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Mac DeMarco, formerly Makeout Videotape, is the anti-thesis to your stereotypical singer-songwriter. Disregarding the seriously somber moments, he replaces them with whimsical and youthful spontaneity, whilst retaining the endearing and subtle commentaries that exude his familiarity. Promptly after leaving his Edmonton garage for Vancouver he embarked on a North American tour accompanying fellow Canadians Japandroids on a grand voyage of enlightenment and alcoholic debauchery. DeMarco's a weird cat cultivating an affinity for occult imagery, nudity and social satire. But his most impressive trait is his undeniable and instinctual ability to compose magical pop jangles, of which he'll likely refer to as "jizz jazz". His dusted jams have garnished him accolades that are as ever-increasing as his song writing abilities; his sound rendering comparisons, but in a nomadic fashion alluding no distinct origin. DeMarco's debut solo EP entitled "Rock And Roll Night Club" will ramble into the great unknown guided by Captured Tracks, DeMarco's inner Elvis a tow.

"As I'm getting older, chip up on my shoulder..." is the opening line from Mac DeMarco's second full-length LP `Salad Days,' the follow up to 2012's lauded `Mac DeMarco 2.' Amongst that familiar croon and lilting guitar, that initial line from the title track sets the tone for an LP of a maturing singer/songwriter/producer. Someone strangely self-aware of the positives and negatives of their current situation at the ripe old age of 23. Written and recorded around a relentless tour schedule (which picked up all over again as soon as the LP was done), `Salad Days' gives the listener a very personal insight into what it's all about to be Mac amidst the craziness of a rising career in a very public format. The lead single, "Passing Out Pieces," set to huge overdriven organ chords, contains lines like "...never been reluctant to share, passing out pieces of me..." Clearly, this isn't the same record that breezily gave us "Dreamin," and "Ode to Viceroy" but the result of what comes from their success. "Chamber of Reflection," a track featuring icy synth stabs and soulful crooning, wouldn't be out of place on a fantasy Shuggie Otis and Prince collaboration. Standout tracks like these show Mac's widening sound, whether insights into future directions or even just welcome one-off forays into new territory. Still, this is musically, lyrically and melodically good old Mac DeMarco, through and through. The same crisp John Lennon / Phil Spector era homegrown lush production that could have walked out of Geoff Emerick's mixing board in 1972, but with that peculiar Mac touch that's completely of right now. "Brother," a complete future classic, is Mac at his most soulful and easygoing but with that distinct weirdness and bite that can only come from Mr. DeMarco. "Treat Her Better" is rife with "Mac-isms," heavily chorused slinky lead guitar, swooning vocal melodies, effortless chords that come along only after years of effort, and the other elements seriously lacking in independent music: sentiment and heartfelt sincerity. We're only at Part 2 and 1/2 (one EP and two LP's in) into Mac's career. As you read this and as you hear the album on April Fool's Day of this year, he'll probably be on tour, or preparing for one... or maybe already writing new music. A relentless work ethic is something to be admired in today's indie music scene, but when it's of the quality Mac is giving us time and time again, it starts to turn from admiration to awe.

Before you ancients out there turn your heads and scoff at the premise of a twenty-something rock-and-roll goofball calling himself an old-anything, consider this: Mac DeMarco has spent the better part of his time thus far writing, recording, and releasing an album of his own music pretty much every calendar flip. This Old Dog makes for his fifth in just over half a decade_bringing the total to 3 LPs and 2 EPs. According to the DMV, DeMarco is 26. But in working-dog years, ol' Mac here could easily qualify for social security. To stay gold, turns out all he needed was some new tricks. It was a little space_in time, location, and method_that inspired DeMarco while making the record. Moving from his isolated Queens home to a house in Los Angeles helped give the somewhat transient Canada-native a base, and a few more months on his calendar to create did their job as well. Arriving in California with a grip of demos he'd written in New York, he realized after a few months of setting up his new shop_complete with a few new toys_that the gap was giving him perspective (insert tooth joke here). Right off the bat, from the pops and clicks of the CR-78 drum machine and acoustic strums on the album-opening "My Old Man," the synth-drenched beauty of the second track, "This Old Dog," it's clear that DeMarco's bag is filled with new tricks indeed. This Old Dog is rooted more in a synth-base than any of his previous releases, but he is careful not to let that tactic overshadow the other instruments and overall "unplugged" mood of the work: "This is my acoustic album, but it's not really an acoustic album at all. That's just what it feels like, mostly," says DeMarco. Despite the changes considered during the creation of This Old Dog, Mac DeMarco's mid-twenties masterpiece, it's clear that the engine that motors him is in no danger of slowing down.

Mit der neuen Doppel-LP 'Long Distance Love - A Sweet Relief Tribute to Lowell George' hat Sweet Relief, die Organisation, die alle Arten von Berufsmusikern und Beschäftigten der Musikindustrie finanziell unterstützt, die mit körperlichen oder geistigen Problemen, Behinderungen oder altersbedingten Problemen zu kämpfen haben, ein Juwel vorgelegt.

Lowell George war der Gitarrenvirtuose, Sänger und Songschreiber von Little Feat. In dieser Sammlung von 25 Liedern interpretieren und spielen Künstler wie Elvis Costello, Ben Harper und Dave Alvin seinen vielfältigen Katalog. Der in Hollywood, Kalifornien, geborene George war Mitglied von Frank Zappas Mothers of Inventions, bevor er diese Band verließ und mit Bill Payne Little Feat gründete. Lowell gehörte der Band 7 Jahre lang bis zu seinem Tod an und veröffentlichte in dieser Zeit acht Alben. Obwohl George 1979 starb, lebt sein Vermächtnis durch dieses Album weiter.

André Rieu is a Dutch violinist and orchestra leader known to many as the waltz king of Europe. He is also one of today's most celebrated solo violinists/composers, with over 500K sales on his catalog. Rieu is known to the general public with his performances of popular classical works by Johann Strauss.

