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Following on from the successful ‘An Idiot Prayer’ live album and livestream event released this year, Nick Cave Productions & BMG announce B-SIDES & RARITIES PART I & II to be released internationally on 22nd October 2021.

B-SIDES & RARITIES PART II was compiled by Nick Cave & Warren Ellis and features 27 tracks from “Dig, Lazarus, Dig!!!” in 2006 to 2019s “Ghosteen”. Also features 19 rare and unreleased tracks including first recordings of ‘Skeleton Tree’, ‘Girl in Amber’, ‘Bright Horses’ and ‘Waiting for You’.

Die zweifache GRAMMY-Preisträgerin Natalie Hemby gilt als eine der bemerkenswertesten Songwriterinnen
der Musikbranche, die hinter den Kulissen einen Hit nach dem anderen kreiert. Jetzt steht sie kurz vor dem
Durchbruch, mit der Veröffentlichung ihres zweiten Studioalbums ”Pins and Needles” am 8. Oktober.
Bekannt für ihren vielseitigen Sound und ihre Geschichten, die ihr acht Nummer-1-Singles einbrachten,
erkundet Hemby auf ihrem Album Einflüsse von Tom Petty über Sheryl Crow bis hin zum Rock und Roots
der frühen 90er Jahre: Musik, mit der sie aufgewachsen ist. In den 11 Tracks liefert Hemby unkonventionelle Texte gepaart mit ihrer genialen Wortwahl, Ohrwurm-Hymnen, herzzerreißenden Balladen bis hinzu
tiefgründigen Rock-Songs. Hemby schafft Songs, die sich wie kostbare Momente anfühlen, an die man sich
gerne erinnert.

Following on from the successful ‘An Idiot Prayer’ live album and livestream event released this year, Nick Cave Productions & BMG announce B-SIDES & RARITIES PART I & II to be released internationally on 22nd October 2021.

B-SIDES & RARITIES PART II was compiled by Nick Cave & Warren Ellis and features 27 tracks from “Dig, Lazarus, Dig!!!” in 2006 to 2019s “Ghosteen”. Also features 19 rare and unreleased tracks including first recordings of ‘Skeleton Tree’, ‘Girl in Amber’, ‘Bright Horses’ and ‘Waiting for You’.

UNRELEASED TRACKS *

Emboss Star is the new album by Kochi-born, Kyoto-based artist Kazumichi Komatsu, the first to be released under his own name following a prolific run of material as Madegg.
Informed by a range of earlier work including EPs, installation works, video works, as well as live appearances at fashion shows, parties & raves, the material collected on 'Emboss Star' has been prepared and refined over the past four years, its final collation described as like arranging the pieces on a chess board; every piece strategically placed.
In its entirety Emboss Star is intended to emphasize the fundamental aspects of sound, and its relation to the material processes of playback; the grain of a rough recording, the jump and skip of a needle, the backwards gargle of a rewind. Individual parts shift suddenly, mirroring the abrupt transitions of everyday life. In this Komatsu attempts to reconfigure our response to sound, and the associations it often evokes; to reconsider the exchange of information and image, to alter perceptions.
Inviting a state of subconscious reverie – a mood often linked with ambient music but rarely matched as it is here – Komatsu adds an element of resistance to Emboss Star, as if depicting the tranquility of a dream, as well as its inevitable disturbance.
With creativity now compressed into a form of contemporary communication often ruled by vanity, redundant hashtags and tiresome jargon, Komatsu navigates the noise, recognizing technological ennui yet finding beauty, folklore & imaginative possibility.

