storytelling. We sell ourselves sight unseen for the simulation of a social experience. You try to walk the tightrope between physical and digital but soon realize you can’t have both. However your engagement is up which is the upside of losing everything. Reaching into the past you finally realize the meaning of the lamassu, the double aspect. Only to be forgotten again as you are consumed by the ouroboros.

The project is made whole by the evocative artwork of Ryote, who brings the themes together in a unique visual style. The beautifully printed vinyl insert lithograph print represents the digital tomb of social media, with the label art depicting the mythological double aspect.”

Animal Collective feiern das 15-jährige Jubiläum ihres bahnbrechenden Albums Merriweather Post Pavilion mit einer Deluxe-Vinyl-Neuauflage, die am 28. Juni bei Domino erscheint. Das Album wird zum ersten Mal auf farbigem Vinyl gepresst und ist als 2xLP in Translucent Green und Bluish erhältlich.

- 140G 2LP im blau-violetten und translucent grünen Vinyl inkl. bedruckten Innenhüllen und Downloadkarte

Fledgling label Shadow Pressings already made a mark with their debut release in March entitled the Chicago EP, garnering love from Hunee, Terry Farley and Luke Solomon to name a few.

Striking while the iron is hot, the label are serving up four more heavyweight club tracks which include acidic edits, crunchy deep house, 808 electro grooves and dusty breakbeats.

Lead track Find A Friend jacks up the perennial classic with 808 rims and toms and additional synths but keeps things loopy and rolling.

Holding One Shoe continues with the 808 theme whilst injecting a healthy dose of acid resulting in what sounds like a long lost Yazoo B side filtered through a lysergic lens.

Train Of Fools decontextualises a well known acapella making for a deep and techy basement jam which will keep the floor moving and the speaker pumping.

Closing out the EP we have More Music In The Night, which chops up some familiar samples and layers up an 808 electro groove and breakbeats for a fresh take on early 90’s house.

Burnski's Constant Black kicks with yet more robust tech house for considered dance floors. This one comes from the ever-present underground stalwart Diego Krause and he opens with 'Bound', a perfectly driving and deep cut with slinky drums and smart vocals that are brought to life with sci-fi synth effects. 'Munro' is brilliantly lithe and elegant, with wispy synth motifs peeling off a super smooth and slinky groove. 'Phantom' ups the pace with a little more tech house urgency but still plenty of deftly designed cosmic pads. 'Flux' shuts down with kinetic, tightly coiled drum funk and popping neon colours. Great work all around from Krause.

Mental health charity label Serenity keeps it sophisticated with its sixth outing and once again donates all proceeds to Young Minds. It is underground house mainstay and DiY Discs legend Nail who steps up first with a much more breezy and balmy sound than you would expect but it sure is lush. 'Pad On' slips into his more usual and driving house sound but with swirling pads up top for summery refinement. Trixie, Connor Male & Thoma Bulwer then get deep and late night with their punchy 'Impromptune' while Trixie's solo cut 'Restless Sculptures' is a jacked-up and percussive number that leans into techno.

Prince will forever be remembered as a commanding live performer, chart-topping recording artist, and music business revolutionary. Yet for all the time he spent in the spotlight over his four-decade-long career, Prince also worked tirelessly behind the scenes to nurture talent and pen songs for the rising artists he respected.

Sourced directly from Prince’s vast archive of Vault recordings, ORIGINALS is a brand new 15-track album featuring 14 previously unreleased recordings that illuminates the vital, behind-the-scenes role Prince played in other artists’ careers. These are more than just demos, the production quality has been kept high and the recordings resemble a pristine quality similar to that of Nothing Compares 2 U released last year.

By the mid-1980s, Prince was dominating the charts even as a writer/producer with songs he’d composed and recorded for others. In addition to releasing nine of his most commercially successful full-length albums, he also wrote and recorded endless reels of material for proteges The Time, Vanity 6, Sheila E., Apollonia 6, Jill Jones, the Family, and Mazarati. Several of the iconic songs found on ORIGINALS were considerable hits for the artists who recorded them.

