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Produced by Joe Barresi (Queens of the Stone Age, Tool), The Dissent of Man finds Bad Religion pushing the boundaries of their music as much today as they did in their formative years as a genre defining punk band. Over the course of making the album, primary songwriters Greg Graffin and Brett Gurewitz"s songwriting was informed by life changing events, with Graffin writing his forthcoming book "Anarchy Evolution" and Gurewitz embarking on parenthood again. The result is one of the band"s most forward thinking and musically varied albums ever. The Dissent of Man is not only a snapshot of the band"s personal experiences of the past years but also of their continued maturity in songwriting, capturing an array of styles ranging from blazing punk rock songs like the opener "The Day That the Earth Stalled" and "Meeting of the Minds" and classic rock-tinged cuts like "Cyanide" and "Turn Your Back on Me" to radio rock ready hits like the first single "The Devil in Stitches." The Dissent of Man is a testament to why Bad Religion has remained relevant for the better part of three decades. Already having cemented their place in history as a groundbreaking band who helped create a movement in Los Angeles with classic releases like How Could Hell Be Any Worse?, Suffer, Recipe for Hate, Stranger Than Fiction and Process of Belief, Bad Religion continue to inspire and create with a unique style that continues to cross boundaries and transcends genres."

In an interview released to Billboard in 2017, east coast veteran AZ explains how this collaboration with legendary DITC producer Buckwild came along:

"The sound was shifting. A lot of brothers in the street were telling me "You got to save us." And I'm like, "Save y'all from what?" So I took that title to save the people, then Buckwild played a joint in the studio called "Save Them," and I was like, "This is it."

The two don't really need no introduction: with the Brooklyn lyricist gracing the mic since the mid 90's beginning with one of his first appearances alongside Nas on "Life's A Bitch" and dropping legendary classics such as "Doe Or Die", and the Bronx producer providing beats to artists that range from old school acts such as The Notorious B.I.G., Jay Z, Kool G Rap, Big Pun, modern day legends such as Vinnie Paz, Meyhem Lauren, Termanology and, last but not least, legendary DITC members Big L, Fat Joe, Diamond D and the list goes on and on.

AZ had to recruit "some brothers who I know respect the craft" and found them in Wu-Tang Clan's own Raekwon alongside the late great Prodigy of Mobb Deep. The song was released in April 2017 and brought a breath of fresh air with its classic vibe, together with a video being released just days before Prodigy's untimely passing in June 2017. The rest, you already know, is straight up hip-hop history.

Recorded and mixed at Duke Reid's storied Treasure Isle studio by Duke's nephew, young engineer Errol Brown, Dub Expression collects dubbed up treatments of seminal rockers rhythms crafted for Marcia Griffiths, John Holt, Dennis Brown and more.

Propelled by the drums of Lowell "Sly" Dunbar, the appropriately named Revolutionaries (with their tough and radical sound) were the ideal group to reflect a turbulent period in Jamaican politics. While the band's personnel remained fluid – depending on which players were available and frequently overlapping with other seminal sessions bands such as Joe Gibbs' The Professionals and Bunny "Striker" Lee's The Aggrovators – The Revolutionaries were most known as Channel One's house band in the mid to late '70s.

The decision to top-bill The Revolutionaries, rather than feature an individual artist as was customary at the time, was made by Kingston's most celebrated female producer, Sonia Pottinger who shrewdly determined that The Revolutionaries' name alone would be a can't miss selling point. One only needs to spend a minute with Dub Expression to hear why.

Originally released in 1978 on Pottinger's High Note label, Dub Expression represents the essence of dub in its purest form. An absolute classic. Liner notes by JR Gonne.

This isn't your abuela's salsa night - this is CHEO Y LOS CONSENTIDOS DE LA CASA. Funk-forward. Rhythm-obsessed. 100% dance floor approved. Cheo y Los Consentidos de la Casa is a dynamic, funk-infused Latin music project led by Cheo Pardo (of Los Amigos Invisibles). Serving as the house band for a bi-weekly dance night at NYC's Nublu, the group blends salsa, boogaloo, cha-cha-cha, and bolero with psychedelic effects and deep grooves. Their debut live album captures this high-energy fusion, reimagining Latin classics with a modern, electrifying twist that honors tradition while pushing boundaries. Born from a love of vintage Latin soul and the raw energy of NYC's dance floors, Cheo assembled an all-star crew of the city's hottest Latin players to cook up a high-octane blend of salsa, boogaloo, cha-cha-cha, and bolero - all filtered through wah-wah pedals, space echoes, fuzzy guitar solos, and a deep, unshakable groove. The result? A psychedelic, percussive party that's equal parts tradition and funked-out future. Their debut album, recorded live at Nublu, captures the heat, sweat, and sabor of their wildest nights - reimagining classics from Joe Cuba, Willie Colón, Eddie Palmieri, Mon Rivera, and more. Each track is a tribute and a reinvention, breathing new life into the old- school with a cosmic twist, and opening the doors for a whole new generation to feel that sabrosura in their bones.

"Tonky" ist Lonnie Holleys fünftes Studioalbum und enthält Gastauftritte von Isaac Brock, Angel Bat Dawid, Billy Woods, Alabaster de Plume, Mary Lattimore und anderen. Bei der Leadsingle "Protest With Love" ist Jacknife Lee, der auch das gefeierte Vorgängeralbum "Oh Me Oh My" produziert hat, als Bassist, Keyboarder, Synthesizer, Schlagzeuger, Programmierer, Flötist, Percussionist und Sänger zu hören. Weitere Mitwirkende sind The Legendary Ingramettes am Gesang, Kelly Pratt an den Bläsern und Flöten, Jordan Katz an den Bläsern und natürlich Holley am Gesang. Holley fordert die Zuhörer auf, "mit Liebe zu protestieren" und "die Liebe zu deiner Waffe zu machen". Es gibt Dichter wie die große Mary Oliver, die vorschlagen, dass die Hauptfunktion des Menschen, wenn er sich durch die Welt bewegt, solange er Leben und die Fähigkeit hat, sich durch die Welt zu bewegen, darin besteht, dem Aufmerksamkeit zu schenken, was andere törichterweise als klein oder alltäglich bezeichnen mögen. Das Gehirn und das Herz sind beides Gefäße, die so viel Platz haben, wie man ihnen zugestehen möchte, und zu leben bedeutet, Sammlungen von gefundenen Zuneigungen zu schaffen. Die Geräusche der geliebten und vertrauten Häuser, die Bewegungen der Bäume und der Menschen unter ihnen, die Art und Weise, wie jemand, den man verehrt, einen ein paar Sekunden lang umarmt, bevor er sich aus der Umarmung löst und in einer überfüllten Fußgängerzone verschwindet. Wenn wir unser Leben, unser Schaffen und unsere Liebe auf diese Weise betrachten, bedeutet das, dass wir, zumindest für einige von uns, durch die Aussicht auf das, was als Nächstes kommt, vorwärts getrieben werden können. Welchen Moment wir festhalten und in unsere überquellenden Taschen stecken können. Die Arbeit von Lonnie Holley ist ein Werk dieser Art von Anhäufung und genauer Aufmerksamkeit. Das Vergnügen, einen Klang zu finden und ihn gegen einen anderen gefundenen Klang und einen weiteren zu pressen, bis der Hörer, bevor er es merkt, von einer Klangsinfonie überflutet wird, die sich anfühlt, als würde sie sich zusammenfügen, während sie über einen hinwegspült. "Tonky" ist ein Album, das seinen Namen von einem Spitznamen aus der Kindheit hat, der Holley anhaftete, als er einen Teil seiner Kindheit in einem Honky Tonk verbrachte. Lonnie Holleys Leben des Überlebens und der Ausdauer erforderte - und erfordert zweifellos immer noch - eine Art Erfindung. Eine Erfindung, die auch in Holleys Liedern reichhaltig und präsent ist, die auf "Tonky" voll und eindringlich sind, einem Album, das mit seinem längsten Lied beginnt, einem neunminütigen, erschöpfenden Marathon eines Stücks namens "Seeds", das mit einem einzigen spärlichen Klang beginnt und sich dann ausdehnt. Gesänge, schwache Tasten, Streicher und als Krönung Holleys Stimme, die nicht singt, sondern klar und deutlich von der Arbeit auf der Erde erzählt, als er jung war, und von der Gewalt, die er dabei ertragen musste, als er blutig und mit Schmerzen von Schlägen ins Bett ging. Der Song weitet sich zu einer Metapher über den Ort aus, über das Versagen des Zuhauses oder eines Ortes, der einen beschützen soll, der nicht das hält, was er zu sein vorgibt, selbst wenn man unermüdlich daran arbeitet, daran arbeitet, daran arbeitet, etwas Sinnvolles daraus zu machen. "Seeds" gibt nicht nur den Ton für ein Album an, das sich um Wiedergeburt, Erneuerung und die Grenzen von Hoffnung und Glaube dreht, sondern unterstreicht auch, was Holleys größte Stärke als Musiker ist, nämlich sein Engagement für Fülle und Großzügigkeit. Er ist ein unglaublich begabter Geschichtenerzähler, der sich der mündlichen Tradition verschrieben hat, so dass viele Hörer völlig zufrieden wären, wenn sie zu Füßen einer Lonnie-Holley-Platte säßen und seinen robusten, ausladenden Erzählungen lauschen könnten. Aber "Tonky" ist ein Album, das sowohl klanglich als auch in Bezug auf die vielen verschiedenen Künstler, die auf dem Album vertreten sind, einen Platz bietet, an dem sie sich zu Hause fühlen können, ganz gleich, wie sie die Zeit verbringen, die sie für einen Song brauchen.

In 1965 in the face of social unrest, legendary Memphis label Stax Records put on two pulsating shows at the 5-4 Ballroom in Los Angeles, featuring Rufus Thomas, Booker T. and the M.G.’s, William Bell, Carla Thomas, Wilson Picket and more. 60 years later the recordings, newly mastered by Joe Tarantino, with lacquers cut by Jeff Powell at Take Out Vinyl, have been collected with a bonus set of performances recorded at Club Paradise, Memphis to form Stax Revue – Live In ’65!.

Wombo’s third album, ‘Danger in Fives,’ isn’t a reintroduction; it’s a reminder. Throughout ‘Danger in Fives,’ Wombo — the Louisville-bred three-piece of Sydney Chadwick (bass/vocals), Cameron Lowe (guitar), and Joel Taylor (drums) — not only enhance their formula, but routinely perfect it. The 11 tracks on ‘Danger in Fives’ fine tune Wombo’s enchanting alchemy while firmly pushing the band into new territory.

Wombo first connected in Louisville in 2016 and have crafted a unique lane over the near-decade since forming, contorting post-punk structures into uncanny shapes. On ‘Danger in Fives’ they twist another knot into their belt, and come out creatively renewed. Throughout ‘Danger in Fives,’ it’s clear what has made Wombo one of the most respected bands in their class, and it’s thrilling to hear them command new terrain.

Wombo’s third album, ‘Danger in Fives,’ isn’t a reintroduction; it’s a reminder. Throughout ‘Danger in Fives,’ Wombo — the Louisville-bred three-piece of Sydney Chadwick (bass/vocals), Cameron Lowe (guitar), and Joel Taylor (drums) — not only enhance their formula, but routinely perfect it. The 11 tracks on ‘Danger in Fives’ fine tune Wombo’s enchanting alchemy while firmly pushing the band into new territory.

Wombo first connected in Louisville in 2016 and have crafted a unique lane over the near-decade since forming, contorting post-punk structures into uncanny shapes. On ‘Danger in Fives’ they twist another knot into their belt, and come out creatively renewed. Throughout ‘Danger in Fives,’ it’s clear what has made Wombo one of the most respected bands in their class, and it’s thrilling to hear them command new terrain.

2025 repress in a new colour variant (Pearl White colour vinyl) with printed innersleeve. The third album proper for "Country-got-Soul"s finest, The Delines, on Decor Records sees them exploring the US Gulf Coast, not far from where Amy Boone grew up. The songs in this cinematic opus all focus around this area and are inspired by when Amy asked Willy Vlautin to write her a song like Tony Joe White"s "Rainy Night In Georgia" after her tragic accident being hit by a car in 2016 and her 3 year recovery. This follows on from 2019"s The Imperial which was number one in the UK official AMA charts for two weeks. Written and partially recorded before lock down the rest of the album was finished last Summer, produced by John Morgan Askew at his Bocce studios just outside of Portland, Oregon.

BLKG 7 is an essential triple-threat for collectors who go deep into that jazz-funk-psych crate.

Side A features Joe Pass’ haunting “A Time For Us,” lifted from his slept-on Guitar Interludes LP (1970, World Pacific). Heavy w/ cinematic strings, sparse drums & spacious guitar—perfect for blends, loops, or just zoned-out listening. J Dilla thought the same on “Chopped Thoughts”, & for Slum Village’s “Too Much”, but the original stands alone as pure mood.