His 1992 Christmas album Merry Christmas consists of beautiful arrangements of traditional Christmas songs. Merry Christmas is completely remastered for vinyl and is now available as a limited edition on translucent red coloured vinyl.

Hellbilly Deluxe 2: Noble Jackals, Penny Dreadfuls and the Systematic Dehumanization of Cool is the fourth solo studio album by former White Zombie frontman Rob Zombie. The album is a sequel to his debut album Hellbilly Deluxe and was released on February 2, 2010. This is the first album with bassist Piggy D and the last with drummer Tommy Clufetos.

Hellbilly Deluxe 2 is also the first release where Rob Zombie worked with his full touring band. Previous albums were written and recorded by Rob Zombie himself and a rotating set of musicians. The lead single ""What?"" debuted on radio stations on October 6. Rob Zombie enlisted the help of artists Dan Brereton (creator of Nocturnals), Alex Horley (of Image Comics and DC Comics) and David Hartman (storyboard artist) to create the album artwork. British dark/horror/science fiction/steampunk artist Sam Shearon aka 'Mister Sam Shearon' (artwork for Ministry, Slayer, Clive Barker, and tour merchandise for Iron Maiden) also contributed to the artwork of Hellbilly Deluxe 2.

Hellbilly Deluxe 2 is now available as a limited numbered edition of 1500 copies on Dracula coloured vinyl, housed in a gatefold and it comes with a 4 page booklet.

"More lost recordings from Mark Sandmanʼs archives! Two lost shows from the Hypnosonics! The LP version is culled from a rare NYC show & legendary Boston gig, and unveils three new Mark Sandman songs that became eventual Morphine cuts served up by his “secret band.” The CD version boasts two complete shows split over two CDs featuring unheard Hypnosonics recordings, eventual Morphine songs, and three lost compositions. A rare NYC show & a legendary Boston gig, rival for space in your player!

There was so much sexuality oozing out of those songs but also humor... a lot of wry dry wit and downright silliness. super sophisticated silliness and all of it transportive, ecstatic, transcendent. There was nothing quite like seeing Hypnosonics and all of us in the audience knew it. We knew this was some pure sonic magic and we were totally hypnotized. – Margaret Garrett (Mr. Airplane Man)"

The legendary Lagoa club, a temple of techno in Menin, is celebrating its 34th anniversary in style with the exclusive release of LAGOA TRAX Vol. 1, a vinyl compilation featuring four unreleased tracks composed by four of the club's iconic resident DJs: Manu Kenton, DJ HS, Jamie Dill, and Max Walder. These artists, who have made their mark in Lagoa's history with their memorable performances, pay tribute to the soul and energy of the club through compositions that are true to its unique musical style, known for its powerful beats and dynamic sounds.

This vinyl captures the essence of Lagoa's legendary nights, offering fans four exclusive tracks to once again vibe to the intense rhythm that has shaped the club's reputation.

Le légendaire club Lagoa, temple de la techno à Menin, célèbre son 34ème anniversaire en grande pompe avec la sortie exclusive de LAGOA TRAX Vol. 1, un vinyle regroupant quatre titres inédits, composés par quatre des DJ résidents emblématiques du club : Manu Kenton, DJ HS, Jamie Dill et Max Walder. Ces artistes, qui ont marqué l’histoire de Lagoa avec leurs performances mémorables, rendent hommage à l'âme et à l'énergie du club à travers des compositions fidèles à son style musical unique, reconnu pour ses rythmes puissants et ses sonorités dynamiques.

Ce vinyle capture l'essence des nuits légendaires de Lagoa, offrant aux fans quatre morceaux exclusifs pour vibrer à nouveau sur le rythme intense qui a forge la reputation du club.

2LP im Gatefold

André Rieu is a Dutch violinist and orchestra leader known to many as the waltz king of Europe.

He is also one of today’s most celebrated solo violinists/composers, with over 500K sales on his catalogue.

Rieu is known to the general public with his performances of popular classical works by Johann Strauss.

His 1992 Christmas album Merry Christmas consists of beautiful arrangements of traditional Christmas songs.

Merry Christmas is completely remastered for vinyl and is now available as a limited edition on translucent red coloured vinyl.

As a young conservatory student back in 2016, Danish trumpeter Anders Malta was invited to participate in a reunion concert with the legendary Ernie Wilkins Almost Big Band. He was so taken with the band and the music, that on the spot he decided that he wanted to form his own. In 2020, Anders Malta Almost Big Band played its first concert, going on to play a monthly residency at Christiania Jazz Club in Copenhagen for the past two years. Their debut album Introducing is set to release on August 23rd on April Records. Since the early days of jazz, the broad sound pallet and dynamic range of the big band has proven irresistible to composers and arrangers. However, the traditional big band, with its 16 16-19 individual moving parts, can also at times, and for different reasons, be an unwieldy machine to maneuver. Malta s 13 13-piece made up of Denmark s finest young soloists is agile like a small group, retaining the powerful force of the larger orchestra. Belonging to a new generation of musicians with a deep love and knowledge of the jazz tradition, Introducing " sees the band pay tribute to the timeless Hardbop sound of the 50" s and 60" s through the three movement suite Hardbop Conversations "", whilst offering a contemporary European perspective on the classic large ensemble format through Ouverture, Interludium and Epilog ". Intricate arrangements, rich harmony, soaring trumpet & flugelhorn improvisations and a diverse array of feel and grooves showcase the impressive stylistic and artistic breadth Malta has to offer as a bandleader, arranger, composer and instrumentalist. From the high high-energy swing and powerful tutti chords one craves from a Big Band to the more intimate textures of solo instrumental passages, the ensemble s sophisticated, complex, and joyous debut proves once again that Denmark s jazz scene is among the world s most prolific and exciting.