3 cuts of the classic rhythm from Yabby You. ‘King Pharoah’s plague is coming down on the land’, righteous soulful rendition of old testament doctrine. Yabby always delivered his lyrics with authenticity and passion. This 3 track EP comes with the Tommy McCook cut and a thumping Tubbys dub. One of Yabby's most essential rhythms. Comes in a Pressure Sounds house disco bag. Rocking time is here!

*REMASTERED ROUGH TRADE DEBUT LP LIMITED TO JUST 500 COPIES WITH EMBOSSED OUTER SLEEVE AND ORIGINAL INNER SLEEVE ON BLACK VINYL*

Dream POP, they called it. Given AR Kane’s Alex Ayuli once worked for advertising agency Saatchi & Saatchi, it’s no surprise that he and collaborator Rudy Tambala invented their own genre before critics could stick their oar in. It was a canny move, but more importantly, it was accurate: the music of AR Kane was made for dreamers, by dreamers, and its languor and longing made it particularly bewitching listening; their music is often smeared and blurry, happily lost in its own indefinable pleasures. “We wanted dream pop,” Tambala says, “that feeling of a dream where the rules are different. Dream logic.”
-UNCUT REISSUE OF THE MONTH

"A.R. Kane carved out a unique musical path, welding elements of pop, psych, dub, electronica, funk, noise, jazz, ambient and more in a way that had never been done before. Or since. Their debut in particular is a work of unbridled brilliance."
*Electronic Sound*

‘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 – Neil Kulkarni


"A.R. Kane made some of the most exciting, forward-thinking, and science fictional music of their era".
*Reissue Of The Week In The Quietus*

A duo of producers who had worked with rapper MC Solaar released their first EP Tribulations Extra Sensorielles in 1994. Philippe Zdar and Hubert Boombass became known under the name La Funk Mob, offering a timeless trip-hop sound with jazz and funk influences. Signed to British label Mo" Wax, a benchmark in the genre, they proved that French artists were to be taken seriously across the Channel. A few years later, the two friends embarked on a more house-oriented project: Cassius.

The Wrekin Crew is back for a seance outing on the peerless Is It Balearic? This new offering rather continues where the first one left off with two tracks of immersive sonics for sunny days. First up is 'Vapour Trails' which melds lush Italo disco melodies and nice emotinoal pop of the sort you would expect to hear in this duo's DJ sets. Goldsuite also step up with a remix to smooth the edges and lay down moon-lit Balearica then closer 'Broken Wings' has more meaningful vocals but this time over grooves more suited to a late-night setting. Cosmic arps finish it in style with plenty of dubby undercurrents.

In a world full of cheesecake rappers, one man has assembled a phenomenal team to bring you madness. The original originator, ultramanetic, high-wire rap legend Kool Keith brings a star studded album to the fore. "Feature Magnetic" highlights MF DOOM, SLug of Atmpshere, Mac Mall, Necro, Craig G, Dirt Nasty, Ras Kass and more. This special edition 24 for '24 Artist Series Vinyl also features original oil painting art by KipDaFog for this oen time pressing on tri-color canary cake vinyl.

Love's Command have been "riding the rocket of Brit funk" ever since day one says ROCit who now serves up a pair of new cuts from them. This record is designed to spread love and pace and it does that with feel-good vibes from the off. 'Aliens From Above' is an out-there funk sound with tight, quick drumming, plenty of neat guitar riffs and a cosmic feel from the lush synths. Add in vocoder vocals and you have a trip to outer space that you will never want to end. Flip it over and you get a more dubbed-out version that is no less of an adventure.

This latest installment of Mr. K Edits focuses on two midtempo cuts for the roller skaters and lowdown groovers, with a couple of deep album tracks that are appearing on 7-inch for the first time — both with unique Mr. K edits.