Side B is a masterclass in moody grooves: “Enchanted Lady” (Milt Jackson & Ray Brown, Much In Common, 1964) is an underrated modal slow-burner w/ a hypnotic swing. Pete Rock & CL Smooth double dipped in “Caramel City” & Escape”, but others were also inspired: Large Professor “Ijuswannachill”, De La Soul“Dinninit”, Rob Swift“Natural Hight”, Knxwledge “3Koins”, among others.

Then comes “Cross Country” by Archie Whitewater—famously Kanye chopped it for Common’s “Drivin’ Me Wild”, but the OG is all groove: head-nod drums, brass stabs & electric piano that goes there.

1968’s Doin’ Our Thing is not only their first self-produced album but offers their most varied selection of songs, including tracks previously performed by Bobby Gentry, Ray Charles, The Supremes, and even a wild ride on the theme to the Otto Preminger film, ‘Exodus. Adding to this re-release’s special nature is the fact this will be Doin’ Our Thing’s first U.S. vinyl reissue since its original 1968 release date.

ATA Records is pleased to announce the release of Early Works 2: Funk, Soul & Afro Rarities From The Archive, a compilation of tracks recorded in the fledgling days of the label paired with some rediscovered treasures from more recent years. While the majority of the album is previously unreleased material several tracks have appeared on different formats.

This is a rare chance for listeners to experience the birth of the ATA's enduring concept and recording techniques from the comfort of their own home.

In 2020 label founder and musician Neil Innes decided to destroy the studio he had spent 14-years building, destroy it and rebuild it from the ground up.

Once the studio began to take shape again and Innes was finally able to take a breath he began rooting through the label's archives, pulling out reels that had been propping up tables, holding open doors and generally lurking in nooks and crannies for years.

His trip down memory uncovered a wealth of dusty musical treasures and also got him thinking about tracks from newer artists, nuggets to compliment the archive gold.

Along with the first airings of tracks by The Harmony Society, The Disarrays this 11track comp includes appearances by studio favourites: The Magnificent Tape Band, The Sorcerers, The Mandatory Eight, Ivan Von Engleberger's Asteroid and long time collaborator Chris Dawkins (recording under Earl Dawkins).Also on the comp is Joe Tatton's Bang Bang Boogaloo, previously only released on 7 inch and greatly desired by record diggers everywhere.

Over the course of The Slackers' nearly 35-year career, the NYC legends have paid respect to numerous interconnected genres of Jamaican music, including ska, reggae, and rocksteady. Dub mixing - a process of creating new "versions" of songs that emphasize the rhythm section and heavy utilization of atmospheric effects such as delay and reverb - looms so large as a driving force in that world, it is no wonder that the band would approach it with the same mix of reverence and creativity. "Dub is the other side of The Slackers," says the band's guitarist, Agent Jay. "A contrast to the uptempo danceable wit of our ska." The Dub Classics LP - originally released (and sold out) in 2021 and now available from Pirates Press Records - represents a collection of some of the greatest fruits of that labour. More than just a "re-mix" album, it is an essential part of the band's catalog that reinvents their sound and reveals all new perspectives on their many talents.

The Making Of Five Leaves Left tells the story of how Nick Drake’s debut album ‘Five Leaves Left’ came to be released in 1969. This Nick Drake Estate authorised 4LP edition comprises over 30 previously unheard outtakes from the sessions, compiled across three discs. The final disc to complete the package is the original Joe Boyd produced album. The whole set has been mastered by John Wood. Accompanied by a 60 page book printed on special textured paper stock, written by Neil Storey in collaboration with Richard Morton-Jack, complete with full track recording details, charts and recording history. This Nick Drake Estate authorised 4CD edition comprises over 30 previously unheard outtakes from the sessions, compiled across three discs. The final disc to complete the package is the original Joe Boyd produced album. The whole set has been mastered by John Wood.
Accompanied by a 60 page book printed on special textured paper stock, written by Neil Storey in collaboration with Richard Morton-Jack, complete with full track recording details, charts and recording history.

Bob Marley & The Wailers' Rastaman Vibration Analogue Productions' UHQR, the pinnacle of high-quality vinyl! 45 RPM 2LP Ultra High Quality Record release limited to 4,500 copies Mastered from the original tapes by Ryan K. Smith at Sterling Sound Pressed on 180-gram at Quality Record Pressings using Clarity Vinyl® Includes "12 x 12" 8-page booklet featuring new liner notes by musician and Marley biographer Leroy Jodie Pierson (APO Records Direct-To-Disc AAPO 005), plus exclusive photos by Kim-Gottlieb Walker Purest possible pressing and most visually stunning presentation and packaging!

When Rastaman Vibration was first released in America in 1976 it did what some in the music industry considered nearly impossible at the time. It took Bob Marley into the Top Ten alongside disco records and corporate rock, points out Rolling Stone, which rates the album 4 stars. Despite the good cheer of the title track and the upbeat "Roots, Rock, Reggae," Rastaman Vibration contains some of Marley's most intense images of oppression, paranoia and despair. Tracks such as "Who the Cap Fit," "Crazy Baldhead" and "War" are offered by the Wailers with dire urgency as Marley's brutal visions are echoed by his own church choir, the I-Threes.

More than four decades later, neither Marley's music nor his message has lost its sting. Now, Analogue Productions presents perfection — Rastaman Vibration cut at 45 RPM in UHQR format on 180-gram 2LP Clarity Vinyl. This Ultra High Quality Record release will be limited to 4,500 copies, with gold foil individually numbered jackets. For Bob Marley, 1975 was a triumphant year. The singer's Natty Dread album featured one of his strongest batches of original material (the first compiled after the departure of Peter Tosh and Bunny Wailer) and delivered Top 40 hit "No Woman No Cry." The follow-up Live set, a document of Marley's appearance at London's Lyceum, found the singer conquering England as well. Upon completing the tour, Marley and his band returned to Jamaica, laying down the tracks for Rastaman Vibration (1976) at legendary studios run by Harry Johnson and Joe Gibbs.

At the mixing board for the sessions were Sylvan Morris and Errol Thompson, Jamaican engineers of the highest caliber. Of the material on Rastaman Vibration, "War," for one, remains one of the most stunning statements of the singer's career. Though it is essentially a straight reading of one of Haile Selassie's speeches, Marley phrases the text exquisitely to fit a musical setting, a quiet intensity lying just below the surface. Equally strong are the likes of "Rat Race,""'Crazy Baldhead," and "Want More."

These songs are tempered by buoyant, lighthearted material like "Cry to Me," "Night Shift," and "Positive Vibration." Not quite as strong as some of the love songs Marley would score hits with on subsequent albums, "Cry to Me" seems like an obvious choice for a single and remains underrated. This UHQR is remastered at 45 RPM by Sterling Sound's Ryan K. Smith from the original analog master tapes. Each UHQR will be pressed at Acoustic Sounds' industry-leading pressing plant Quality Record Pressings (QRP) using hand-selected Clarity Vinyl® with attention paid to every single detail. These records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center.

Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a custom clamshell box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product. In addition to the UHQR booklet the package will contain a 8-page 12" x 12" booklet containing new liner notes by musican and Marley biographer Leroy Jodie Pierson as well as exclusive photos by Kim-Gottlieb Walker. Pierson is a past performer for Blues Masters at the Crossroads, the two-night historic blues festival at Blue Heaven Studios in Salina, Kansas. He's also recorded a Direct-To-Disc blues album for APO Records. (AAPO 005) Rastaman Vibration — now a landmark production on 180-gram 45 RPM Analogue Productions UHQR Clarity Vinyl!

Erlebe Joe Bonamassas Erfolgsalbum 'Redemption' aus dem Jahr 2018 wie nie zuvor mit dieser brandneuen Limited Edition Orange Vinyl. Das 13. Studioalbum von Joe Bonamassa, der für seine einzigartige Gitarrenarbeit und seinen gefühlvollen Gesang bekannt ist, verbindet Blues und Rock zu einer kraftvollen musikalischen Reise.
Diese Sammleredition, die jetzt auf orangefarbenem 180g-Vinyl gepresst wurde, verleiht einem modernen Blues-Klassiker einen neuen Look. Mit herausragenden Tracks wie „King Bee Shakedown“, „Molly O'“ und dem emotionalen Titeltrack „Redemption“ ist diese Veröffentlichung ein Muss für audiophile und langjährige Fans gleichermaßen.

Joe Bonamassas Album Had To Cry Today aus dem Jahr 2004 jetzt im neuen Look. Erhältlich in limitierter Auflage auf blauem Vinyl. Diese von den Fans geliebte Veröffentlichung zeigt Bonamassa an einem entscheidenden Punkt seiner Karriere, indem er brennende Blues-Rock-Riffs mit tiefem Soul und Vintage-Sounds mischt, alles verpackt in einer rohen, emotionsgeladenen Performance.
Diese Wiederveröffentlichung auf blauem 180g-Vinyl erweckt ein Album zu neuem Leben, das den modernen Blues für eine neue Generation definiert hat. Mit herausragenden Tracks wie „Never Make Your Move Too Soon“, „Reconsider Baby“ und dem explosiven Titeltrack „Had To Cry Today“ ist diese Ausgabe sowohl optisch als auch klanglich ein Genuss.

Repress!

More ultra rare disco-soul from the sunshine state! Phillip Wright only dropped 1 45 single under his own name on TK Disco`s tiny Dash label in 1976. Long sought after & coveted by lovers of rare disco & modern soul "keep her happy" has never been reissued in its original 45 format, until now!

Often fetching around the $200 mark for a used copy this sublime slice of funk deserves to be heard by a wider audience, sadly Phillip never achieved the commercial success of his sister Betty but perhaps now this obscure single of his will make people hit the dancefloor in 2015!

Repressed, remastered & re-released in it`s original dinner 45 rpm format with all original Dash records artwork intact in conjunction with Joe Stone / TK Disco, Miami FL.

Pluto, although not necessarily one of those bands who spring immediately to mind as having been a seminal influence on the weaving of rock music’s tapestry, remain an excellent, if little-known and much underrated band.

The band’s only album Pluto (originally released on the Dawn label back in November 1971) has, during the latter half of the ‘90s, become a much sought-after item in the ever-expanding underground/progressive sector of the record collectors’ market. Conceived
initially by guitarist Paul Gardner and taking their name from the Disney cartoon character, they were formed in North London in 1970. The key members were Gardner and Alan Warner, two highly experienced campaigners from widely disparate musical backgrounds.

The album is a nice mix of hard rock, progressive rock and blues rock elements. The song writing is pretty solid and there are no fillers included. This lone Pluto LP is easy to recommend for those who like the early 70’s hard rock bands.

Pluto is available as a limited numbered edition of 750 copies on translucent magenta coloured vinyl

Alice is a vocal harmony trio made up of three persons, joined by a cheap synth and limited virtuosity. Together, they craft a kind of future folklore that’s part funny, part apocalyptic — half-soft, half-harsh, half-sad, half-simple, half-complex, half-controlled, half-Yvonne Harder, half-Sarah André, half-Lisa Harder.

Since their last album L’Oiseau Magnifique, Alice have spent time on the road — in cars, in trains, out in the open. Accustomed to writing outdoors, they slowly stitched together a collection of new songs. After two years of performing in clubs, bars, stairwells, carpentry workshops, activist agricultural fairs and roadside shoulders, they took their Oiseau Magnifique just about everywhere. It felt like time to sew these new pieces together — a quilt of humour and soft words, something we could really use in these half-sweet, half-fascist times.

Les Châteaux Faibles is the name of one of their latest songs, and naturally, the title of their new album. It captures the group’s ethos perfectly — a search for refuge in fragility, in a weakness that’s better when shared. A collective sensitivity to bring us closer, stronger — united in our Châteaux Faibles.

Waxwork Records is thrilled to release BUBBA HO-TEP Original Motion Picture Music by Brian Tyler for the first time on vinyl! Bubba Ho-Tep is a 2002 American Comedy Horror film written, co-produced, and directed by Don Coscarelli (Phantasm). It stars Bruce Campbell (Evil Dead 1 & 2, Army of Darkness) as Sebastian Haff, a man residing in a nursing home who claims to be the real Elvis Presley.