Emboss Star is a collection of folk songs for lost connections. A vivid form of refuge.
3 vinyl only bonus track included. Mastered by Sean McCann.
The artwork for Emboss Star depicts an object created by Kazumichi Komatsu using 3D printing.












l 12: Umi Ga Kikoeru (Extremely Raw Version) [feat. Dove & Le Makeup]

Starring James Fox as a British gangster on the run who finds refuge in the home of reclusive ex-rock star Mick Jagger, Donald Cammell and Nicolas Roeg's PERFORMANCE is one of the great cult movies of the 1970s. The film's soundtrack, produced by Jack Nitzsche for Warner Bros., is equally noteworthy. Needless to say, the Rolling Stones connection is strong; the Jagger-sung single "Memo From Turner" was co-written with Keith Richards, and vocalist Merry Clayton (famous as the duet partner on "Gimme Shelter") appears on three tracks. Several up-and-coming WB artists also make key contributions, including Randy Newman (the raucous "Gone Dead Train"), slide guitar virtuoso Ry Cooder and Little Feat leader Lowell George. Like the film itself, the PERFORMANCE original motion picture soundtrack offers a fascinating glimpse at one of the most exciting eras in rock.

Billy Talent’s second album debuted at No. 1 on the Canadian Albums Chart and also reached the first spot in the German chart. Compared to their debut album, which focused mainly on anger, this one is more mellow, dealing with real- life issues, to the praise of fans and critics. The band shows off some of it’s more melodic side with songs like “Fallen Leaves”, “Where’s the Line”(this song has a great chorus and sing along), “The Navy Song” and “Surrender”. Billy is another example of an awesome Canadian band making it big...and that’s a good thing!

Billy Talent II is available as a limited edition of 3000 individually numbered copies on white vinyl. The package includes a 4-page booklet with lyrics and 2 exclusive lyric prints by Henry Fong!

Following the highly acclaimed volumes I and II, dig further into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan!

-Fully licensed Nippon Columbia and Victor Japan masters available for the first time outside of Japan, featuring rarities from Hitomi Tohyama, Jadoes, Yumi Sato, Tetsuo Sakurai and more!

- Tracks selection by Japanese super diggers and Wamono specialists DJ Yoshizawa Dynamite and Chintam

- Mastered and cut at Timmion Cutting Lab

- Artwork by Yoxxx (Tokyo)

- 180g heavy vinyl pressing, reverse board jacket

Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of the Wamono style, Yoshizawa published the Wamono A to Z records guide book in 2015 which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene.

After many years working as a record buyer for several stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo's Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves. He supervised and wrote the Wamono A to Z records guide book together with Yoshizawa.

For this third chapter of the acclaimed Wamono series, Yoshizawa and Chintam unheart some of the best and rarest light mellow funk tunes and disco boogie bangers produced in Japan between 1978 and 1988. Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese jazz, funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan!

VERY LIMITED COPIES OF THIS PREVIOUSLY RSD U.S. ONLY RELEASE

Engine Kid, the post hardcore collective featuring Greg Anderson (Southern Lord label owner, also in Sunn O))), Goatsnake & Thorr's Hammer) announce a special Record Store Day 6 x LP box set release Everything Left Inside, featuring the Novocaine/Astronaut 12 inch, Bear Catching Fish 2xLP, Angel Wings 2xLP and Split w/ Iceburn / Everything Left Inside 12 inch.

Almost 30 years since the inception of Engine Kid and the trio find themselves comprehending the enormity of their creation, honouring and celebrating the mountains they formed and the canyons they created.
Engine Kid was born in Seattle, WA 1991. The band's original lineup consisted of guitarist/vocalist Greg Anderson (Southern Lord, Sunn O))), Thorr's Hammer, Goatsnake), drummer Chris Vandebrooke & bassist Art Behrman. The three had all been in hardcore/punk bands around town and all had a burning desire to create a sound that was unlike anything they had done in the past. After just a few months of existence they quickly recorded and self-released the Novocaine 7”. Circa 92’ a close friend and bassist Brian Kraft (Krafty) replaced Behrman, and at that moment the entire aesthetic and execution of sound became heavier, darker and extremely dynamic. The power trio was picked up by local label C/Z records and set out upon recording the new music they were quickly creating. In 1993 the band had two releases on C/Z; their first offering was the Astronaut five song EP recorded by John Goodmanson. The songs were primitive and exemplified the bands worship of Slint and their loud/quiet song dynamic In the summer of 93’ the band drove all the way to Chicago to record with their hero Steve Albini in the basement of his house. They emerged with the eight song album they called: Bear Catching Fish. Albini intuitively captured the band exactly as they were at that moment: raw, vulnerable and mammoth.