First up is “Felix Leo” from Californian keyboardist Rodney Franklin. A subtle instrumental that was overshadowed at the time by the monster hit “The Groove” (also known to UK’s jazz dancers as The Freeze), “Felix Leo” is that creeper that makes its way into your consciousness and won’t let go. As he so often does, Mr. K trims the track to its leanest, meanest measures, starting directly from the menacing, hypnotic chord progression that forms the root of the composition. Proceeding at a stately leonine pace befitting the title, the song spirals beautifully, as a lush string section encourages the listener to get lost in the unfolding sonic textures.

“In Love” is a very early Prince track, in fact it’s the very first cut in which we hear Prince play instruments on his debut album, released in 1978. And play instruments he does, every single one of them — drums, bass, guitar, and above all, those creamy ARP and Moog synth lines that power this tune. Bouncing along on a rhythm that blends a solid four-on-the-floor stepper’s groove with a hint of the staccato upbeats of reggae, this one’s an easy warmup for dancers and a perfect tempo for skaters. Mr. K’s edit gives us the extended mix the album never did, adding nearly two minutes to the LP timing without ever feeling strained or repetitive.

“I learned both of these songs for roller skaters in my early Roxy days,” Krivit says, referring to the legendary downtown NYC roller rink, “both had those grooves that stood the test of time.” We think this exclusive 7-inch will do the same!

As always, these are mastered and cut to vinyl with both home hi-fis and club systems in mind, and the sound is unmatched.

True Acid Wizards of the 1980s/1990s Psychedelic Underground TreaTmenT performed at Stonehenge Free Festival and at squats and clubs all over London including the now legendary Alice In Wonderland, The Crypt and Club Dog where they assaulted the minds of those present with their unique and somewhat terrifying blend of '60s psychedelia and '70s space rock all liberally spiked with a questioning punk attitude. Performing with Dr & The Medics, Ozric Tentacles, The Magic Mushroom Band, Naz Nomad and The Nightmares and other luminaries of the neo-psychedelic space rock revival, TreaTmenT were an integral part of the scene and possibly the most psychedelic band of them all.

Hardcore to the max, the band insisted on performing in a psychedelicised state, looking like a cross between Arthur Brown's Kingdom Come and early Pink Floyd and often with a lightshow. Firmly fixated on taking their audience on the trip of a lifetime TreaTment consisted of Adam Blake (Jacket Xerxophon) on guitar and vocals, Gordon Leach (Gordon Zola) on further guitar and vocals, Clive Leach (Evil C. Live, Ron Number, Curtis Vile) on bass/trombone, Paul Ross (The Big Beat, Mr Raagh) on drums/percussion and Paul McWhinnie (Mutant) on keyboards, noises and vocals. They were without doubt a live phenomenon, and although they released a couple of singles, cassettes, a live album and a studio album - Cypher Caput - on the Delerium label (home to Porcupine Tree), they never really managed to commit their mind-blowing magic to vinyl. Now, nearly 20 years after it was recorded TreaTment are releasing a limited-edition double vinyl LP of their second studio album How Much is Enough? in memory of guitarist Gordon Leach who sadly passed away in 2021.

The album was intended to be released on Delerium in 2000 but never was and whilst one track 'Keep Ahead' appeared on the Cherry Red box set Last Daze of The Underground - Delerium Records Anthology in 2011 nothing else has seen the light of day until now. Fans of the band will note cornerstones of their live set such as the wondrously trippy 'What The Hell to do' the humorous swipe at the music press 'Hate The Band' the melodic keyboard swirling 'Restless', the frenetic guitar cross fire of 'No Understanding' and the nihilistic nightmare 'Blot Out'.

Housed in a gatefold sleeve packed with photos and memorabilia as well as for the first time the full history of the band and limited to only 300 on 180-gram vinyl How Much is Enough? will no doubt be seen in the future as one of the landmark releases of the '80s/90s Neo-Psychedelic revival.

Warehouse Find!

Undoubtedly one of the most exciting acts to have emerged in drum & bass over the past decade, Voltage has joined forces with Hospital Records for the release of his long-awaited studio album 'Balance Over Symmetry' which marks the tenth year of his journey as a solo artist.