The film also stars Ossie Davis as Jack, a black man who claims to be John F. Kennedy. While the novella of the same name by Joe R. Lansdale and the film revolve around an ancient Egyptian mummy terrorizing a retirement home, Bubba Ho-Tep also deals with the deeper theme of aging, identity, mortality, and existentialism. The film also features a cameo by Reggie Bannister from Coscarelli's Phantasm series. Waxwork Records is proud to release the debut vinyl album of the outstanding soundtrack by Brian Tyler (Scream VI, Six String Samurai, Ready or Not) as a deluxe album featuring Egyptian Sand & Silver swirl colored vinyl, heavyweight gatefold packaging, new artwork by JJ Harrison, and an 11"x11" art print insert. BUBBA HO-TEP Original Motion Picture Soundtrack Features:

Shit Robot's 'No Cigar' was recorded in London at Al Doyle and Joe Goddard's Relax And Enjoy Studios, a hanging chad from the sessions that finished 2023's 5 Songs EP. This is slower,dubbier Shit, 110bpm with a spare arrangement and a barely sung vocal saying only, "Close_no cigar." It begged for a proper dub for the b-side, something that threw it around in space but didn't necessarily change it up, something that sounded a bit like African Head Charge and New Age Steppers and early-80s On-U Sound records. So we asked the guy who made those records, Adrian Sherwood, if he'd have a go. Miraculously, he said yes, and his version is actually exactly on the money.

A Deep Dive Into Rock Royalty - The Many Faces of Deep Purple (2 LPS)
Step into the legendary world of Deep Purple with this exclusive double vinyl release, The Many Faces of Deep Purple. More than just a tribute, this compilation is a curated journey through the band's extensive musical legacy, featuring collaborations, rare recordings, and side projects from key members like Glenn Hughes, Joe Lynn Turner, Nicky Simper, Ian Gillan, Don Airey, and Jon Lord. Pressed by MPO for optimal sound quality, this deluxe edition includes 20 tracks across four sides, each selected to reveal a new facet of one of rock’s most influential bands.
Unreleased Gems, All-Star Collaborations & Classic Covers
This collection uncovers the band’s wider universe, from early recordings by Episode Six and Warhorse to powerhouse tracks by Trapeze, Funky Junction, and Quatermass II. Glenn Hughes lends his unmistakable voice to standout perfor- mances, including Piece of My Heart and Freak Out Tonight, while Joe Lynn Turner teams up with guitar icon Leslie West for a searing version of The Seeker. Listeners will also discover rare studio tributes and pre-fame moments, such as the spirited Deep Purple covers by Thin Lizzy members under the Funky Junction moniker.
A Must-Have for Collectors & Classic Rock Fans
Packaged in a striking gatefold sleeve and featuring liner notes that contextualize each track, The Many Faces of Deep Purple is a collector’s dream and a sonic treasure trove. Whether you’re a longtime fan or a new listener exploring rock’s golden age, this double LP release delivers an immersive and essential experience that celebrates the talent, evolution, and influence of the Deep Purple legacy. Available now in limited quantities, don’t miss your chance to own a unique piece of rock history.

Originally released in 2003, Marcos Valle’s Contrasts combined early noughties production techniques with his trademark Brazilian songwriting brilliance. The album quickly became one of Valle’s most in-demand, with tracks like the triumphant “Parabéns” (which was sampled by Childish Gambino, covered by Tom Misch and remixed by Misa Negra) and bossa beach classic “Agua de Coco”, both becoming firm fan favourites.

Produced by Roc Hunter, and executive produced by Joe Davis, with musicians including Robertinho Silva (percussion), Alex Malheiros (bass), and Marcos’ wife Patricia Alvi (vocals), Contrasts encapsulated Valle’s ever evolving musical vision, bringing together samba, baião, bossa pop, broken beat, house, trip-hop and more, on one era-defining record.

After 22 years, Contrasts is finally set for a double LP vinyl and CD reissue, with the original mix of “Valeu” and “My Nightingale” making it onto the vinyl edition for the first time.

After years of sonic exploration with guitars and electronics in addition to other projects (Lost Girls, Moon Relay, Jenny Hval), Håvard Volden has returned to his main instrument with renewed curiosity and a new band. On this album, the guitar takes center stage, with alternative tunings and an exploratory approach forming the foundation for a new musical direction. The result is a beautiful album with an honest and organic sound, and the perfect blend of jazz and alternative pop/rock. The music is rooted in jazz but also draws inspiration from early tape music—think Joe Meek, and Luc Ferrari—as well as folk traditions from all over, new age, and the raw energy of experimental rock, likeVelvet Underground. The result is a collection of instrumental compositions where guitar, synthesizers, bass, and drums interweave in dynamic interplay. At times, the pieces are loose and expansive; at others, they are rhythmically precise and compressed—like instrumental pop songs with an open structure. And to add to the pop cultural pallett; the cover photo is taken on tour with Jenny Hval in front of the ”Twin Peaks” mountains. With music that thrives on dynamics and improvisation, most of the album was recorded live in the studio. This album is an exploration of the guitar’s potential, where echoes and tape machines extend the instrument’s rhythm, resonance, and tonality. A playful, dreamlike, and uncompromising record that embraces the power of collaboration.

Magic Mountain is the fourth studio album by American rock band Black Stone Cherry.

The album debuted at No. 22 on the Billboard 200 chart, selling 13,000 copies in the U.S. in its first week of release. It debuted in the United Kingdom at No. 5.

Produced, engineered, and mixed by Joe Barresi (Melvins, Queens of the Stone Age), this 15-song set unabashedly reflects the band’s biggest influences -- Lynyrd Skynyrd, Led Zeppelin, Cream, and Whitesnake
-- but places them in a 21st century post-grunge, hard rock context.

Magic Mountain assembles all of BSC’s strengths cohesively.

From swaggering blues-metal of opener “Holding on... to Letting Go” to closing track “Revolutionize”. Magic Mountain comes close to the kind of excitement Black Stone Cherry generate live, and showcases their most refined songwriting skills.

Magic Mountain is available on vinyl for the first time ever as a limited edition of 1500 individually numbered copies on gold & purple marbled vinyl. It contains no less than 2 bonustracks & has revised artwork.

Though Scratch may have at times seemed crazy, it is worth noting that creative
genius appears so because geniuses see things others do not see and inhabit
realities unseen. As the music on this album reveals, Lee Perry's Black Ark creations
re-arrange the familiar into something new and magical.
Lee spent his early days working with legendary producers Coxsone Dodd, Duke Reid,
Joe Gibbs, Clancy Eccles and Prince Buster, and by 1968 he was an independent
producer, naming his studio musicians The Upsetters and scoring instrumental hits
with innovative rhythms that helped forge the new reggae style. In 1970-1971 he
produced what many consider the greatest works by the Wailers; in 1968 one of his
Upsetters productions hit #5 on the UK pop chart and more hits followed. That gave
him the funds to build his own studio and in 1973 the legendary Black Ark was born.
Among the many landmark classics cut at Black Ark are such incisive political
commentaries as Max Romeo's "War Ina Babylon," and Junior Murvin's "Police and
Thieves" (covered by the Clash). The Congos' "Heart of the Congos" album is a roots
classic and there are many wonderful obscure singles such as Carlton and the Shoes'
"Better Days." Many dub creations made innovative use of Scratch's sonic wizardry via
echo, phasing, reverb, fanging, wah-wah and various sound effects.
It all came to an end in 1978 as Lee, besieged by extortionists, freeloaders, religious
fanatics and assorted pilgrims, let the studio lapse. And then he set it on fre, some
say due to frustration, others say from mental collapse. He left Jamaica, collaborated
with musicians around the world, toured as a sort of mystic trickster/ shaman and
prospered. But his work at Black Ark will always stand as his ultimate creative
achievement.

Repress!

After the release of their world debut Catch A Fire, Bob Marley & The Wailers would embark on a U.S. tour supporting the legendary Sly And The Family Stone.
Yet after five dates, they were fired from the tour, supposedly for upstaging the main acts! Left with no money and nowhere to go, they performed one legendary
show at San Francisco's The Matrix!

These recordings, taken from a studio session before their legendary performance, find Bob Marley and The Wailers at their best.
Featuring the classic lineup of Bob Marley (vo/gt.), Peter Tosh (vo/gt), Joe Higgs (per.), Earl Lindo (pf.), Family Man Barrett (b.), and Carlton Barrett (ds.),
the Wailers are imbued with the kind of Rock and Roll energy that could only come from outshining Sly Stone! Even sweet rocksteady ballads such as
“Stir It Up” take on the form of a rock and roll anthem in this session.

Discovered and released on CD by P-VINE in 2005, these mythical studio recordings are finally getting a long deserved analog release!

The double LP on black vinyl comes complete with an obi-strip! Don’t miss this reggae gem from Bob Marley and The Wailers!

Emotional Rescue completes the series of non-defined reissues where the label licenses an all-time favourite, remasters and then reappraised with new interpretations by contemporary producers for today’s collectors.

After the series started back in 2019 with Hawkwind’s sprawling psychedelic electronics, featuring deep drone mixes by the esteemed digger Cherrystones (ERC074), the bouncing cosmic-Balearics of Thomas Leer with wonderful reworkings by friend and producer Bullion (ERC075) and then the post punk dubs of The Embrace and Timothy J Faiplay’s brooding italo-dub excursions (ERC076), there was always one artist and producer left out. Finally, then the percussive excursion of the early 80s band The Impossible Dreamers and their cult B side jam, Spin, coming with 9 minutes percussion-dub extravaganza of an extended reversion, plus a dub heavy reprise, by label go-to Dan Tyler (Idjut Boys /Noid), under his NAD moniker.

Started by a group of friends while at Exeter University that centered around Caroline Radcliffe, James Hood, Justin Adams and Nick Waterhouse, their debut 12” record is one of just three on the 100 Things To Do label. The other two releases have already been covered with the Hamburger All Stars ‘Swinging London’ 12” (ERC114) of 2022.

Recorded before the move to West London, ‘Life On Earth’ was a raw post punk vocal pop cut, with influences of dub, funk, hip-hop and African music shining through, there were in their own words, “young music fans starting out, with no agenda”.

However, it was on the B side that things got interesting. Enamored by the growing trend of extended 12” singles, they decided, with the A side wrapped up, to have some studio experimentation by recording a drumming jam, with all the members playing percussion, followed by some overdubbing. Memories are hazy, but at the time the band was an 8-piece, so the results a chaotic explosion, capturing the essence of that time. Featuring Nick and James on 4 hand piano, plus Caroline on Oboe, with some additional hollering and wooping vocals, Spin was a 5-minute burst of energy.

In effect, self-released in 1982, the band didn’t expect much to come of it, but the 12” acted as a calling card leading them to London and later signing for RCA. At the same time, Spin was being discovered in the early eighties alternative club world. On a trip to New York, the track was heard being played Downtown, and on enquiring it was discovered the DJ was playing a 7” that was never an official release but cut in the US solely for the club DJs there.

Its resonance extended further, to Italy and the Cosmic club of the resident, an ever-searching Danielle Baldelli, before being picked up a few years later by a young Andrew Weatherall during his pursuit of an alternative “Balearic” beat during the late eighties Summers of Love and has even recently received the Joe Clausell edit treatment back again in NYC.

For the remake to fit the label series, it was only right to ask label friend Dan Tyler to do what he does so well, putting the original through his array of dub machines and pedals, extending and cutting with aplomb to create an incendiary ‘Reversion’ that will send dancefloors literally in a spin. Teasing the percussion incandescent, looping and teasing, the piano held back before finally releasing in a haze of dub effects.

This is followed by the ‘Riddim Reprise’. Working with London based drummer Matt Bruce (Claptrap), this is the perfect DJ tool, taking the original idea of the band, to just jam see what happens, twisting it full of space echo and reverb, to offer a perfect 12” Extended Mix.

Los Angeles trio sunking marry hip hop, and electronic influences on their 2nd album I DON"T LIKE MY TELEPHONE. Childhood friends Bobby Granfelt, a jazz drummer and self-proclaimed hip-hop head, Antoine Martel, a synthesist and composer, branched off their mainstay High Pulp to explore their polar opposite tastes and make music as sunking in addition to multi-instrumentalist Victory Nguyen. Their 2022 debut Smug, was more jazz-influenced, while I DON"T LIKE MY TELEPHONE is akin to the early work of beat-driven artists Thundercat, Madlib, and Flying Lotus. They hand selected artists Salami Rose Joe Louis, Niki Randa, Deradoorian, and Takoda to lend vocals and help capture that spirit. I DON"T LIKE MY TELEPHONE as a series of self-contained "micro-compositions," built around Granfelt"s drum loops and Martel"s new gear. In addition to, they were fueled by an increasing love for electronic music artists like Galcher Lustwerk, The Field, and Susumu Yokota, whose 1994 cult classic Acid Mt. Fuji they cite as a particular inspiration. The result is a record as vibrant as a kaleidoscope, and compact as one too, shuffling through more styles and ideas in neat, three-minute chunks of virtuosity.