Led by pianist/composer Barbara Fiig, the ensemble is made up of three creative communicators self described as blue sheep " of the jazz world. First stumbling into each other at the music education program at Classical Music Conservatory DKDM, their sound is rooted in collaboration and community, drawing on elements of musical poetry, jazz, folk, Nordic and Classical traditions. Regarding the name Blåly , the trio explains that it is a made up word open to interpretation. Derived from the wordly "", meaning shelter " in Danish, it is reflective of the shared feelings of safety and introspection the trio find in their music making and that they hope to impart onto their audience. Exploring themes of motherhood, new beginnings, mental health, identity, and the cathartic potential of music, the record is built around Fiigs personal approach to the piano. Combining gentle lyrical melodies and colorful melancholic harmony, Blåly perform and interpret each piece with a mature, spacious and textural sound palette, ebbing and flowing between the composed and the improvised in a collective exchange of ideas and energy. Driving drum grooves, hypnotic piano patterns and ethereal timbres from bowed double bass craft a stripped back sound world that is simple, immersive, honest,

Buffalo Tom (Bill Janovitz, Chris Colbourn und Tom Maginnis) gründeten sich 1984 an der University of Massachusetts in Amherst - einer Brutstätte von Post-Punk-Gitarrenbands wie Dinosaur Jr. und Pixies. Die drei langjährigen Bandmitglieder erkennen die Leistung ihrer Langlebigkeit als kreative Einheit an. Anfänglich boten sie einen rauen, treibenden Sound, der Janovitz" imposanten Gitarrensound hervorhob, doch der frühe Ansatz von Buffalo Tom wich einem melodischeren, aber nicht weniger unverwechselbaren Stil. Die Band hat zehn Studioalben veröffentlicht, das jüngste, Jump Rope, erschien Anfang dieses Jahres. "Big Red Letter Day" wurde 1993 veröffentlicht. Auf ihrem vierten Album machten sie das, was sie sehr gut können, aber mit mehr Glanz in der Produktion. Das Album wurde in LA von den Robb Brothers aufgenommen und enthält zahlreiche Publikumslieblinge, vor allem: "Sodajerk", 'I"m Allowed", 'Treehouse" und 'Late At Night". Die Band erlangte neue Berühmtheit, als "Late At Night" in einer Schlüsselszene der kurzlebigen TV-Kultserie "My So Called Life" mit Claire Danes und Jared Leto in den Hauptrollen zu hören war, die Mitte der 90er Jahre ausgestrahlt wurde. Der Song kam nicht nur in der Folge vor, sondern die Band wurde auch bei der Aufführung des Songs gezeigt. Der Rolling Stone bezeichnete den Song in einem Bericht über die Band als "inspirierte, geradlinige Power-Pop-Sammlung", und Spin schrieb: "Die Leidenschaft fühlt sich echt an und die Musik ist erhaben."

Am 08.11. erscheint mit „DISCOVER II“ das zweite Cover-Album von Zucchero, in dem der italienische
Superstar seine liebsten Songs neu interpretiert.
Mit dabei ist auch die neue Single „Amor Che Muovi Il Sole“, welches ein Cover des The Killers Klassikers
„My Own Soul’s Warning“ ist.
Zucchero gilt als „Vater des italienischen Blues“ und hat mehr als 60 Millionen Alben verkauft. Der
Ausnahmekünstler stand bereits 13-mal an der Spitze der italienischen Albumcharts und wurde mit dem
Verdienstorden der Italienischen Republik ausgezeichnet.

Auf dieser limitierten Vinyl präsentiert Lang Lang Saint-Saëns’ Karneval der Tiere. Die humorvollen Verse,
die der amerikanische Dichter Ogden Nash (1902-1971) zu jedem Satz der Orchestersuite schrieb, werden
von Jimmy Fallon auf Englisch rezitiert, dem Komiker und Moderator der Tonight Show. Eingespielt
wurde der Karneval der Tiere, die »Große zoologische Fantasie« für zwei Klaviere und Orchester, in einer
Starbesetzung mit dem Gewandhausorchester und Andris Nelsons und das Projekt bot zudem eine schöne
Gelegenheit, mit seiner Frau, der Pianistin Gina Alice, zusammenzuarbeiten. »Viele von uns kennen den
berühmten Karneval der Tiere noch aus ihrer Kindheit. Hinter all dem Spaß stecken viele kluge Einfälle.«,
sagt der Pianist.

Hallowed Ground ist der 1984 erschienene Nachfolger des legendären selbstbetitelten Debütalbums der Violent Femmes. Ähnlich wie beim ersten Album wurden alle Songs von Leadsänger Gordon Gano geschrieben,
als er noch zur High School ging. Der zweite Titel der Band schlug jedoch neue Wege ein und sorgte dafür,
dass sie sich nicht auf ihren Lorbeeren ausruhte - mit den Fan-Favoriten (und Live-Highlights) ”Country
Death Song”, ”Jesus Walking on the Water”, ”I Hear The Rain”, ”Black Girls” und ”Never Tell”. Das
Album wurde von den Original-Stereo-Bändern gemastert (AAA)

Up To Here ist das diamantene Debütalbum von The Tragically Hip, das ursprünglich am 8. August 1989
veröffentlicht wurde.
Es enthält einige der beliebtesten Songs der Band: „Blow At High Dough“ und „New Orleans Is Sinking“
- beides Nummer-1-Radio-Singles in Kanada sowie die Fan-Favoriten „Boots Or Hearts“ und „38 Years Old“.
Die erweiterte Neuauflage von Up To Here ist ein Muss für Sammler. Sie wird in Form von vier Doppel-LPSets auf 180g-Vinyl sowie einem Vier-CD-Set und einem Buch, das die Geschichte des Debütalbums dokumentiert, präsentiert. Die Neuauflage enthält ein 2024-Remastering des Originalalbums, eine Aufnahme
von Live at The Misty Moon, dem 1990 für MuchMusic gedrehten Special aus dem The Misty Moon in
Halifax mit begleitendem einstündigen Konzertfilm auf Bluray, sowie die Demos der ursprünglichen Aufnahmesession von 1988. Vier bisher unveröffentlichte Songs, die es nicht auf das Original-Album Up To
Here geschafft haben - „She’s Got What It Takes“, „Get Back Again“, „Rain, Hearts And Fire“ - sind Teil
dieses erweiterten Pakets, das in Atmos neu gemastert wurde.
Erhältlich ab dem 8. November!