No stranger to the Hospital family with an album, 2 EPs and a handful of singles under his belt as part of drum & bass powerhouse group Kings Of The Rollers, it's now time to explore the solo sounds of Voltage which have slowly but surely carved him to be one of the most respected DJ & producers in the scene.

In his true rambunctious style, Voltage sets the swing with a wild card. 'So Close' is a sub-120BPM synthwave weapon which matches his retro-inspired fashion to his musical vibrations. The combination of catchy vocals, an 80s-esque bassline and an unforgettable topline melody sees the creation of something extremely different yet irresistible from Voltage.

Not straying too far from the roots of his influences, 'Natty Love' features the groove inducing vocals of sound system legend Sweetie Irie. Saturated sub wobbles juxtaposed with potent string plucks are intertwined with ease, peppered with that signature Voltage flair.

Teaming up with reggae and dancehall superstar Demolition Man known for his skill as a vocalist, producer, MC and sound engineer, 'Life Of A DJ' combines the sounds of Demo's with Voltage's unmissable sonic technique. 'Save Me From Myself' exposes
the lighter side to Voltage as he illustrates his versatility as an artist through a soul-heavy amen roller with a classic liquid bassline.

Reminiscent of the days of euphoric hardcore, 'Keep On Dancing' sets the vibe with uplifting piano chops and adrenalised vocals as crunchy snaps and rhythmic cymbals keep things moving beneath. An iconic duo to everyone who knows their drum & bass, Voltage and Evil B come together for 'Odyssey' which sees ambient soundscapes
and earnest lyrics on a truly heartfelt piece of music.

With releases on foundational imprints such as Metalheadz, 31 Recordings, RAM, Souped Up and Spearhead to name a few, Voltage's discography speaks for itself in laying down his years’ worth of experience within drum & bass. With support for his productions coming from a wide range of influential selectors including the likes of Andy C, Hype, Friction, Goldie, Bailey, Hazard and Bryan Gee, it's safe to say that 10 years of Voltage has been a remarkable decade to say the least. Here's to 10 more…

Emerging once again from the unending waves crashing upon our fragile time-craft (adrift on the eternal ocean, and taking on water), Dirty Three are (a) back, (b) tangled in seaweed, rank with saltwater and possessed of three rather ominous thousand-mile stares (at least!), and (c) not wasting another minute – as nothing is guaranteed. For their first album in over a decade – yep, it’s been since 2012’s Toward the Low Sun – they flew in, got together and started playing. End of story. What else is there to say or do but that? Music’s their language, their true love; they never stop listening to that. And like the label says, Love Changes Everything.

The Dirty Three – Warren Ellis, Mick Turner and Jim White – formed up in Melbourne in 1992, to play with guitar drums and violin or viola, and within a couple years, they’d broken out – out of Australia, out of anything else they might have been inside of, to boot – and got worldwide. Over the next ten years, they toured over and over the planet, ceaseless like, and cut seven albums out along the way. After this, their unique style of play, fitted together like puzzle pieces, was decoupled, more often than not, and pieced together in many other, fruitful collaborations with many other esteemed talents. Over the past 20 years, they’ve gotten together a few times, renewed the vow, revved the engines and played some shows, or made an album. Like now

LIMITED EDITION SPLATTER VINYL WITH NEW ARTWORK
For over 15 years, Zu’s modus operandi of straddling and abusing musical genres has resulted in over fifteen unique album releases across labels such as Ipecac, Atavistic and Headz (Japan). Their experimental amalgam of metal, math, no-wave, noise and electronics, led acclaimed composer John Zorn to describe their sound as “a powerful and expressive music that totally blows away what most bands do these days”.

In the running for the title of “the world’s hardest working band,” Zu have performed over 1000 shows throughout Europe, US, Canada, Asia, Russia, Mexico and even Africa, touring with the like of Mike Patton (as the Zu/Patton quartet), also sharing the stage with Faith No More, Fantômas, The Melvins, Lightning Bolt, Sonic Youth, The Ex, and countless others. They have also collaborated with a vast number of musicians including Mike Patton, The Melvins, Dälek, Jim O’ Rourke, FM Einheit (Einsturzende Neubauten), Peter Brötzmann, Nobukazu Takemura, Eugene Robinson (Oxbow), Steve MacKay (The Stooges), The Ex, Thurston Moore, Stephen O Malley, Damo Suzuki (Can), Mats Gustafsson, NoMeansNo, Joe Lally (Fugazi).