Come On Come On isn’t just Mary Chapin Carpenter’s most popular album, with sales of 3 million copies. It’s also a contemporary country landmark. No less than seven of its songs became country hits: “I Feel Lucky,” “I Take My Chances,” “Not Too Much to Ask,” “The Hard Way,” “He Thinks He’ll Keep Her,” and two inspired covers, of Dire Straits’ “The Bug” and Lucinda Williams’ “Passionate Kisses.” More importantly, though, this 1992 release pointed the way towards what country music would become in the 21st century with its savvy seasoning of pop and soft-rock sounds into a more personal style of country songwriting from a female point of view. If you’re thinking that sounds familiar, you’re not wrong; Come On Come On’s prodigious commercial prowess isn’t the only thing this record has in common with the early work of Taylor Swift. But, it also crossed over into the rock realm in a way that, arguably, Swift’s records have not; the flourishing Americana and alt-country audiences of the early ‘90s ate this album up, and guest stars like Rosanne Cash, The Indigo Girls, and Shawn Colvin just upped its street cred. Somehow, this classic record has never (come on!) made it to vinyl; we’re making up for a whole lot of lost time with a grape vinyl pressing housed inside a color inner sleeve with lyrics. Essential!

From the sunny shores of Miami, Florida, Fat Produce is leading the charge in today's soul-jazz scene. Their latest release features two classic tracks, "No Way" and "54-46 Was My Number," which are beautifully molded into Fat Produce's unique sound led by guitarist Addison Rifkind and drummer Michael Duffy. This limited 7" single offers a preview of what’s to come from this rising trio.

The influence of Boogaloo Joe Jones is undeniable, so incorporating his 1970s classic "No Way" into their repertoire was a fitting tribute for the band. With a deeper sound and an infectious groove, Fat Produce pays homage to this musical giant, guaranteed to get everyone moving on the dance floor. On the flip side, "54-46 Was My Number" is a reimagination of a Toots & The Maytals original, transformed into the instrumental style of a soul-jazz guitar trio. Rifkind's lyrical guitar work breathes new life into Toots' original vocal melodies, embodying the essence of soul-jazz and crossing genres to keep the spirit of feel-good music alive.

Both tracks were recorded on a Tascam 388 at Studio Del Sol in Boca Raton, Florida, by Travis Acker and mixed at The F-Spot HQ in Los Angeles by D.M.C. With upright bassist Nestor Del Prado joining the duo on this album, Fat Produce's forthcoming sophomore LP is set to be released in October 2025.

'A Necessary Escape' ist der Soundtrack zum demnächst erscheinenden Film 'Dakar: Race Against The Desert'. Die physischen Formate umfassen CD, Vinyl und eine limitierte Farbvinyl-Edition in Curacao-Blau. Es ist der vierte Album-Soundtrack von M83 und wurde in Frankreich und den USA von M83s Anthony Gonzalez zusammen mit den regelmäßigen M83-Mitwirkenden Joe Berry und Clement Libes aufgenommen. Der Film erscheint am 12. Mai digital bei Universal Pictures und feiert seine weltweite Kinopremiere am 26. Juni in der MK2 Bibliothèque in Paris. Unter der Regie des französischen Schauspielers und Regisseurs Jalil Lespert wird hier die weltberühmte Rallye Dakar begleitet - ein Event, das seit 45 Jahren die ultimative Bewährungsprobe für Belastbarkeit, Können und Ausdauer im Motorsport darstellt. Das 9.000 Kilometer lange Rennen dauert 14 strapaziöse Tage durch raues Wüstengelände. Mit beispiellosem Zugang taucht dieser Film in das härteste Autorennen der Welt ein. Begleitet wird dies von einem wunderbaren Score den Gonzalez perfekt auf den Film zugeschnitten hat. Ambient trifft auf sphärische Klangcollagen und ist damit der perfekte Ausgleich zu den im Film dokumentierten Strapazen um die berühmte Rallye. Nach dem fantastischen 'Fantasy'-Album von 2023 oder dem 2011er Klassiker 'Hurry Up, We're Dreaming' ein weiterer Geniestreich des französischen Sound-Magiers und seinem M83-Projekt!

Official reissue of this sought-after Canadian psychedelic hard-rock album from 1970.
Formed in Toronto in the late 60s, It’s All Meat (the name was taken from a dog food commercial!) soon caught the attention of influential character Jack London (frontman of pre-Steppenwolf band Jack London and the Sparrows) who managed the band and secured a deal with major label Columbia Records.
After recording their first 45, the proto-punk MC5/Stones sounding “Feel It”, the band started working on their first album with the tandem of Jed MacKay and Rick McKim as main songwriters.
“It’s All Meat” was released in 1970 and offered a powerful mix of garage-rock, psychedelia and early hard- rock, drawing influences from bands like the Stones, Country Joe & The Fish, Doors, Velvet Underground... tracks like “Roll My Own” or the lysergic “Crying Into The Deep Lake” are now considered classics of the genre.
Sadly, the band would split soon after the LP was released.
*Original artwork in gatefold sleeve *Remastered sound in 24-bit domain *Insert with liner notes by Plastic Crimewave and rare photos / memorabilia
*Download card with non-LP singles and rare tracks
RIYL: STONES, MC5, DOORS, JEFFERSON AIRPLANE, NEW YORK DOLLS,
“One of the classic Canadian rarities. It’s All Meat deliver ballsy Stones influenced hardrock with some psychedelic west-coast moves” - Patrick Lundborg (Acid Archives)

Here's a true double-A 45. The A-side, "If We Try," a new cut from Thee Sinseers finds them in a more uptempo pace the band, and thriving! With Joey Quinones and Adriana Flores trading leads on this one, this tune is sure to get the dance floors packed! The B-side, "Give It Up You Fool," features the unmistakable voice of Brian Ponce on lead and finds Thee Sinseers right in their slow and sweet pocket. It's an album cut that simply had to be put on a 45.

Chicago-based composer/producer Joey Meland makes music under the moniker Cocojoey. Treating genre conventions and ostensible barriers between disparate musical vocabularies like playthings to gleefully smash and reshape at will, Meland channels decades of experience as a polymathic professional musician adept in styles like metal, jazz, synthpop, and experimental sound design into their infinitely combinatory compositions. STARS, their first album on Hausu Mountain, follows the self-released COCOJOEY’S WORLD with a spellbinding burst of heart-on-sleeve self-expression. The album finds Cocojoey indulging their most adventurous impulses in production and technical instrumental performance, launching into a constantly morphing program that contrasts day-glo earworm hooks against cathartic moments of screaming intensity. Cocojoey’s music exudes warmth and finger-wagging mischief as it exhumes the depths of their psyche with the pure-hearted goal of making their audience smile — when those listening find a chance to breathe within the ecstatic overstimulation.

The album’s tightly constructed song cycle blasts the listener with moment after moment of novel juxtaposition, both in terms of genre and emotional energy, that keep us reeling in a state of delirious whiplash. Warp-speed piano solos over bossa nova-inflected chord progressions segue into detonations of death metal that front-load Meland’s ferocious screaming vocals and meticulously programmed double-kick drum patterns. A strain of iridescent prog emerges in the sheer overload of notes and ideas, as drum n’ bass breaks collide with labyrinthine multi-time signature keyboard lines and bright flashes of clean vocals. Despite whatever contrasting styles might hit within any given Cocojoey song, Meland returns again and again to the upheaval and release provided by extreme metal — though that idiom lands with joyful exuberance, an abrasive yet heartwarming flavor whose positive energy carries through even to those who might not encounter screams and hyper-technical drum breakdowns in their typical listening regimen.

Bobby Lyle is a keyboard legend from the fusion period of jazz in the mid to late 1970s. He was the pianist with Young Holt Unlimited and played with Jimi Hendricks, booked to go on the road with him just ahead of the untimely death. In 1974 he moved to Los Angeles and went on the road with Sly & The Family Stone, and then through dates with Ronnie Laws he met ex-Crusader Wayne Henderson who took him to Capitol Records where this, the first of three iconic albums was released in 1977. Bobby also became Wayne’s keyboard player of choice on his solo albums and productions through the remainder of the 70s and early 80s, contributing to the ‘At Home Production’ sound which defines these albums. “The Genie” was rediscovered in the ‘rare groove’ period of the 80s and is from which Bobby gets his nickname for the lightning pace and magic of his playing. This album is ultimate jazz funk from a period that gave us artists like Lonnie Liston Smith, Joe Sample and Bob James. Bobby still tours to this day with artists like George Benson and Anita Baker.

Having crested the west coast modular-ambient wave in just a few releases - including 2018's Sharing Waves on the influential LA experimental imprint Leaving Records - Sean Hellfritsch has swapped the mossy analog synth improvisations of his prior output for refined melodic arrangements dressed in sprightly dawn-of-digital textures. Big Earth Energy plumbs the depths of Hellfritsch's multimedia mind and naturalist heart, spinning an impressionistic narrative world off of cultural touchstones like the PC game MYST, and the work of Studio Ghibli composer Joe Hisaishi. Inspired by the aforementioned, and guided by Hellfritsch's experience as an animator and filmmaker, Big Earth Energy is the soundtrack to a hypothetical video game with a pointedly ecological premise, and a twist of psychedelic charm. In Hellfritsch's imagined virtual journey, the player assumes the perspective of a treefrog sixty-five-million years ago, hopping epochs with each new level, forming a comprehensive picture of the massive changes the planet has gone through over the eons. The ultimate goal of the game is not to amass resources, defeat enemies, or gain power, but to fully witness the unfolding of one of the biggest systems of energy imaginable - or as the album's creator puts it - "to explore the incomprehensibly vast energetic expression and mystery that is Earth." Big Earth Energy is steeped in exploratory RPG intrigue, possibility, and contemplation, lovingly overlaid with Miyazaki-an sentiments and aesthetics. The through-composed, organic, meandering synthesis heard on previous Cool Maritime albums has been fully replaced by meticulous polygonal arrangements that recall the computerized sheen of late 80s work by composers like Hiroshi Yoshimura, and Yoichiro Yoshikawa - using true-to-period gear no less. Even given its referentiality, Big Earth Energy comes off as forward-facing where so much reminiscent music remains fixed to a bygone moment in pop culture. Hellfritsch has created a musical world where the endless verdancy of the biosphere finds its parallel in the golden age of early 1990s video games, and late 80s Japanese environmental music, all while pointing to a hopeful planetary and artistic future that vindicates the motives of all of these muses.

Opaque Red Vinyl! The Supersuckers have been blazing their own debris-strewn path since forming in 1988 in Tucson, Arizona, winning over legions of fans with their special blend of hard rock, punk, and country. Their 1992 debut, Smoke of Hell, is a rip-roaring blur, equal parts Ramones, Motorhead, and middle-finger throwing Johnny Cash.

Rodina is the project of singer-songwriter Aoife Hearty and partner Joe Tatton, keys-player & co-writer from The New Mastersounds and leader of the Joe Tatton Trio. On Good Company, their first new album in 6 years, the two are joined by other great musicians including guitarist Lucas De Mulder, drummer Luke Flowers, The Filthy Six horns, and members of The Haggis Horns, among others.

Like their previous records there is a strong acid jazz slant to many of the songs, whether interpreted through a modern soul lens such as in opener "Simple Pleasures" or swaying more towards cosmic jazz-funk such as "We Go Out Of Our Way" or "Trust In This Life", which were the first singles lifted from the album.

Throw in some hippy Americana and even a tinge of Gospel and you end up with catchy songs that include both uptempo earworms like the super charged foot stomper "Good People" or the festival anthemic "Inspiration" and some beautiful chilled moments such as "All Over The Sky" and "Flowers".

Recorded at their small countryside recording studio in the Peak District this is the fourth vinyl produced at their studio after The New Mastersounds' Old School and Joe Tatton Trio's Galactico.

“Recorded at BBC Broadcasting House and partially aired on BBC Radio 3’s Late Junction, the first studio encounter between London-based duo Exotic Sin and Swiss percussionist Julian Sartorius is now published in full on this album from Sagome.

Winding through six distinct and interconnected paths, the trio effortlessly create a shared language in this expansive improvised session.

Listening back two years later — the session was recorded on March 24, 2023 — it’s evident how they build at a relaxed pace, offering space for the listener to enter into their evolving sound. Anchored by piano, delicate wood, metal, and air instruments, a fluid system of interactions develops: repeating, deepening, but not fixating. The direction of travel is not cyclical or linear and the pace insists on forward confidently, avoiding the trap or comfort of recurring motifs.

Percussion is not a timekeeper, but a key element, introducing new textures that even on the final track Path 6, trace out a horizon that feels more like a blurred beginning than a definitive end.

In Session, Exotic Sin moves into a lighter, perhaps more playful language for improvisation than on their debut album Customer’s Copy. This could be influenced by Sartorius’ tactile approach to sonic materials or the more stripped-back nature of the improvised session, with less emphasis on synthesised and electric sounds. While the emotional imprint from their debut album—murkier and insistent—remains, it has been aired out to dry. In Session, their sound-world is broad and moves with levity.”