PRESENTED FOR THE FIRST TIME EVER ON VINYL AS A DOUBLE LP IN A GOLD VINYL PRESSING WITH A FOLD-OUT INSERT

As music fans know, James Brown wasn't just the greatest funk and soul singer the world has ever seen - he was also a musical visionary and businessman, who surrounded himself with geniuses who made him better and pushed him further. From horn masters Maceo Parker and Pee Wee Ellis to vocalists Lyn Collins and Bobby Byrd, Brown was a musical A & R master, restless and always looking for the next big thing. Most times, that would manifest in the latest James Brown smash under his own name. But not always. His stable of talent was overflowing in the 60s and 70s, and, thankfully, the tape machine in his studio was always rolling. Originally released in 1988, during the era of hip-hop's golden age of sampling, it's no surprise that just about every note heard in this incredible collection has been used on not one, but multiple rap classics. Which, at the time, was proof of Brown's (and his crew's) staying power. But we are over three decades beyond those days now, and it has lost none of its musical potency. Diving deeper into the vaults than the also-incredible Part 1 of the Funky People series, there is not a weak track in the bunch. Moving beyond well-known JBs cuts, things get interesting from the get-go with Bobby Byrd's monumental groove "I Know You Got Soul". Hank Ballard and Marva Whitney also enter the fray, leading the way to Myra Barnes's emotional and powerful "Message From The Soul Sisters (Parts 1 & 2)" and Lyn Collins's slow, smoldering cover of Isaac Haye's "Do Your Thing." Politics even get the funky soul treatment, with Fred Wesley & The JBs "You Can Have Watergate But Gimme Some Bucks And I'll Be Straight" and "I'm Paying Taxes, But What Am I Buying?" And it should not be overlooked that Maceo & The Macks instrumental workout "Soul Power ‘74" even features a proto-sampling snippet from MLK’s I’ve Been To The Mountaintop speech from 1968. This is another amazing collection of James Brown's funky friends, without one second of filler, brought to you as a glorious 2-LP gatefold by your friends at Get On Down.

Disco-Soul-Funk Album With Mixed From The Original Multi-Track Tapes By Kenny Dope! Tucked in the back corner of a linen closet in Macon, Georgia since 1979 sat a box that very few people knew existed. Lost and presumed forgotten, this box contained reel-to-reel tapes of the lost album by the band that issued the lauded Black Gold as The Mighty Chevelles in 1977. By 1979, while transitioning to the name Music Makers Band, the band entered Capricorn Studios and recorded this disco funk opus, finally issued as You Can Be.Nearly all songs have been remixed from the original multi-track masters by Kenny "Dope" Gonzalez.

Released via Sony CMG - 15 years on from the release of their 4 x platinum selling debut album, JLS are celebrating the milestone with a deluxe edition titled 'J15 - Anniversary Editon'. Encompassing chart topping singles 'Beat Again', 'One Shot' and 'Everybody in Love', 'J15' features four brand new tracks: 'Beat Again 15' remixed by legendary DJ and producer Paul Woolford, 'One Shot (Jess Bays Remix)', 'Everybody in Love (Unplugged)' and fan-favourite 'Crazy for You (Unplugged)', all recorded in Summer 2024. Standard CD plus a limited Double White LP Vinyl format. Extensive promo & marketing activity.

Born Xavier Amin Dphrepaulezz, by now much has been made of Fantastic Negrito's own unique story--his early years growing up in an orthodox Muslim household, the doomed major label deal that turned him off of the music industry altogether, the near-fatal car crash that permanently damaged his guitar playing hand--as well as the remarkable redemption arc that began in 2015, when he won the first ever NPR Tiny Desk Contest. In the years that followed, Negrito would go on to take home three consecutive GRAMMY Awards for Best Contemporary Blues Album, tour with everyone from Sturgill Simpson to Chris Cornell to Bruce Springsteen, collaborate in the studio with the likes of Sting and E-40, launch his own Storefront Records label, perform at Lollapalooza, WOMAD, Glastonbury, Newport Folk, Byron Bay Blues, and nearly every other major festival on the map, and found the Revolution Plantation, an urban farm aimed at youth education and empowerment. Son of a Broken Man sees Fantastic Negrito encapsulating the inimitable elements of his celebrated body of work to date, from hard-hitting distorted guitar riffs to melodic and expressive ballads, all fueled by the unexpected twists that have become his trademark. The album stands as perhaps Fantastic Negrito's most personal thus far, exploring family, deception, and the human desire to hide the true self as he dives deep into one of the oldest conflicts in human history, the struggle between father and son. Beginning at a young age, Negrito was served untruths by his father. A made-up last name, a fabricated ancestry, and a fake Somali accent. Why lie? Why create this false narrative? Those are the questions Negrito had to ask himself and the questions that lie at the heart of Son of a Broken Man.

Louis De Roo already knows a thing or two about what life can throw at a person, yet this young Belgian songwriter is still very much on the threshold of a promising international musical career. Fall 2024 sees the release of his debut album ‘Troubled Waters’ as Isaac Roux. His debut and breakthrough single White Rose (which is not on the album) became an alternative hit in Belgium and the Netherlands, with follow-up singles Colours and Autumn Love opening doors in Germany (radioeins), France (Radio Néo) and Austria (FM4) and to trendy streaming playlists. Roux’s combination of warm indie folk and alternative rock works even better on stage, never failing to leave a crowd open-mouthed, like during a live session on German national radio (Deutschlandfunk Kultur). Impressing crowds at the Rock Werchter and Pukkelpop festivals in his home country, he did the same in the Netherlands and Germany (playing Reeperbahn three times), and supporting Dotan on his European tour in places like London, Paris and Vienna. Every song, and the album as a whole, gives the listener a glimpse into the life of De Roo, who hasn’t always had it easy, hoping that his music can give people in similar situations something to hold on to. “To win, to lose, to dream and to hope, they’re just some of the things that have shaped me into the person that I am today”, De Roo says. “And through my stories I hope to provide a little bit of a moral compass for people who, like me, haven’t always been treated nicely by life.”