CARBONIFEROUS is their masterpiece, originally released on Ipecac in 2009, it includes collaborations with Mike Patton, King Buzzo, Giulio Ragno Favero.

"Den Bildschirm zur Verbrechensbekämpfung einzusetzen, das, meine Damen und Herren, ist der Sinn unserer neuen Sendereihe Aktenzeichen XY Ungelöst, die ich Ihnen heute vorstellen möchte." Mit diesen Worten begrüßte Eduard Zimmermann am 20. Oktober 1967 die Zuschauer des Zweiten Deutschen Fernsehens. Es war die erste Ausgabe eines neuen Sendeformats das, so weiß man heute, (Fernseh-)Geschichte schreiben sollte.

Die Idee zu diesem Projekt kam der Tramp Mannschaft, wie so oft, eher zufällig in den Sinn. Es war Ende der 1980er Jahre, als wir zum ersten Mal Eduard Zimmermann am Bildschirm bestaunten. Damals war offensichtlich nicht die Musik ausschlaggebend, sondern das Gesamtpaket XY. Zum einen der sachliche Moderationsstil des Protagonisten, zum anderen die spannenden, jedoch immer behutsam produzierten Filmbeiträge von Kurt Grimm. Die XY Fan-Gemeinde ist sich einig, dass durch seine außergewöhnliche Regiearbeit der filmischen Rekonstruktion der Fälle maßgeblich zum Erfolg von XY beigetragen hat. Des Weiteren waren es die Sprecher der Filmbeiträge, allen voran Wolfgang Grönebaum, der zwischen 1967-1989 mit seiner markanten Stimme des öfteren für Gänsehautmomente bei den Zuschauern sorgte. All das würde aber ohne die passende Begleitmusik nicht funktionieren. Und so ist das letzte Puzzlestück welches XY den Kultstatus einbrachte die Kompositionen die für die Filmbeiträge benutzt wurden.

Nun fndet sich auf dieser (Bio*-)Schallplatte aber keineswegs Musik von XY aus den 1980er Jahren. Wie ihr wisst schlägt das Tramp Herz, bis auf wenige Ausnahmen, für die Musik der '60er und '70er. Als wir vor einigen Jahren auf XY-Folgen der Anfangszeit stießen war schnell klar: da muss eine Schallplatte her! Und genau diese kann man nun als Resultat unserer Leidenschaft in den Händen halten. Längst überfällig möchte man meinen. Ein besonderer Dank geht hierbei an den Komponisten Ernst-August Quelle aus dessen Hand alle Titel auf diesem Album stammen.

Eduard Zimmermann hat mit Aktenzeichen XY... Ungelöst Fernsehgeschichte geschrieben. Wir, die Tramp Crew, ist mehr als stolz ihm und seinen Fans mit dieser Schallplatte ein Denkmal gesetzt zu haben. Gern geschehen.

*Die LP stellt die erstmalige Veröffentlichung aller Titel auf Tonträger dar und erscheint in einer limitierten, handnummerierten Auflage von 500 Stück, gepresst auf BIO-VINYL (Ersatz von Erdöl in S-PVC durch Recycling von u.a. Altspeiseöl =>100% CO2-Einsparung), mit einem Text von Peter Hohl, der zwischen 1967 und 1979 engster Mitarbeiter Eduard Zimmermanns war.