Andrea Zarza Canova – April 2025


Music by
Kenichi Iwasa (electric and acoustic percussion, trumpet, horns, thumb piano, effects).
Naima Nefertari (piano, Yamaha keyboard, flute, bells, percussion).
Julian Sartorius (drums, percussion).

Recorded and mixed live for Late Junction at BBC Broadcasting House, London, on the 24th of March 2023 by Joe Yon and John Boland.
Mastered by Giuseppe Ielasi.
Produced by Silvia Malnati at Reduced Listening for BBC Radio 3.
Extracts from the session were played on Late Junction on the 14th of April 2023.
Artwork by Josef William Back.
Graphic design by Nicola Tirabasso.

12" RED Color Vinyl / With Black Solid Jacket and Large Sticker
The Unofficial Edits & Overdubs by Joaquin Joe Claussell
Finally comes the first of a two-part forthcoming EP's, Extended Versions taken from the highly successful Joe Claussell Afro Edits & Overdubs Series previously released on LP and CD.
Influence of hallucinations induced by chewing roots from the iboga plant on the works of Joaquin Joe Claussell's Edits & Overdubs IBOGA Compilation. The iboga plant is indigenous to the humid, tropical climates of West Central Africa, including Gabon, Cameroon, Congo, and Angola, which are home to the 2nd largest rainforest in the world. It has been used for centuries in spiritual initiation ceremonies and practices, particularly by the Bwiti tradition and religion in Gabon.

Joaquin Joe Claussell was inspired by these influences and went into the studio to create a compilation of edits and overdubs of African vibrational sounds and rhythms. The result is a collection of nine compositions that showcase the future possibilities of this influential work.

Tested for months on dance floors across the globe every on this complication are sure to continue setting dance floors on fire where ever spun.
Extended Versions Cuts Taken Limited Vinyl EP featuring selected cuts from the compilation. Listen loudly and enjoy the experience!
Thank You for Listening

Steve Queralt, bass player of pioneering shoegazers RIDE, and the writer and film-maker MIchael Smith have joined forces for a stunning four-track EP, released on Bytes in October. Over Steve’s exceptional electronic soundscapes, Michael provides spoken-word vocals in his lulling Hartlepool tones, distilling excerpts from his new book to fit with the music.

The duo were introduced by Joe Clay from Bytes during lockdown, when Steve revealed that he was looking for vocalists to work with on some music he was putting together. Joe had met Michael when he collaborated with the late, great Andrew Weatherall, who composed a soundtrack to accompany Michael reading melancholic musings from his 2013 novel, Unreal City. Joe felt that Michael could be the perfect foil for Steve and after an experiment on Vespertina, a track that had previously featured sample dialogue from Penélope Cruz, they realised they had something special and decided to work on a full release together - four tracks in the classic RIDE EP format.

“Michael’s voice has so much depth and character and I love his eye-rolling, withering view of the world,” Steve reveals. “The subject matter seemed to glue itself effortlessly to the music as if we’d been together writing in a studio working towards some grand concept.”

Extremely Limited Black Screen-Printed Jacket / Glow in the Dark Ink / Red Insert Printed Sleeve 7Inch Black Vinyl
Hidden Revealed is one of Joaquin Joe Claussell Aliases which features a more Experimental Cosmic Jazz Side of Joaquin garnering just as many music supporters as his other aliases.

Sold out on our Bandcamp in only a few days; we are now offering copies of this highly sought-after record to our distribution partners. This is an Extremely Limited Specially Packaged 7" Black Screen-Printed Jacket using Glow in the Dark Ink. The record itself is housed in a special Red Insert Sleeve which is also printed. Musically Speaking this concept showcases the cosmic Jazz side of Joaquin Joe Claussell. All human musicians, no computers. Joaquin has been featuring these compositions in his DJ sets for quite some time now garnering inspiring crowd response.

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

The first and most independent of all independent producers, Joe Meek needs little introduction. He was the first to chart in both the UK and the USA with an independently produced song -which was actually recorded in his home’s kitchen- when The Tornados' Telstar took the world in 1962. Meek was, of course, one of the most in vogue producers of the first half of the 1960s, providing the soundtrack to the evolution of UK Rock’n'Roll to Swinging London, scoring hits with actors like John Leyton (Johnny Remember Me), showmen like Screaming Lord Sutch and bands like The Outlaws and The Tornados. He also produced a wide stream of R&B and freakbeat 45s that are nowadays hardly sought after by the collectors with the biggest bank accounts.

Joe Meek experimented with all kinds of recording techniques in his home studio, his tricks and gimmicks won his productions chart placement and critical and public acclaim, but none of his projects was so advanced and way out as the avantgarde experimentation showed in his I Hear a New World electronic symphony from 1960. Aided by The Blue Men formed by Rod Freeman (group leader, guitar, vocals), Ken Harvey (tenor sax, vocals), Roger Fiola (Hawaiian Guitar), Chris White (guitar), Doug Collins (bass), Dave Golding (drums) -also known as Rodd-Ken and The Cavaliers- who provided a tight base to his electronically produced sounds, Meek came up with what he envisioned as the soundtrack of the future, the sounds he envisioned were to be heard in outer space. It was too way out for its time, certainly. To the point that of all the opus, only four tracks saw the light of day on a 7" EP released on Triumph, Meeks very own label. It wouldn’t be until 1991 that the whole recordings from the I Hear a New World sessions would see the light of day on a CD issued by the RPM label.

Wah Wah offers a new reissue of this now classic early electronics masterpiece, housed in a beautiful front-laminated back-flapped sleeve and offered as a limited 400 copies only black vinyl version and an ultra-limited 100 copies only transparent purple vinyl. Get yours before they fly!

RIYL : Delia Derbyshire and The BBC Radiophonic Workshop, Louis and Bebe Barron’s soundtrack to Forbidden Planet, Raymond Scott, Tom Dissevelt & Kid Baltan, Morton Subotnick…

"Chasing the funky symphonies that filled my head and my dreams..."

December 25th, 2023 - an Instagram post. Stimulator Jones shared half a dozen FIRE tracks from his beat tape archive. We were immediately drawn to the rough hewn boom bap.

"I'd release that", Rob commented.

Hours of material was shared and the result is this: Cool Green Trees (1999-2005). A collection of beats and loops Stimulator Jones created between the ages of 14-20 at home in his basement, bedroom and computer room in Roanoke, Virginia.

You will not believe the profound soulful genius contained within these naive schoolboy melodies.

December 25th, 1998 - 25 years ago to the day and his much-coveted Yamaha SU10 sampler was finally bestowed upon young Stimmy AKA Sam Lunsford: "I immediately hooked up a CD Walkman to the input jack and looped the beginning two bars of Grover Washington Jr.'s "Mercy Mercy Me". I don't know what exactly was so thrilling about hearing two measures of music repeating over and over but it was so infectious and hypnotizing and enthralling to me. I'll never forget that ecstatic rush of making my first loop - an uncontrollable, gleeful smile plastered all over my face." When you hear the pocket breakbeat symphonies featured here on Cool Green Trees, you'll feel the same sense of frisson.

In the wake of his Stones Throw breakthrough - Exotic Worlds & Master Treasures - Stimulator Jones was pegged by many as a 90s throwback artist. However, he literally IS a 90s artist. He's been recording music most of his life and he's now 40. He created the bulk of Cool Green Trees as a teenager. Everything before 2004 was recorded when Sam was still in school. He was in 8th grade when he made the 1999 tracks - he didn't even have his learner's permit. This album is a snapshot of a young man in a simpler time. Things were still mysterious back then and he was flying blind, relying on his ears and having to figure things out for himself: "I had no road map for becoming a beatmaker. I have been collecting music since I was a kid, I am a lifelong digger and seeker of cool and interesting sounds. I was there in the golden age of Hip Hop, and while I may have been a suburban white kid in Roanoke, Virginia, I was tuned in and I bought so many classic albums when they came out. I was attracted to Hip Hop because of the musical and poetic quality. I was hypnotized by the rhythms, partially because I was a drummer. I didn't brag about collecting my breakbeat records or making beats - it was something I did in isolation. It wasn't something I generally wanted to bring attention to and it didn't really score me any cool points. I certainly wasn't flexing on social media about it."

Hell, he can do that now!

Opener "Pharoah Jones" was inspired by Yesterday's New Quintet and Madlib's ability to capture that classic 70s sound whilst playing all the instruments. Sam created this one stoned afternoon by laying down a 2 bar loop and a shaker loop on his Yamaha SU700 sampler. He hung a microphone from the ceiling and played his Yamaha Stage Custom drum kit over the top before adding ender Rhodes and playing his dad's Selmer tenor sax through an Electro Harmonix Memory Man echo pedal. Yes! Up next, "Ghost Gospel" utilises a dope loop from a gospel record and adds some soul-funk drums overtop, whilst working that filter knob. Says Sam: "The loop reminded me of something Ghostface would rap over. The sample was in 3/4 waltz time but I flipped it for a 4/4 groove, a technique I picked up from RZA. "Ill Feeling" uses sped-up pieces from a dusty old funk record and putting them over a classic NOLA drum loop; gain chopping up a slow, bluesy 3/4 time signature and bending it to a 4/4 groove. Classy shit. "Capital Punishment" features drums tapped in live, inspired by MF Doom's Special Herbs series. "Do Not Adjust" consists loops found on a compilation of 70s French music at Happy's Flea Market, a classic Roanoke digging spot.

The sublime, evocative title track, "Cool Green Trees" was created when Sam was still living at home. He dumped samples off his SU10 into the family desktop and arranged them in a demo version of Pro Tools: "This track was sort of my ode to the DJ Shadow style of sample based production. Super spacey, slow, and moody. The heavily filtered drums were inspired by Alec Empire's 'Low on Ice' album. I later added some scratches and sounds from a Spider Man storybook record." "Chill Scratch" snags the final bit of a bossanova record and pairs it with a drum loop before adding experimental scratching run through an Electro Harmonix Memory Man echo pedal. "Poisonous Fumes" was made using a sampler, mixer and a turntable; a kind of mixtape beat collage with added scratches and sounds from various records. Using dialogue from superhero records was a nod to Madlib. "Welcome Aboard The Starship" is dark, downtempo trip-hop with a spooky bent. Sam paired a slow, hard drum loop with a guitar sample grabbed off a psychedelic rock record. To finish, he added various backwards sounds and weird atmospheric effects and a little scratching. Swoon.

Side B opens with "Keep On Runnin", made on a borrowed Roland SP202 sampler. Having always loved the sound of the Lo-Fi filter on those machines, reminiscent of the Emu SP1200, Sam always imagined Del or another of the Hieroglyphics crew rapping over this beat. You can certainly hear why. "Sounds Impossible" sees Sam experimenting with layering multiple kick samples at different volumes to create patterns similar to those heard by Showbiz and Lord Finesse during their God-level 1995 period. "Painted Faces" was made by chopping up a REDACTED record which he had gotten from Happy's Flea Market and paired it with a REDACTED drum loop. By the time Sam recorded "The Knew Style", he had acquired a shitty old 1960s portable turntable off eBay. It didn't function properly when he bought it but his brother opened it up, cleaned it out and got it working: "I remember he told me that there was a bunch of sand inside of it when he opened it up, as if its previous owner had taken it to the beach. I would take that turntable on my Happy's Flea Market digs so I could preview records...that's how I found this loop."

"Chicken Wing Blues Sauce" loops up a classic blues joint and pairs it with some REDACTED drums. A bit of filtering and arranging et voilà! "Kool Breeze", from 1999, is one of Sam's oldest surviving beats, as is "Sexx Bullets". The Roots sampled the same record, leaving Sam frustrated yet vindicated. "Soul Child" was an early SU10 creation, looping a dusty old Soul Children 45 and pairing it with 70s rock drum loops to great effect. "Take Off Runnin" was another loop found digging with a portable turntable. Paired with some boom bap drums it makes for a hypnotic head-nod groove. "Centurian" was intended to be a little beat interlude a la Pete Rock. The sample is from a sun-dappled soft-psych record and it's paired with a Robin Trower drum loop that just happens to fit perfectly. Sometimes you slap things together kind of haphazardly and magic happens. "Bozack" was the first beat Sam made using Pro Tools, his first foray into using chopped sounds instead of loops, an exciting new world. "Church" is beat interlude using a Phil Upchurch loop with the "Long Red" drums - a favourite break of Dilla et al. Sam was really on a tear in late 2004, probably because he was unemployed and phoneless and able to just make beats all day. He made "Splash One" on a borrowed Yamaha SU700 and again was experimenting with tapping the drums in live with his fingers, instead of using a loop or sequenced pattern. Channeling 9th Wonder, Sam used a water splash sound effect from a Batman record as a percussive element, hence the title (also a 13th Floor Elevators reference). The main loop is a backwards portion of one of his favourite Roy Ayers songs.