Punk pioneers Crass continue their vinyl reissue series, repressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. 1983's 'Multi-Death Corporations' broke new ground by addressing, in the lengthy liner notes and artwork, the growth of corporations and the violent suppression of leftwing politics in Central America. The Austin-based band released material through ex-Dead Kennedys singer Jello Biafra, cited influences such as Black Flag and D.O.A, as well as working with Crass Records. Penny Rimbaud tells us; “MDC were one of the first American bands to follow the political mantle set by Crass in the UK. Straight-edge purist to the last mouthful of sprouted grass, MDC were equally fierce with their polemic and uncompromising politics. Sharp as a blade, they cut through the crap. ‘They meant it, ma’am’, and some.”

In 2009, you couldn't ignore Kyteman. It truly was his year. His album "The Hermit Sessions" likely topped the year-end lists of many critics and music enthusiasts. With his HipHop Orchestra, sometimes 25 members strong, Kyteman made more than his mark at numerous festivals, including Pinkpop, Paaspop, Oerol, North Sea Jazz, Lowlands, Appelpop, a sold-out gig at the HMH in Amsterdam, and many club performances, always bringing the energy to the next level. His appearances on Dutch televisionshows like 'Raymann Is Laat' and 'De Wereld Draait Door' are also legendary. Now, 15 years later, the music has not lost any of its power. It is high time for a re-release of this iconic album in a special Anniversary Edition, with an additional insert with photo's, credits and a reflection by Colin Benders.







g Sorry Live @ Tivoli

i It Curcus [Not]







[g] Sorry [Live @ Tivoli]

[i] It Curcus [Not]

The two separate double vinyl sets are now available that correlate to the triple CD released earlier this year. TMTCH stumbled into existence onstage at the Alternative Country Festival, Electric Ballroom, Camden on Easter Sunday in 1984; after a long afternoon busking and drinking in a Hammersmith subway. They knew three chords and a hundred songs all of which sounded a bit the same, a frenzied skiffle that was exciting to jump around and drink snakebite to. If they thought about longevity at all, a lifespan of 40 days seemed most likely. It's forty years later and they are still running. Since those early days, and without much of a game plan other than always stepping onward, TMTCH have released around 20 albums plus many side projects, bootlegs, curios and an unknown number of T shirts. They've toured constantly, whether in dingy pub backrooms or Grand Ballrooms and Festival Stages. From Cairo to Reykjavik and all points in between, the TMTCH roadshow has shambled and thrilled through the decades, always passionate, always literate, occasionally dishevelled. Forty years of recording has spawned a vast back catalogue, well represented here by songs from each album, style and era; a tapestry of human stories and vibrant characters. So there are the fast sprints like early folk hoedown 'Ironmasters', the frantic shanty 'Raising Hell' and the amphetamine punk blues of 'Going Back to Coventry'. Then there are the waltzing folk ballads, from their impassioned version of the anti war standard 'Green Fields Of France' to the bitter regret of 'The Bells' and the righteous testimony of 'Our Day'. Elsewhere there are anthems galore; 'The Crest' a swirling gaelic chant, 'Rosettes', a fast marching assault of drums, fiddles and mandolins; historical epics such as 'Ghosts Of Cable Street', 'Shirt of Blue' and 'The Colours'; romantic ballads like the wistful 'Parted From You' and 'Island in The Rain'. All the eras are here; from the wiry lo fi of the first album, through the eighties into full blown MTV ready multi trackers with vast charging drums; the initial simplicity of their recipe deepening and darkening. And then on through the nineties, noughties and tens; always the double pronged vocals drifting between harmony and unison, always the celtic, folk and country tones vying for attention, the emotive fiddle, the top end mandolin above the thundering rhythm section. On through bouffant hair, spiky hair, dyed hair, thin hair and hats; on through Grunge, Baggy, Madchester, Rave, Britpop. On through the Miner's Strike, Poll Tax, New Labour, Iraq and Brexit. On through marriage, children, loss and revival. Forty years at the working end of rock and roll is a feat achieved by very few bands. It requires tremendous chemistry, a deep catalogue; both panoramic and miniature, a vital and irrepressible energy, all of which is on resplendent display in this sprawling 3 disc compilation. But most of all it requires an intense resilience, something that TMTCH possess in spades. Forty years on the run; was ever a band so aptly named?

Phenomenal ambient explorations from the talented French electronic producer

Music taken from the artistic performance led by visual artists Mark Pozlep and Maxime Berthou.
The new compositions by French electronic producer Julien Jabre illustrate the stunning visuals of the Franco-Slovenian duo.
Julien Jabre’s Soutien De Famille sees him exploring the subtle gaps and nuances of his past work, crafting ten tracks of low-lit ambient textures and non-percussive rhythms.
A deeply introspective listening experience, Soutien De Famille unfolds at times like the breathless pause before a storm’s fury, and at others like the serene hush of meditative calm, where time itself lingers in a quiet wave.
It's as if Julien Jabre’s compositions whisper the promise of clarity after chaos where every note breathes reflection into the vast expanse of possibility.

Limited Edition - 300 copies.

On his new album ‚forge’, ambient artist KMRU explores the blend of melody and noise, rhythm and drone. ‚forge’ marks the third release on Seil Records for the Nairobi born and Berlin based producer. Made up of 10 tracks, the album effortlessly wanders from intimate compositions over field recordings to deep and rich soundscapes.

The result feels like a living, breathing organism. Music you can immerse yourself in. Like few others, the 27 year old producer carved a niche of his own, capturing the essence of his raw live performances to form a highly unique listening experience that transcends what ambient music is known for.

‚forge‘ can both exist in the background as well as front and center. Filled with intricate details and vast sonic vistas, it invites the listeners to lose themselves in the music. It’s gentle, yet uncompromising; soft and warm, yet growly and dense.