Shortly after the albums’ release Jade Devitt replaced Vandebrooke on drums. This transition was extremely crucial in the “second phase” of the group. Devitt was an absolute beast and his power helped launch the band miles beyond where they had ever been before. The sound of “The Kid” started to transform into a sound much more of their own. The three dudes were hellbent on pushing the bounds of sonic exploration to its absolute fullest. Suddenly there was an abundance of depth within the sounds they were creating. Eclectic influences of punk/hardcore (Black Flag, Die Kreuzen), Metal (Entombed, Carcass) and even jazz (Mahavishnu Orchestra, Miles Davis electric era) were in a full collision course with the already dynamically heavy foundation of the band. The levee had broken and the resulting flood of sound completely saturated everything in its path.

Engine Kid toured relentlessly. They were constantly on the road playing every nook and cranny they possibly could. Any moment not spent on the road was instead spent focused on making their new material as potent as possible. Early in 94' the band decided to pay homage to their mutual love of jazz/fusion and recorded three instrumental pieces that would become a split album with like minded powerhouse Iceburn. The Engine Kid/Iceburn album showcased each group's love of jazz loosely framed by the intense enthusiasm of underground music. The album was released by Revelation records in 1994.
During the summer of 94’ the band reconvened with producer John Goodmanson at Bad Animals & AVAST! studios to record the new material that was literally bleeding out of the reinvigorated trio. These recorded songs were much more progressive, heavier, harder and more focused than past works. They even tackled John Coltranes’ “OLE” adding saxophone and trumpet from their brothers in Silkworm. In March of 1995, Revelation Records released these recordings as the Angel Wings album. Unfortunately "the Kid" flew too close to the sun and broke up very shortly after the album's release.

Everything Left Inside 6xLP box set (RSD release) includes:
LORD 288.1 Engine Kid-“Novocaine/Astronaut” 12”
LORD 289 Engine Kid-Bear Catching Fish 2xLP
LORD 290 Engine Kid-Angel Wings 2xLP
LORD 288.2 Engine Kid-Split w/ Iceburn /Everything Left Inside 12”
16-page color photo/liner note booklet.

In the wake of Bitch Magnet and current of Superchunk, Sooyoung Park and Mac McCaughan formed a raw version of Seam in the summer of ’91. With bassist Lexi Mitchell, the trio banged out an album and two singles worth of shambolic dream pop in the sweltering Chapel Hill heat. Ten songs of talk-whispered vocals, sloshing guitar solos, scattered snare rolls, Velocity Girl’s Sarah Shannon, and the original version of Codeine’s slowcore classic “New Year’s,” on LP for the first time in 30 years.

Malice Records was a short lived, but hugely popular gabber offshoot from Kniteforce Records back in the early 90s. Focused on a direct, uplifting but hard and nails sound, it incorporated big distorted kicks with furious amen breaks and ridiculous riffs. Malice returns for this limited release, with beautiful artwork and on its customary white vinyl, with original artist Dj Psycangle bringing two unreleased tracks, made in 1995, straight from DAT to vinyl, and two brand new tracks showing that while the years might have passed, the talent remains…

A first-time replica re-issue of a highly sought-after, rare Brazilian MPB / Funk nugget from 1974.

Brazilian 7" singles or compacts sometimes get a bit overlooked outside of the world of avid Brazilian collectors and DJs, but here are where some of the most exquisite jewels of Brazil's rich musical tapestry lie.

This release has been a long time in the works, but now finally we are thrilled to present a replica version of one of our favourite Brazilian 7”s - the outstanding 'Morro Do Barraco Sem Água' by Lemos E Debétio (aka Toninho Lemos & Paulo Debétio). Discovering tracks like 'Morro Do Barraco Sem Água' makes you want to go the extra mile. You spend that little bit more time than is rational examining and dusting off a stack of 7”s hunting for an elusive gem, or end up disappearing down an Internet wormhole eating into time you don’t have before you need to be up for work again in the morning. This is a calculated effort, as the reward of the revitalising musical vitamins that you've stumbled upon are the big pay off.