BLØF is een van Nederlands bekendste rockbands en zijn afkomstig uit Zeeland. In 1998 braken ze door bij het grote publiek met de single ""Liefs uit London"", waarna er vele hits volgden. Al 30 jaar zingt Nederland uit volle borst mee op nummers als ""Aan De Kust"", ""Wat Zou Je Doen"", ""Dansen Aan Zee"" en ""Harder Dan Ik Hebben Kan"". Ook heeft de band verschillende succesvolle samenwerkingen op hun naam staan, met onder andere Counting Crows (""Holiday In Spain""), Geike Arnaert (""Zoutelande""), Sabrina Starke (""Meer Kan Het Niet Zijn""), Typhoon (""Wereld Van Verschil"") en KODO (""Aanzoek Zonder Ringen""), en S10 (""Laat Me Los""). 30 (We Doen Wat We Kunnen) is een oeuvre overzicht van de band en bevat hun mooiste nummers van 1992 tot nu. Deze 3LP is beschikbaar als gelimiteerde oplage op transparant groen gekleurd vinyl en is verpakt in een trifold sleeve.

Going solo while still keeping intact his devotion to RS Produções, Nuno appears as a true heartbreaker. Silky, space soul, why not even risk the patented future r&b? But this music exists and manifests itself apart from the established production centres, the golden arches of hype edifices and synthetic promotion regurgitated by a thousand cloned fingers. "Sai Do Coração" is a very brave, romantic improbability, shying away from DJ bravado and dancefloor top speed. Through these grooves comes a pure distillation of love, an alchemical sublimatio resulting in the much sought-after "higher substance", a bright globe issuing rays of affection all around.

With love we most likely also buy into a degree of suffering, and though this is not at all the ID of the album, Nuno explicitly connects the two sentiments in "N'Dengue", a cathartic cold cut one grows to cherish intensely by the time it is over. It's a key moment, grief pours out, liberation achieved in the dance - "I will love, I will suffer, I will shout, I will dance". Flip to the other side for "Confusão No Ghetto", another gritty expression, a richly percussive, slow tempo observation of things gone wrong. All the rest in the album feels simple, direct and yet sophisticated like photosynthesis. Like the soil, through which geological becomes biological. Nuno whips up a variety of textures and flavours into the invisible form of Music, romantic fiction into action.

An exciting new collaboration between New Mastersounds Hammond organist and Madrid based guitarist Lucas De Mulder plus drummer Luke Flowers (Cinematic Orchestra). Recorded at Joe's home studio on his cherished C3 Hammond (where The New Mastersounds' latest album "Old School" was recorded Galáctico will delight vintage jazz-funk fans with nods to Jimmy Mcgriff, Dr Lonnie Smith,George Benson etc etc. Joe and Lucas worked together on Lucas's album "Feel the spirit" in 2019 on Color Red label based in Denver.
The trio will be launching the record at the Saint Paul Soul Jazz festival in the south of France on 7th July and continue to play a series of other fgigs through-out the summer
The album starts with the frenetic James Brown groove of Double Take - a catch jazz guitar head that builds moving up in key to a frenetic hammond solo punctuated by The Haggis Horns.
Track 2 is the Meters-esque "Hey!" The only English language vocal track on the record and at that only one word
Next up is "El Gato" featuring Sam Bell on Congas and Atholl Ransome and Malcolm Strachan from the Haggis Horns a latin four to the floor vibe with solos traded throughout
Guinnee Drop is a swaggering funk jam with Luke Flowers funk drums breaks a feature
The only cover on the album is Sixto Rodriguez' Sugarman - Lucas and Joe were both inspired by his story and loved the song so much it had to go on the album with a mellow instrumental twist
The title track "Galáctico" is has funky soundtrack tune - the horns are back and take the track out with some blistering solos
"Retiro" inspired by the park near Lucas's pad in Madrid is a laid back boogaloo vibe and has Sam Bell on Congas and an upright piano solo from Tatton
"Dame Lo Que Tienes" - The first single from Joe Tatton's second album "Give me what you got!"- led by a funky guitar riff followed by a cutting hammond melody - a little "Meters, Booker T, The Crusaders "!
"Moonbow" a hypnotic slower tune with a nod to Khurangbin
The final track on the album is "Lost on You" A Breezy George Benson nod along
Out on vinyl, CD and digital on 5th July !