The second of three albums Hartman recorded for Impulse (and following the classic Coltrane/Hartman masterpiece), Hartman’s voice is again on display at his best, including ‘Wee Small Hours of the Morning’, ‘Charade’, and ‘Sleepin’ Bee’. Hartman’s supporting cast is nearly as impressive as his voice, with Hank and Elvin Jones (piano/drums), and Milt Hinton (bass) as rhythm section. Kenny Burrell and Jim Hall contribute on guitar across the album and Illinois Jacquet (tenor) performs on five songs. This Verve By Request title is pressed on 180-gram vinyl at Third Man in Detroit.

Amandra, half head honcho behind Ahrpe Records, goes for subtly evolving and droning atmospheres. With releases spanning electronic genres and record labels: Nous klaer Audio, AD 93, Tikita or Semantica, just to name a few; the French producer ba with coherence his own vision of acid and tribal rhythms that can be presented with either bright and soft feelings or through a
Brera Som Som EP

As always with Amandra, there is a blend of poetic and soft hidden touch given to the music through carefully crafted personal Som is a 4 tracker EP, recorded back when he lived in Warsaw Poland, showcasing the artists ability to navigate through nich double 12 package cherry topped with four intelligent and eclectic remixes from artists with their own unique identity: Shieldin Brainwaltzera.

Amandra on disc 1
Brera Som Som
I want my music to breathe dirty so its alive to my ears, trying to stay away from surgical, clean, electronic music. The Prophet recorded by hand, with assumed offbeat imperfections, as always. I wanted to get a naive Asian mood out of it, just to try and c track. I tend to think a lot about my tracks and their meaning more in terms of feelings, art and techniques than in terms of dee
dance floors or whatever. Brera Som Som is a try at using the chiaroscuro technique depicted in classical paintings for instance interesting focus on some very specific elements.

Cyborg Pelikana
Recorded out of a jam on a Soma Pulsar 23 and some heavy distorted synths, it ended up sounding like no other recordings bit different as I wanted to have a more composed like approach here.

Fanfaron
Here is a try at going jungle... with a Moog DFAM and a 303 processed through a Sherman Filterbank.

Prorokini
This one belongs to a phase where I was exploring the sampling side of electronic music. Until that moment I was building 100 based on raw drum machines and some processing, then started feeling how it would feel to sample some raw external beats and process them my way. I didnt pursue that sampling lead much afterward because it felt like a boring approach to me that
stood out anyway, like this one, which Im very proud of. The synths are clearly programmed on the Prophet 08, it cant go any Instruments than that, if you like them, go grab that synth

Remixers on disc 2
Cyborg Pelikana Shielding Remix
I liked the dry and direct qualities of the original track and wanted to maintain that feeling while collaging it using my own proc Recorded in my old home studio in Stockholm.

Brera Som Som Brainwaltzera Remix
no comment.
Fanfaron Whylie Remix
The remix was made using resampling techniques, the rhythmic noises were transformed into driving percussive layers pushi character. A more emotional overlay was added to the track based on the sentimental and personal approach I built through.

Brera Som Som Martinou Remix
Interpreting Amandras work has been on my bucket list for a while. Theres something in it that is innately humanizing and raw capture in my remix. The melody line from the remix is just a snapshot of a small part of the full original track, but it stuck with my improvisation to what you see before you today. With this remix I wanted to make something that would swell slowly and ring o
All original tracks written and produced by Amandra.
Remixes written and produced by Brainwaltzera, Whylie, Martinou and Shielding.
Mastered by Amandra.
Artwork by Neurotypique.

Zweites Album des Berliner FRONTALANGRIFFes mit den illustren Gästen Walli, Sucker und Henne & Justin als Knüller obendrauf! FRONTALANGRIFF spielen Berliner Hardcore-Punk. Dreckig und schnell, so wie die Stadt ist, aus der sie kommen. Was bei einem Filmprojekt als fiktive Punkband begann, wurde Mitte 2020 real. Ralle (Rawside, Troopers), Pete (Cut My Skin, Soul For Sale) & Dima (Cut My Skin, Tilidin) holten sich Sascha (Darwins Rache) ans Mikro und es konnte losgehen. Im legendären Görli-Proberaum (Vorkriegsjugend, Jingo de Lunch) entstand in nur wenigen Wochen das erste Album. Bei Sascha in den Trailerpark Studios aufgenommen, von Matze Wendt gemastert und bei Break the Silence / Attack Records Ende 2021 erschienen. Es folgten Konzerte mit EXPLOITED, SUBHUMANS, TOXOPLASMA, RAZZIA, RAWSIDE, M.D.C., DISTURBANCE, LOIKAEMIE, OPERATION FOXLEY u.v.a.m. Das neue Album "Blutige Hände" kommt nun über Smith & Miller Records und setzt da an, wo Ihr Debütalbum endete: 17 Stücke in 34 energiegeladenen Minuten. Dringlichster Hardcore-Punk - ohne Umweg frontal nach vorn! Oxymoron's Sucker, Toxoplasma's Walli sowie Henne und Sohn Justin von Rawside lassen es sich als Gastschreier nicht nehmen, der Bande ihren Segen zu geben und Respekt zu erweisen. Starkes Stück! 500 Stück weltweit auf klassisch schwarzem 180gr schwerem Vinyl, plus A2-Poster und Insert, durchnummeriert.