"Hank" is another fun little beat interlude thing, created on a borrowed Roland SP202 sampler with the fantastic Lo-Fi effect that resembled the Emu SP1200 at a fraction of the price. "73 goatee", from 99, is another of his oldest surviving beats, created in his bedroom with his Yamaha SU10 and his brother's Vestax MR-300 4-track recorder: "This one will always feel special. I can remember having a feeling all the way back then on the night that I created it that this was a solid beat with a catchy loop. There was something in the Fender Rhodes melody that resonated with me emotionally, and I had never heard a producer sample that portion before. I felt like I had found my own unique sound, my own unique loop. It came from an Ahmad Jamal '73. I actually even recorded myself rapping and scratching over this beat way back then, I still have that version in all its imperfect sloppy glory."

Sam explains just how much these tracks mean to him: "They all have immense historical and sentimental value and I'm proud of them. These beats come from an innocent, simple time when I was just figuring out how to craft these sounds. They're something very personal to me. They are the initial part of a journey that I really was taking *alone*. There was no YouTube. I couldn't Google shit. I didn't even know any other beatmakers, producers or DJs in my town that could teach me anything. It was always just me, alone, in a room with some equipment - chasing the funky symphonies that filled my head and my dreams. What I was doing wasn't cool. Most of my peers thought I was a weirdo and couldn't care less. Creating these sounds was an anti-social endeavour. In a sense, I felt like it was me against the world, and all I had to instruct and assist me were the recordings produced by my heroes - RZA, DJ Premier, Erick Sermon, Beatminerz, Showbiz, Diamond D, Beatnuts, Prince Paul, The Bomb Squad, Pete Rock, Q-Tip, E-Swift, Mista Lawnge, DJ Shadow, Cut Chemist, Peanut Butter Wolf, El-P and so many more...I dedicate this collection to them, and to my older brother Joe who has always been a musical and technical guiding light for me.

This was a time before every kid was a self-described producer and beatmaker, before everyone had a DAW, before Kanye and "chipmunk soul", before Red Bull beat battles, before there was any social media beyond chat rooms and AOL Instant Messenger, before Soundcloud, before SP-404 mania, before lo-fi beats to study to, before Splice, before targeted ads for MIDI chord packs, etc. In 99 when I told people that I had a sampler and made beats I was mostly met with bewildered confusion and indifference. Kids and adults alike would wonder why I got this weird machine for Christmas instead of something worthwhile like a Playstation or a mountain bike or even a guitar for that matter because at least that could be used to make "real music". Back then, sampling was still not widely respected as an art form - it was seen as lazy, talentless and unoriginal at best and outright criminal theft at worst. I had gotten respect for playing drums and guitar and things of that nature but this was a step in the wrong direction in the eyes of many."

The cover photo is a picture of Sam standing on his back porch in the latter part of 1998, just before he got his first sampler. He was 13 years old, in 8th grade. His dad took the picture with his 35mm film camera: "I actually wanted to be pointing my dad's .22 pistol at the camera lens but he wouldn't let me. He gave me an old walking cane to use instead. The Tommy Hilfiger puffer jacket came from the lost and found at William Fleming High School where my mom worked as a secretary. I was thrilled when she brought it home because we never spent money on expensive name brand clothing like that - we were for the most part strictly a sale rack, bargain bin, thrift store, yard sale, flea market kind of family when it came to clothes. My watch is some cheap off-brand fake gold department store watch." Mastering for this vinyl edition was overseen by Be With regular Simon Francis and it was cut by the esteemed Cicely Balston at Abbey Road Studios to be pressed in the Netherlands by Record Industry.

In den frühen 70er Jahren war Fernsehen ein wichtiges Mittel, um Musiker in den eigenen vier Wänden bekannt zu machen. Frank Zappa, der mit seiner Tournee-Lichtshow und seinem Bühnenaufbau voll ausgestattet war, versuchte, Videomaterial für seine eigene Fernsehproduktion aufzunehmen, um es den großen Sendern anzubieten. Genau wie bei den Dreharbeiten zu The Roxy Performances Monate zuvor gab es technische Probleme, die letztendlich dazu führten, dass das Filmmaterial beiseite gelegt wurde. 50 Jahre später, mit den Fortschritten bei den Bearbeitungswerkzeugen für die Nachbearbeitung, präsentieren wir ”Cheaper Than Cheep”. Dieses neue 2-stündige Konzertprogramm bietet klassische Auftritte der Mothers-Besetzung von 1974, direkt von den neu restaurierten Original-Audio- und Videoband-Mastern aus dem Archiv. Die offzielle Zappa-Veröffentlichung Nr. 130 erscheint in einer speziellen, limitierten Super Deluxe-Edition mit dem remasterten Konzertvideo und brandneuem Dolby Atmos, 5.1 Surround sowie Stereo-Mix auf einer Blu-ray, dem Stereo-Soundtrack auf 2 CDs und 3 LPs auf 180 Gramm schwarzem Vinyl, einem ausführlichen Booklet mit seltenen, bisher unveröffentlichten Bildern und Linernotes von Ruth Underwood und Joe Travers, alles in einem ausziehbaren Schuber verpackt. Weitere Formate sind eine komplette 2-CD + Blu-ray und ein eigenständiger Soundtrack auf 3 LPs auf 180 Gramm schwarzem Vinyl

In den frühen 70er Jahren war Fernsehen ein wichtiges Mittel, um Musiker in den eigenen vier Wänden bekannt zu machen. Frank Zappa, der mit seiner Tournee-Lichtshow und seinem Bühnenaufbau voll ausgestattet war, versuchte, Videomaterial für seine eigene Fernsehproduktion aufzunehmen, um es den großen Sendern anzubieten. Genau wie bei den Dreharbeiten zu The Roxy Performances Monate zuvor gab es technische Probleme, die letztendlich dazu führten, dass das Filmmaterial beiseite gelegt wurde. 50 Jahre später, mit den Fortschritten bei den Bearbeitungswerkzeugen für die Nachbearbeitung, präsentieren wir ”Cheaper Than Cheep”. Dieses neue 2-stündige Konzertprogramm bietet klassische Auftritte der Mothers-Besetzung von 1974, direkt von den neu restaurierten Original-Audio- und Videoband-Mastern aus dem Archiv. Die offzielle Zappa-Veröffentlichung Nr. 130 erscheint in einer speziellen, limitierten Super Deluxe-Edition mit dem remasterten Konzertvideo und brandneuem Dolby Atmos, 5.1 Surround sowie Stereo-Mix auf einer Blu-ray, dem Stereo-Soundtrack auf 2 CDs und 3 LPs auf 180 Gramm schwarzem Vinyl, einem ausführlichen Booklet mit seltenen, bisher unveröffentlichten Bildern und Linernotes von Ruth Underwood und Joe Travers, alles in einem ausziehbaren Schuber verpackt. Weitere Formate sind eine komplette 2-CD + Blu-ray und ein eigenständiger Soundtrack auf 3 LPs auf 180 Gramm schwarzem Vinyl

'A Necessary Escape' ist der Soundtrack zum demnächst erscheinenden Film 'Dakar: Race Against The Desert'. Die physischen Formate umfassen CD, Vinyl und eine limitierte Farbvinyl-Edition in Curacao-Blau. Es ist der vierte Album-Soundtrack von M83 und wurde in Frankreich und den USA von M83s Anthony Gonzalez zusammen mit den regelmäßigen M83-Mitwirkenden Joe Berry und Clement Libes aufgenommen. Der Film erscheint am 12. Mai digital bei Universal Pictures und feiert seine weltweite Kinopremiere am 26. Juni in der MK2 Bibliothèque in Paris. Unter der Regie des französischen Schauspielers und Regisseurs Jalil Lespert wird hier die weltberühmte Rallye Dakar begleitet - ein Event, das seit 45 Jahren die ultimative Bewährungsprobe für Belastbarkeit, Können und Ausdauer im Motorsport darstellt. Das 9.000 Kilometer lange Rennen dauert 14 strapaziöse Tage durch raues Wüstengelände. Mit beispiellosem Zugang taucht dieser Film in das härteste Autorennen der Welt ein. Begleitet wird dies von einem wunderbaren Score den Gonzalez perfekt auf den Film zugeschnitten hat. Ambient trifft auf sphärische Klangcollagen und ist damit der perfekte Ausgleich zu den im Film dokumentierten Strapazen um die berühmte Rallye. Nach dem fantastischen 'Fantasy'-Album von 2023 oder dem 2011er Klassiker 'Hurry Up, We're Dreaming' ein weiterer Geniestreich des französischen Sound-Magiers und seinem M83-Projekt!

Der Sänger und Multiinstrumentalist Nad Sylvan kehrt mit seinem fünften Studioalbum "Monumentata" zurück. Die 8 Tracks zei-gen Sylvan von seiner verletzlichsten und persönlichsten Seite, mit einer Sammlung, die ein breites Spektrum an Themen und Stilen abdeckt, von dunklem und schwerem Prog bis hin zu Pop und R&B. Auf dem Album wird Nad von einer hochkarätigen Band unterstützt, darunter Tony Levin (King Crimson), Randy McStine (Steven Wilson), Nick Beggs (Steven Wilson), Jonas Rein-gold (Steve Hackett), Lalle Larsson (The Flower Kings), Mirko De Maio (The Flower Kings), Joe Deninzon (Kansas), Marco Min-nemann (The Aristocrats), Felix Lehrmann (ex-The Flower Kings), David Kollar (Steven Wilson), Sheona Urquhart, Jade Ell & Neil Whitford. Das Album wird als Ltd CD Digipak, Gatefold LP in transparent-grünem Vinyl sowie als Digital Album erhältlich sein.

Das Debütalbum des amerikanischen Schauspielers und Singer-Songwriters Joe Keery unter seinem Pseudonym Djo, bekannt aus der Serie Stranger Things.

Das Album des Stranger Things-Stars wurde bereits 2019 veröffentlicht und erscheint nun auch auf Vinyl.

Die genreübergreifenden Tropical Fuck Storm präsentieren ihr mit Spannung erwartetes viertes Album "Fairyland Codex" auf ihrem neuen Label Fire Records. Aufgenommen mit Co-Produzent Michael Beach im Dodgy Brothers Studio der Band in Nagambie, Australien, lassen uns die Songs auf "Fairyland Codex" in das Chaos eines schicksalhaften Erdrutsches eintauchen und die Charaktere herauspicken, die den drohenden Zusammenbruch der Gesellschaft besudeln. Sauer, bissig, anarchisch: Tropical Fuck Storm beherrschen das Wortspiel, das durch knurrende Gitarren, pulsierende Rhythmen und explosive Salven unterstrichen wird, und bevölkern ein Hinterland zwischen Licht und Dunkelheit. Das stimmliche Zusammenspiel zwischen Liddiard und den hochfliegenden Harmonien von Kitschin und Dunn schafft einen schwankenden Balanceakt, der durch die verzweifelten Erzählungen, die sich aus ihrer kollektiven Psyche entwickeln, noch verstärkt wird. Tropical Fuck Storm entstand, als The Drones - die vorherige Band von Gitarrist und Sänger Gareth Liddiard und Bassistin und Sängerin Fiona Kitschin - 2016 in eine Pause ging. Zusammen mit der Gitarristin, Keyboarderin und Sängerin Erica Dunn und der Schlagzeugerin Lauren Hammel hat die Gruppe eine Reihe von der Kritik gefeierten Alben veröffentlicht und sich einen Ruf für ihre aufrüttelnden Live-Shows erworben.

Die genreübergreifenden Tropical Fuck Storm präsentieren ihr mit Spannung erwartetes viertes Album "Fairyland Codex" auf ihrem neuen Label Fire Records. Aufgenommen mit Co-Produzent Michael Beach im Dodgy Brothers Studio der Band in Nagambie, Australien, lassen uns die Songs auf "Fairyland Codex" in das Chaos eines schicksalhaften Erdrutsches eintauchen und die Charaktere herauspicken, die den drohenden Zusammenbruch der Gesellschaft besudeln. Sauer, bissig, anarchisch: Tropical Fuck Storm beherrschen das Wortspiel, das durch knurrende Gitarren, pulsierende Rhythmen und explosive Salven unterstrichen wird, und bevölkern ein Hinterland zwischen Licht und Dunkelheit. Das stimmliche Zusammenspiel zwischen Liddiard und den hochfliegenden Harmonien von Kitschin und Dunn schafft einen schwankenden Balanceakt, der durch die verzweifelten Erzählungen, die sich aus ihrer kollektiven Psyche entwickeln, noch verstärkt wird. Tropical Fuck Storm entstand, als The Drones - die vorherige Band von Gitarrist und Sänger Gareth Liddiard und Bassistin und Sängerin Fiona Kitschin - 2016 in eine Pause ging. Zusammen mit der Gitarristin, Keyboarderin und Sängerin Erica Dunn und der Schlagzeugerin Lauren Hammel hat die Gruppe eine Reihe von der Kritik gefeierten Alben veröffentlicht und sich einen Ruf für ihre aufrüttelnden Live-Shows erworben.