Ltd Silver Vinyl, DL card. From a long-forgotten trunk; two extended jams, twin slabs, circa 1989. Continuing Fire Records' series of classic remastered albums from Royal Trux, 'Hand Of Glory' is released on silver vinyl. This bad-ass black, white and blue magic is a kind of Burial Dub_ or so preached the sleeve of 'Hand Of Glory' on its original release in 2002. Legend has it, the two sides of this 40-minute gem were recorded between 1985 and 1989. The resultant mountain of creativity from where they hail were inevitably left under a scuzzy sofa as life and a career that ebbed and flowed over nine albums. Royal Trux became an inspirational tipping point for everyone from Pavement & Sonic Youth to the Black Keys, Kurt Cobain, The Avalanches & Hot Chip's Alexis Taylor. "I urge and encourage you to enter the harmolodic multiverse of their music." Alexis Taylor, Hot Chip. 'Hand Of Glory' is not like their other albums but then again none of their albums are alike, it's a two-faced masterpiece. Side one's 'Domo Des Burros'/'Two Sticks' is on par with Beefheart's sprawling 'Trout Mask Replica'. It plays out in 19 minutes, sounding like it was laid down on Warhol's sofa in The Factory; like Dylan's sprawling 'Desolation Row' with, background squalls, interruptions and both Neil Hagerty and Jennifer Herrema's overlayed stream of consciousness peeping through a multi-layered backdrop. It's just staggering. "Royal Trux were nothing if not fearless." Pitchfork. Side two's 'The Boxing Story', a loose homage to William Burroughs, moulds and morphs from tape to tape, a multi-speed soundtrack, while the dynamic duo press pause, guitars ring, occasional melodic lines arrive and evaporate. Lou Reed's pastoral 'Metal Machine Music' could perhaps be recognized as an older and perhaps less challenging sibling. A two-sided masterpiece featuring two wayward pieces of creative genius.

Ltd White Vinyl, DL card. 1992's 'Untitled' brought the band's third album that re-cemented the duo once again as the progenitors of the "lo-fi" genre. This breakthrough set transitioned "The Trux" into a never ending all-inclusive rotating cast of musicians. Continuing Fire Records' series of classic remastered albums from Royal Trux, 'Untitled' is released on white vinyl and features updated monochrome and silver artwork. As unpredictable as ever, Neil Hagerty and Jennifer Herrema shook off the next level layering and noise of 'Twin Infinitives' to embrace the history of rock 'n' roll in all its deformed grandeur. Utilizing their ever present mind set of macro-inclusivity, they allowed the subconscious "radio stations" of their lives to infiltrate, lead, and dictate. Culling from their collective minds and memories twisted tunes that touched them. After the blood rush of their much-hailed avant-garde masterpiece 'Twin Infinitives' (1988), this eight-song opus added to the lo-fi genre that originated on 'Twin Infinitives'. On 'Untitled' Hagerty uses his 5-string blues roots and hails rock's twisted potential, while Herrema slurs and snarls in ecstasy. They sound like they're locked in a fourth-floor boudoir at the Chelsea Hotel; bottles clink, an album clicks on its run-out groove, the band plays on. In the mix are the characters and casualties of the 90s, a roll call of swaggering misfits. These aren't superficial sketches, the Trux cut much deeper than that_ "'Junkie Nurse' isn't just about addiction; it's about the twisted hope that even the most broken people can somehow mend others, even when they're falling apart themselves." Jennifer Herrema, Royal Trux. With 'Untitled' Royal Trux justifiably increased their coterie of convicted followers, becoming the cult heroes for a transgressive generation, and the Rosetta Stone for male/female duos (ie:The White Stripes, The Kills etc... ) over the years inspiring everyone from The Silver Jews (David Berman) & Sonic Youth through to melodic blue-eyed soulsters like Hot Chip - "I urge and encourage you to enter the harmolodic multiverse of their music." Alexis Taylor, Hot Chip. "Royal Trux were nothing if not fearless." Pitchfork.

LP Ltd vinyl picture disc version w/ DL card, 500 pressed. Vanishing Twin furthers their exploration of decidedly experimental territories with Afternoon X. Crafted with a playful balance of humour and rigour, with each member embracing the role of the multi-instrumentalist and process, over outcome. Following a series of line-up changes, Vanishing Twin is now the tightly honed collective of singer and multi-instrumentalist Cathy Lucas, drummer Valentina Magaletti (Holy Tongue, Tomaga, Moin) and bassist Susumu Mukai (Zongamin). Harnessing the diverse touchstones of its members; Lucas' left-field song-craft, Magaletti's singular approaches to experimental percussion, and Mukai's long history in the production of electronic music, the band has refined a hypnotic sound at the juncture of minimalism, kosmische, post-punk, and dream-laden, psychedelic pop. These eight fluttering abstractions, culled, collaged, and built upon from a vast constellation of instruments, samples, and unclaimed sources. Lucas employs her voice as an instrument and a generator of raw sound, weaving surreal imagery and uncanny juxtapositions amongst the dance and propellant drive. From infectious grooves of the album's title track and the constrained minimalism of "Subito", to the ambitious heights of pieces like 'The Down Below' and Lazy Garden, which unfurl a psychedelic avant-gardism on the scope and scale of David Axelrod and Scott Walker. Vanishing Twin embark upon a new multifaceted journey that collectively culminates as the bands most forward-thinking and groundbreaking release to date.

This 1986 album by The Primates remain as the only recording ever released by these four 60s r&b and garage fans. Originally published on Greg Shaw's very own Voxx (Bomp! sublabel focused on revival garage/psychedelia) and produced by Shaw himself, this valuable musical document that portraits the essence of the L.A. 80s garage scene, has been out of print for more than 20 years! So we thought it would be a perfect record to reissue as part of our Bomp! reissue series. The Primates were formed in 1984 and cut their teeth at L.A. spots such as the Cavern Club, as part of a growing scene of devoted Nuggets/Pebbles fans, fascinated with 1960s garage punk classics. The core of the band were Brett Miller and Ted Edlefsen, sporting Vox guitars, and Erik Bluhm as front man, with different drummers, mostly Brian Corrigan but then also Eric from Threw the Looking Glass and Gene from The Miracle Workers. The opener 'I Ain't Like You', 'Bad Luck' or the fun cover of Neil Sedaka's 'I Go Ape' reflect the wild, party-driven mood of the entire album, making you wonder how crazy their shows were in the golden era of the L.A. 80s garage scene. Combining originals and versions (check their great take on Q65's 'I Got Nightmares'), "We Are The Primates" remains as a wild, raw, party album that every fan of garage music should own. Munster is thrilled to reissue this essential '80s garage gem as part of a series of releases celebrating Bomp! 50th anniversary. Our issue includes a booklet with liner notes and rare photos and ephemera.