Die genreübergreifenden Tropical Fuck Storm präsentieren ihr mit Spannung erwartetes viertes Album "Fairyland Codex" auf ihrem neuen Label Fire Records. Aufgenommen mit Co-Produzent Michael Beach im Dodgy Brothers Studio der Band in Nagambie, Australien, lassen uns die Songs auf "Fairyland Codex" in das Chaos eines schicksalhaften Erdrutsches eintauchen und die Charaktere herauspicken, die den drohenden Zusammenbruch der Gesellschaft besudeln. Sauer, bissig, anarchisch: Tropical Fuck Storm beherrschen das Wortspiel, das durch knurrende Gitarren, pulsierende Rhythmen und explosive Salven unterstrichen wird, und bevölkern ein Hinterland zwischen Licht und Dunkelheit. Das stimmliche Zusammenspiel zwischen Liddiard und den hochfliegenden Harmonien von Kitschin und Dunn schafft einen schwankenden Balanceakt, der durch die verzweifelten Erzählungen, die sich aus ihrer kollektiven Psyche entwickeln, noch verstärkt wird. Tropical Fuck Storm entstand, als The Drones - die vorherige Band von Gitarrist und Sänger Gareth Liddiard und Bassistin und Sängerin Fiona Kitschin - 2016 in eine Pause ging. Zusammen mit der Gitarristin, Keyboarderin und Sängerin Erica Dunn und der Schlagzeugerin Lauren Hammel hat die Gruppe eine Reihe von der Kritik gefeierten Alben veröffentlicht und sich einen Ruf für ihre aufrüttelnden Live-Shows erworben. Magenta farbenes Vinyl plus Band signiertem 30 x 30 cm Art Print, streng limitiert (100 Stück).

"Instant Holograms On Metal Film" ist das erste Stereolab-Album seit 15 Jahren mit 13 neuen Studioaufnahmen. Eingespielt wurde das Werk von Laetitia Sadier, Tim Gane, Andy Ramsay, Joe Watson und Xavi Muñoz, mit Gastbeiträgen von Cooper Crain und Rob Frye von Bitchin Bajas, Ben LaMar Gay (Komponist/Jazz-Multiinstrumentalist), Holger Zapf (Cavern Of Anti Matter), Marie Merlet (Monade) und Molly Read, und weiteren. Die Band wird das ganze Jahr 2025 über live spielen - in Europa, Nordamerika, Südamerika und Großbritannien. Das neue Album folgt auf "Not Music" aus dem Jahr 2010, remasterte und erweiterte Neuauflagen von sieben ihrer Alben im Jahr 2019 sowie die Bände 4 und 5 der "Switched On"-Reihe, die 2021 bzw. 2022 erschienen.

Dummy is a rock band from Los Angeles comprised of Alex Ewell, Emma Maatman, Nathan O'Dell, and Joe Trainor. Their debut full-length "Mandatory Enjoyment" (Trouble in Mind) arrived in late 2021, becoming one of the year 's sleeper hits and garnering praise from Pitchfork, Stereogum, and more. Coming out of lockdown, the band spent two years touring in support of the record, and it is this transformational experience that pulses through "Free Energy ", the exhilarating follow-up to "Mandatory Enjoyment". A creatively restless band, Dummy (Ewell: drums, synths, bass; Maatman: vocals, synths, organ; O'Dell: vocals, guitar, organ; Trainor: guitar, bass, synths) wanted to get harder, dancier, more psychedelic for their next record. This meant applying explorative potentials of electronic textures to the elemental qualities of rock i.e. more vocal loops, sampling, more crazy rhythms, and playful synths - but make those samples of Trainor 's guitar, let Maatman sing bolder, experiment with using cold mechanical elements in warm and sparkly ways, and lean harder into traditional-yet-still-awesome forms of rock guitar experimentation like feedbackThe result is a record that celebrates music's ability to move the body, whether that be through a teeth-rattling wall of MBV-esque noise, a sticky pop chorus, or a joyous drum machine_or, if you're Dummy, maybe all of them in the same song. Pop music has always been a big part of Dummy's sound and it manifests in different ways all over Free Energy: the bubbly synth sequence made with a Korg EM1 popping all over "Nullspace," the revved-up drone-pop inspired by second and third wave Dunedin Sound bands like Look Blue Go Purple and Dadamah, and the motorik beat powering "Nine Clean Nails," perhaps the most confidently pop song Dummy has ever recorded and one that exemplifies "Free Energy "'s balancing of live performance intensity with electronic augmentations, the dancier rhythmic elements created out of a drum loop recorded by Ewell while the bridge recalls the Feelies with call-and-response guitars from O'Dell and expressive vocals from Maatman. "Free Energy " also features guest appearances from Oakland-based saxophonist and electroacoustic artist Cole Pulice (Moon Glyph) contributes saxophone and wind synths and Jen Powers of Powers / Rolin Duo (Astral Editions, Feeding Tube Records).

The Dark Flowers beguile with their dark take on country music" ROLLING STONE. THE DARK FLOWERS release their second album `INDIAN SUMMER' with Paul Statham bringing together a unique collection of collaborators, JIM KERR, GABRIELLA CILMI, DAVID J, THE ANCHORESS and SHELLY POOLE in June 2025 on Loki Records via Cargo.With 2014 debut album. `Radioland', songwriter and producer Paul Statham brought together a group of guest vocalists for a collection inspired by Sam Shepard's `Motel Chronicles'. Featuring an all-star cast of Jim Kerr, Peter Murphy, The Anchoress, Shelly Poole, Dot Allison, Kate Havnevik and Helicopter Girl, the album was characterized by MOJO as "a perfect album for a lonely winter night" (4/5). The new album sees Statham, a member of Post Punk band B-Movie, and co-writer with a host of well-known artists including Dido, Kylie, Peter Murphy and Simple Minds retain his principal role in the project as both producer and songwriter. Once again, Shepard's prose plays a key role with `Hawk Moon', the companion volume to `Motel Chronicles', an additional source of inspiration. Jim Kerr from Simple Minds continues his involvement with 3 tracks as does Welsh songwriter and multi-instrumentalist The Anchoress. David J from Bauhaus/Love and Rockets is also a featured artist along with Gabriella Cilmi turning in 2 dark and beguiling tracks. The project is completed with Shelly Poole (from country/folk band Red Sky July and a long-time friend and co-writer on 3 songs.

The Dark Flowers beguile with their dark take on country music" ROLLING STONE. THE DARK FLOWERS release their second album `INDIAN SUMMER' with Paul Statham bringing together a unique collection of collaborators, JIM KERR, GABRIELLA CILMI, DAVID J, THE ANCHORESS and SHELLY POOLE in June 2025 on Loki Records via Cargo.With 2014 debut album. `Radioland', songwriter and producer Paul Statham brought together a group of guest vocalists for a collection inspired by Sam Shepard's `Motel Chronicles'. Featuring an all-star cast of Jim Kerr, Peter Murphy, The Anchoress, Shelly Poole, Dot Allison, Kate Havnevik and Helicopter Girl, the album was characterized by MOJO as "a perfect album for a lonely winter night" (4/5). The new album sees Statham, a member of Post Punk band B-Movie, and co-writer with a host of well-known artists including Dido, Kylie, Peter Murphy and Simple Minds retain his principal role in the project as both producer and songwriter. Once again, Shepard's prose plays a key role with `Hawk Moon', the companion volume to `Motel Chronicles', an additional source of inspiration. Jim Kerr from Simple Minds continues his involvement with 3 tracks as does Welsh songwriter and multi-instrumentalist The Anchoress. David J from Bauhaus/Love and Rockets is also a featured artist along with Gabriella Cilmi turning in 2 dark and beguiling tracks. The project is completed with Shelly Poole (from country/folk band Red Sky July and a long-time friend and co-writer on 3 songs.

The debut recording by The Ancients, the intergenerational coalition of Isaiah Collier, William Hooker, & William Parker formed by parker to play concerts in conjunction with the milford graves mind body deal exhibition at the institute of contemporary art los angeles & now a working group. across x2LPs of side-length long-form improvised sets recorded at 2220 arts & archives in LA & the chapel in San Francisco, The Ancients bring the free jazz trio languages first explored by the Cecil Taylor Unit & Ornette Coleman’s -Golden Circle- band (expanded upon in later eras by Sam Rivers' Trio & Parker’s collective trios with Charles Gayle/Graves & Peter Brötzmann/Hamid Drake) into their own unique & scintillating realms of expression.

As we tumble further into the throes of history’s tides, people of hope & creativity rely on the works of our great artists to lift our spirits & focus our resolve. -ascension- was recorded less than a year after the passage of the civil rights act & four months after the assassination of Malcolm X. -journey in satchidananda- was recorded the month reagan was re-elected governor of California. M’boom made its debut recording weeks after the watergate scandal broke & a couple months after the wounded knee occupation ended. The music of the ancients builds on these great musical legacies. it resounds with the pride of survival & the joys of making & sharing music. It delivers to us hope & balm. something real in you, real in history, & real in the music is shared, right on time.

When Eremite records commenced operations during the 1990s free jazz resurgence, heavyweight freedom-seeking tenor saxophonists such as Fred Anderson, Peter Brötzmann, Charles Gayle, Kidd Jordan, & David S. Ware were at the height of their powers. Isaiah Collier’s tenor playing in the ancients is bracing testimony that the wellspring lives on. to hear the young chicago firebrand blowing freely with veteran improvisers in an entirely open-form group music is a revelatory study of his vast talent, personal voice, & the intensity of his expression —as well as a bold complement to his composition-based albums as a bandleader (including -the almighty-, a new york times' best albums of 2024 selection).

I've admired drummer William hooker since first encountering his music in a hartford ct city park, early ‘90s (on a double bill with Jerry González & Fort Apache Band). From the man himself right off the bandstand i bought his even-then rare 1st recording, the 1976 self-released x2LP opus -is eternal life- (reissued 2019 by superior viaduct). An imposing force on his instrument & an intrepid DIY cat, Hooker’s been exuberantly swinging in&out of free time for 50+ years. informed by the innovations of Sunny Murray & Tony Williams yet entirely himself, there is no other term for it than “pure hooker.” at age 78, with the ancients & everywhere else, THE HOOK is in peak form.

With a discography approaching 600 entries & 50+ years working across the musical maps, including in the history-defining bands of Don Cherry, Cecil Taylor, Bill Dixon, Peter Brötzmann, in his own wondrous ensembles from small group to orchestra to opera, a bastion of compassionate leadership & a poetic champion of his musical community, in tireless service to what he rather egolessly refers to as “the tone world”, multi-instrumentalist, improviser & composer william parker is a living hero of the grassroots & the black mystery musics, not to mention one of the great bassists in the history of jazz. To quote George Clinton, conquering the stumbling blocks comes easier when the conqueror is in tune with the infinite.

Live to 2-track concert recordings by Bryce Gonzales, Highland Dynamics. Mastered by Joe Lizzi, Queens, NY.

Repress of 2018’s classic compilation from Brownswood.

A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Looking at the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the crossover between each of the groups speaks to the close-knit circles which make up the scene.

Surveying the way that London’s jazz-influenced music had spread outside of its usual spaces in recent years, this album bottles up some of the vital ideas emanating from that burgeoning movement. Giving a platform to a scene where mutual cooperation and a DIY spirit are second-nature, it’s a window into the wide-eyed future of London’s musical underground.

Ubiquitous, much-lauded saxophonist Shabaka Hutchings is the project’s musical director. His own recent projects span from South Africa-connected, spiritually-minded jazz players Shabaka and the Ancestors to Sons of Kemet, who match diasporically-connected compositions with viscerally-direct live shows. His entry on the album, ‘Black Skin, Black Masks’, is typically difficult-to-define: with an off-kilter, shifting rhythmic backbone, repeated phrases – mirrored between clarinet and bass clarinet – shape the track with an alluring hue. His input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record.

Theon Cross – who’s also part of Sons of Kemet with Hutchings – starts his track, ‘Brockley’, with the solo, distinctive low rumble of his tuba. Winding and mesmeric, it sees tuba and sax lines winding together in rhythmic and melodic parallels. Ezra Collective – whose drummer and bandleader Femi Koleoso has toured with Pharaohe Monch – run a tight, Afrobeat-tipped rhythm on ‘Pure Shade’, with the final third changing gear into a melodic, momentous closing stretch.

Joe Armon-Jones, whose ludicrous chops on the piano have seen him touring with the likes of Ata Kak, showcases earworm-like, insistent motifs on ‘Go See’, balanced with a playful, improvisatory approach with room for ad-libbing and solos a-plenty. Taking a softer tact than many of the other entries, Kokoroko – whose guitarist Oscar Jerome has been making waves with his solo material – spin a lyrical, steady-paced meditation on ‘Abusey Junction’, matching chanted vocals with gently-played guitar.