The Zeros is a pioneer punk rock band formed in 1976 in Chula Vista, California. Comparisons with The Ramones are often made when describing the energetic and fierce guitar driven sound of the group. The first singles recorded by the band instantly catapulted The Zeros into a top draw on the local scene and have become legendary. Unfortunately, the band never cut an album during these days. Their debut single was released in 1977 on Greg Shaw's very own Bomp! Records. It included 'Don't Push Me Around' and 'Wimp', two of the greatest punk rock songs of all time, both written by Javier Escovedo. It was followed by another single in 1978, "Wild Weekend" and a third one in 1980, "They Say That (Everything's Alright)". This release compiles all their early singles, some rare tracks (including the previously unreleased 'Left to Right') and songs taken from a 1978 live show. Munste is thrilled to reissue this essential '80s power pop gem as part of a series of releases celebrating Bomp! 50th anniversary.

Mysterious, multifaceted collective i Häxa have unveiled their epic self-titled, full length debut; a ground-breaking conceptual double album shaped by a collision of ancient gods and bleeding-edge technology_ Released as four distinct Parts over the course of the year, `i Häxa' now comes together as a singular vision that weaves together genre-defiant soundscapes, abstract cinema and ancient meteorological mythologies from singer-songwriter and visual artist Rebecca Need-Menear (also of electronic alt-rock duo Anavae) and forward-thinking producer Peter Miles (Architects, Dodie, Fizz). i Häxa is a ritualistic dissection of the world as we know it, a forceful separation of the monotony of modernity from the rites and rituals that for centuries formed the foundations for who we are, how we came to be and where we claim to belong. Disjointed fragments of time collide. Two sides, one of logic and one of chaos, seeking unity and balance through an expression of freedom. This is i Häxa. Whilst the album is composed of four distinct movements, each consisting of four distinct tracks themselves; pulling them apart into easily digestible, standalone singles isn't an easy feat and, as is now clear from the project's sprawling cyclic nature, was never the intention. In an age of fast fun and instant gratification, the ties that bind these works together are intended to transcend tracklisting. With aural, visual and lyrical themes freely intertwining, i Häxa is something to be consumed whole; just as it will, in time, consume you. Charting an existential journey to the very depths of what makes us who we are, with every dark corner illuminated in glitched out, discordant glory; i Häxa is a project years in the making that draws simultaneously from rituals for old gods and the modern day deification of data. i Häxa is both heartwarming and horrifying; i Häxa is ancient history and hyper-real; i Häxa is everybody and no one at all. Check out if you like Radiohead, Julie Christmas, Agnes Obel, Bjork, Fever Ray, Massive Attack, Dead Can Dance, Emma Ruth Rundle, Jenny Hval, Cult of Luna, Eivor, Zola Jesus, Marissa Nadler, Soft Moon

Zweites Album des Berliner FRONTALANGRIFFes mit den illustren Gästen Walli, Sucker und Henne & Justin als Knüller obendrauf! FRONTALANGRIFF spielen Berliner Hardcore-Punk. Dreckig und schnell, so wie die Stadt ist, aus der sie kommen. Was bei einem Filmprojekt als fiktive Punkband begann, wurde Mitte 2020 real. Ralle (Rawside, Troopers), Pete (Cut My Skin, Soul For Sale) & Dima (Cut My Skin, Tilidin) holten sich Sascha (Darwins Rache) ans Mikro und es konnte losgehen. Im legendären Görli-Proberaum (Vorkriegsjugend, Jingo de Lunch) entstand in nur wenigen Wochen das erste Album. Bei Sascha in den Trailerpark Studios aufgenommen, von Matze Wendt gemastert und bei Break the Silence / Attack Records Ende 2021 erschienen. Es folgten Konzerte mit EXPLOITED, SUBHUMANS, TOXOPLASMA, RAZZIA, RAWSIDE, M.D.C., DISTURBANCE, LOIKAEMIE, OPERATION FOXLEY u.v.a.m. Das neue Album "Blutige Hände" kommt nun über Smith & Miller Records und setzt da an, wo Ihr Debütalbum endete: 17 Stücke in 34 energiegeladenen Minuten. Dringlichster Hardcore-Punk - ohne Umweg frontal nach vorn! Oxymoron's Sucker, Toxoplasma's Walli sowie Henne und Sohn Justin von Rawside lassen es sich als Gastschreier nicht nehmen, der Bande ihren Segen zu geben und Respekt zu erweisen. Starkes Stück! 400 Stück weltweit auf blutrotem 180gr schwerem Vinyl, plus A2-Poster und Insert, durchnummeriert.

Metallic Gold Vinyl! La Mano Cornuda, further (un)refined the band's sound into an absolute blast of an album that Eric Davidson (New Bomb Turks) hailed as the band's "best all-around record" in his garage-punk history We Never Learn: The Gunk Punk Undergut, 1988-2001.

Comic relief serves as a refreshing element that lightens up a tense or tragic situation. It creates a moment of contrast and distraction from the seriousness of the scene. This pattern can also be found in literature and film, in humorous characters like Chandler from the sitcom Friends. Especially in difficult times like these, we all occasionally long for comic relief. With his new EP, David Bay tries to create exactly such a moment of escape.

The songs on the EP unite an organic yet modern approach to indie, disco, and house music. David combines the two worlds he is rooted in: growing up in an indie band and, at the same time, running a disco-house label. After two edit EPs and a collection of singles with classic instrumentation and songwriting, this release brings everything together – music that sounds distinctly indie, but with a pulsating house beat.

Next to the four originals on the A-side, each track was remixed and is to be heard on the B-side of this vinyl: 80ies-influenced and well-known producer Lauer contributed his version of disco-gem „1999“, up and coming Dj- and producer Marie Lung flipped the indie-disco track „strangers“ into a deep and housy groover - Electro-legends Digitalism turned the dance-floor-ballad „<3 beat“ into a French-House belter and Dylan C. Greene hailing all the way from San Francisco remixed „dancing on the edge“. Out now on vinyl, only on Zissou Records.