Nodding to spiritual jazz influences, Maisha’s ‘Inside The Acorn’ is a wandering, explorative rumination, balancing delicate washes of piano and percussion with sharp interplay between flute and bass clarinet. In contrast, Nubya Garcia’s ‘Once’ is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. And finally, Triforce’s ‘Walls’ is a performance in two parts: starting with Mansur Brown’s languorous, lyrical guitar, the second half switches up to a low-slung, g-funk-tipped groove.

For their third album on Bongo Joe, Madalitso Band takes a new direction.

After two records capturing the raw intensity of their live performances, the Malawian duo ventures for the first time into the possibilities of the studio — without ever compromising their signature style or energy.

Armed with their handmade babatone, a guitar, and their interwoven voices, Yobu and Yosefe craft a sound at the crossroads of banjo music, kwela, gospel, and African folk. An acoustic trance that’s both minimal and vibrant, deeply rooted in tradition yet undeniably fresh and contemporary. On Ma Gitala, they add new textures: layered vocals, playful percussion, melodic surprises, and guests from their close and family circles.

Always guided by instinct, the band reveals a more intimate and narrative side of their universe — full of memories, spontaneity, and close-knit complicity. An album that captures the joy and creativity of two artists who turned the street into a stage, and the stage into a playground.

For their third album on Bongo Joe, Madalitso Band takes a new direction. After two records capturing the raw intensity of their live performances, the Malawian duo ventures for the first time into the possibilities of the studio - without ever compromising their signature style or energy. Armed with their handmade babatone, a guitar, and their interwoven voices, Yobu and Yosefe craft a sound at the crossroads of banjo music, kwela, gospel, and African folk. An acoustic trance that"s both minimal and vibrant, deeply rooted in tradition yet undeniably fresh and contemporary. On Ma Gitala, they add new textures: layered vocals, playful percussion, melodic surprises, and guests from their close and family circles. Always guided by instinct, the band reveals a more intimate and narrative side of their universe - full of memories, spontaneity, and close-knit complicity. An album that captures the joy and creativity of two artists who turned the street into a stage, and the stage into a playground.

Like a fine wine, Fu Manchu's 1999 classic, King Of The Road, gets better with age and fans continue to demand hearing these tunes the way the band intended - on wax. Out of print since 2019, the Joe Barresi (Tool, Avenged Sevenfold, Queens Of The Stone Age) helmed work is back and this time on yellow and black splatter vinyl in a limited edition. This is a repressing of the 2015 remaster done by Carl Saff, which includes 2 bonus tracks: "Breathing Fire" (originally on the German vinyl release) and "Hanglider" (which was previously unreleased). "After a bit of a break from albums, not counting the Return to Earth singles compilation, Fu Manchu fully fired up and took off again with King of the Road, an album that doesn't so much follow on from The Action Is Go as flat out continue it. Hill has a touch more bite to his vocals this time around, but otherwise there's little to differentiate the two records -- and that's very much meant as a compliment. With plenty of touring and other things under their belts, the lineup has fully jelled and sounds it, Bjork's bad-ass drumming (and occasional cowbells, of course) and Balch's insane lead guitar crunch possibly even better than ever. Together it's all one megariff and nasty, slamming rhythm after another, and face it, anyone expecting anything else from Fu Manchu really needs to find another band. Joe Barresi co-produces with the band, and while there's no extra keyboard/organ weirdness this time around, it hardly matters. In as much as there's a theme to King of the Road beyond the basics of driving, drugs, and that demon rock & roll, it's driving -- there's a reason why the cover and internal art features a slew of great '70s-era photos from a massive van rally. The one shot of the fully leather-covered interior of one mobile love nest, complete with black curtains, about says it all. Then there's the megachugging title track ("King of the road says you move too slow!"), "Hell on Wheels," "Boogie Van," and so forth -- call it a concept album that doesn't waste time with elves and yogis. As with the last album, a punk/new wave nugget gets the cover treatment here -- none other than Devo's "Freedom of Choice." Needless to say, now it sounds just like a Fu Manchu original." ALLMUSIC

Murder by Death has earned a much needed break. The 25 years the band has spent on the road have been catching up to them lately, so they’ve decided to take a step back from touring before it grinds them to dust. This year, they’ll be embarking on a massive farewell tour, hitting more than 50 cities in the US, UK, and Canada. And as their parting gift, they are leaving behind their tenth album, Egg & Dart. Murder by Death has accomplished more than they’d ever dreamed since forming in Bloomington, Indiana, in 2000, when Turla and cellist Sarah Balliet started the project with fellow college dorm-mates under the name Little Joe Gould. They traveled the world several times over, released ten studio albums, built an intensely dedicated following, and shared stages with artists from a wide array of genres.

This is a repressing of their EP from 2018.

"Boys" is the second release from Caamp, the American folk band from Upper
Arlington, Ohio (who actually met at summer camp!)

This is a repressing of their EP from 2018.

"Boys" is the second release from Caamp, the American folk band from Upper
Arlington, Ohio (who actually met at summer camp!)

Repress of 2018’s classic compilation from Brownswood.

A primer on London’s bright-burning young jazz scene, this new compilation brings together a collection of some of its sharpest talents. A set of nine newly-recorded tracks, We Out Here captures a moment where genre markers matter less than raw, focused energy. Looking at the album’s running order, it could easily serve as a name-checking exercise for some of London’s most-tipped and hardworking bands of the past couple of years. Recorded across three long, fruitful days in a North West London studio, the crossover between each of the groups speaks to the close-knit circles which make up the scene.

Surveying the way that London’s jazz-influenced music had spread outside of its usual spaces in recent years, this album bottles up some of the vital ideas emanating from that burgeoning movement. Giving a platform to a scene where mutual cooperation and a DIY spirit are second-nature, it’s a window into the wide-eyed future of London’s musical underground.

Ubiquitous, much-lauded saxophonist Shabaka Hutchings is the project’s musical director. His own recent projects span from South Africa-connected, spiritually-minded jazz players Shabaka and the Ancestors to Sons of Kemet, who match diasporically-connected compositions with viscerally-direct live shows. His entry on the album, ‘Black Skin, Black Masks’, is typically difficult-to-define: with an off-kilter, shifting rhythmic backbone, repeated phrases – mirrored between clarinet and bass clarinet – shape the track with an alluring hue. His input ties together a deft, genre-agnostic sensibility that’s shared through all the players on the record.

Theon Cross – who’s also part of Sons of Kemet with Hutchings – starts his track, ‘Brockley’, with the solo, distinctive low rumble of his tuba. Winding and mesmeric, it sees tuba and sax lines winding together in rhythmic and melodic parallels. Ezra Collective – whose drummer and bandleader Femi Koleoso has toured with Pharaohe Monch – run a tight, Afrobeat-tipped rhythm on ‘Pure Shade’, with the final third changing gear into a melodic, momentous closing stretch.

Joe Armon-Jones, whose ludicrous chops on the piano have seen him touring with the likes of Ata Kak, showcases earworm-like, insistent motifs on ‘Go See’, balanced with a playful, improvisatory approach with room for ad-libbing and solos a-plenty. Taking a softer tact than many of the other entries, Kokoroko – whose guitarist Oscar Jerome has been making waves with his solo material – spin a lyrical, steady-paced meditation on ‘Abusey Junction’, matching chanted vocals with gently-played guitar.

Nodding to spiritual jazz influences, Maisha’s ‘Inside The Acorn’ is a wandering, explorative rumination, balancing delicate washes of piano and percussion with sharp interplay between flute and bass clarinet. In contrast, Nubya Garcia’s ‘Once’ is taut and carefully-poised, her tenor sax guiding a carefully-built energy to an explosive conclusion. And finally, Triforce’s ‘Walls’ is a performance in two parts: starting with Mansur Brown’s languorous, lyrical guitar, the second half switches up to a low-slung, g-funk-tipped groove.

Les Disques Bongo Joe proudly announces the release of Lateena and Bony Fly"s debut collaborative album, a 10-track journey through the pulsating rhythms of dancehall, bouyon, shatta, and reggaeton. Lateena, a queer trans artist hailing from Jamaica, channels her bold identity and raw energy into music that is both deeply personal and universally empowering. Paired with Bony Fly"s innovative production - steeped in his Guatemalan roots and honed by a career spanning global collaborations - this album offers a fresh and exhilarating take on modern dancefloor sounds.

"JPEGMAFIA, a trailblazing force in experimental hip hop, releases his latest solo project, I LAY DOWN MY LIFE FOR YOU. This album, his first since 2021, is a complex and innovative work that showcases his meticulous production skills. Featuring collaborations with Denzel Curry, Vince Staples, and Buzzy Lee, the album explores themes like capitalism, conscription, and propaganda through some of JPEGMAFIA’s most anarchic raps to date. The release is accompanied by an extensive global tour, reinforcing his status as one of the genre’s most incendiary talents. Since his last solo release, JPEGMAFIA has continued to push boundaries in the music industry, most notably with his 2023 collaboration with Danny Brown on Scaring the Hoes, which garnered critical acclaim and chart success. With I Lay Down My Life for You, JPEGMAFIA cements his reputation as a visionary artist, delivering a powerful commentary on the world through his unique lens. The album’s release is set to make a significant impact, both in stores and on stages worldwide."

"JPEGMAFIA, a trailblazing force in experimental hip hop, releases his latest solo project, I LAY DOWN MY LIFE FOR YOU. This album, his first since 2021, is a complex and innovative work that showcases his meticulous production skills. Featuring collaborations with Denzel Curry, Vince Staples, and Buzzy Lee, the album explores themes like capitalism, conscription, and propaganda through some of JPEGMAFIA’s most anarchic raps to date. The release is accompanied by an extensive global tour, reinforcing his status as one of the genre’s most incendiary talents. Since his last solo release, JPEGMAFIA has continued to push boundaries in the music industry, most notably with his 2023 collaboration with Danny Brown on Scaring the Hoes, which garnered critical acclaim and chart success. With I Lay Down My Life for You, JPEGMAFIA cements his reputation as a visionary artist, delivering a powerful commentary on the world through his unique lens. The album’s release is set to make a significant impact, both in stores and on stages worldwide."

Violent Delights is an anthology of stories that meanders through themes of grief, rage, desire and identity. There are stories of the toxicity of addiction, and growing up around religion; stories of overwhelming obsession, isolating abandonment, and empowering anthems of identity, and stark laments about sexual violence. They are each lived experiences, laid bare, reclaimed with every syllable whether dripping in spite or swagger, anger or anxiety. "Loss is a central theme of the album," explains vocalist Kate Price. "For us, we have our own specific version of what that is in these songs, but for anyone listening, it could be the loss of something else - a loved one, a relationship. But we're never mourning loss. We're celebrating it. Loss is almost universally looked at as a negative, but we're finding the positives in those moments. We had to go through hell to get to heaven. Violent Delights is about looking back with gratitude, and even fondness, the closing of one chapter and beginning of another." Jools - comprised of Kate Price, Mitch Gordon, Chris Johnston and Callum Connachie, Joe Dodd, and Chelsea Wrones - has been a name on the lips of clued-up fans and tastemakers since its collective of musicians found each other in the earliest days of 2023. Quickly gaining a reputation for their cathartic, unpredictable and specular live performances, the band have been consistently championed by BBC Radio One, including two `Tune of the Week' placements on Daniel P Carter's esteemed Rock Show. Violent Delights was recorded across two week-long stints at Southampton's The Ranch studio in August and December of 2024, with Lewis Johns helming production and mixing duties. When pressed, Jools may identify as a punk band - in its truest sense that punk is a mentality, rather than a sound - but Violent Delights equally lends from the worlds of metal, rap, post-hardcore and hip-hop as much as it does the post-punk of its surface layer. Gordon and Price are as likely to point to Turnstile, Mannequin Pussy and Amyl & The Sniffers as influences on the record as they are to Little Simz and The Streets' Mike Skinner. "We don't necessarily look at music in sounds or structures," nods Gordon. "Instead we look for attitudes."

BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern remastert, RTI-Pressung (180g), stabiles Tip-on-Sleeve, wattierte Innenhülle.

Andrew Hill - Andrew!!!
Der Pianist und Komponist Andrew Hill stürmte die Jazzszene mit einem Ausbruch an Kreativität. In nur acht Monaten, zwischen November 1963 und Juni 1964, nahm er für Blue Note fünf bemerkenswerte Alben in unterschiedlichen Besetzungen (vom Trio bis zum Sextett) und mit durchweg eigenen Kompositionen auf. Das letzte dieser Alben war “Andrew!!!”, über das AllMusic schrieb: “Die Musik hat oft eine schwebende, hypnotische Qualität, die Hills Dissonanzen, ungewöhnliche Voicings und komplexe Arrangements noch fesselnder macht als sonst.”