'Morro Do Barraco Sem Água’ was originally released on Odeon Records in 1974, and even though this was a major record label it remains extremely hard to find. From the first moment the needle hits the groove with its guitar and drum break intro you know the song is special. A feel-good addictive melody with fantastic swooping arrangements and a pulsating funk backbeat, which is over all too soon. We hope you enjoy this audio treasure as much as we do!!!

Above the Earth, Below the Sky is the first full-length studio album by American post-rock band If These Trees Could Talk. It was independently released on March 11, 2009 and then re-released by The Mylene Sheath on vinyl the following year. Metal Blade picked up the release in January 2015, and now due to significant demand. has again repressed for 2021 in all new colors. The album was recorded, mixed and mastered by Tim Gerak at Mammoth Cave Studio in Akron. The album was produced by Zack Kelly and Tim Gerak.

The Go! Team return with their new album ‘Get Up Sequences
Part One’ out via Memphis Industries and featuring the singles
‘Cookie Scene’, ‘World Remember Me Now’ and ‘Pow’.
On ‘Get Up Sequences Part One’, Ian, Ninja, Nia, Simone, Sam
and Adam have created a musical world distinctly of their own
making. A place where routine is outlawed and perfection is the
enemy. Where Ennio Morricone meets The Monkees armed
with flutes, glockenspiels, steel drums and a badass analogue
attitude. We’re talking widescreen, four-track, channel hopping
sounds that are instantly recognisable.
In The Go! Team's world, old’s cool, the future’s bright and
melody is the star. Just check the second cut ‘Cookie Scene’
with a bouncing flute and junk shop percussion it introduces
guest rapper Indigo Yaj, who delivers an old school vocal that
continues this sonic trip. ‘Pow’ channels Curtis Mayfield and
enter stage centre, the inimitable Ninja in full flow and you don’t
stop, you won’t stop to this flute driven free for all.
By way of demonstrating The Go! Team’s old’s cool manifesto
comes the ‘needle-in-the-red’ ‘I Love You Better’, a defiant
message to an ex love, spelling out exactly how he’s messed
up - and then there’s those steel drums. Following that comes
the soda fountain soul courtesy of ‘A Bee Without Its Sting’, a
groovy protest song that makes its point with a tambourine.
The musical wagon train then takes you into the widescreen
windswept Western that is ‘Tame The Great Plains’, heading off
into a polyrhythmic panorama that’s full of hope. Slappin’ you
back to reality comes ‘World Remember Me Now’, a timely
reminder that when you’re lost in the routine of life, you can
always count on The Go! Team.

The Go! Team return with their new album ‘Get Up Sequences
Part One’ out via Memphis Industries and featuring the singles
‘Cookie Scene’, ‘World Remember Me Now’ and ‘Pow’.
On ‘Get Up Sequences Part One’, Ian, Ninja, Nia, Simone, Sam
and Adam have created a musical world distinctly of their own
making. A place where routine is outlawed and perfection is the
enemy. Where Ennio Morricone meets The Monkees armed
with flutes, glockenspiels, steel drums and a badass analogue
attitude. We’re talking widescreen, four-track, channel hopping
sounds that are instantly recognisable.
In The Go! Team's world, old’s cool, the future’s bright and
melody is the star. Just check the second cut ‘Cookie Scene’
with a bouncing flute and junk shop percussion it introduces
guest rapper Indigo Yaj, who delivers an old school vocal that
continues this sonic trip. ‘Pow’ channels Curtis Mayfield and
enter stage centre, the inimitable Ninja in full flow and you don’t
stop, you won’t stop to this flute driven free for all.
By way of demonstrating The Go! Team’s old’s cool manifesto
comes the ‘needle-in-the-red’ ‘I Love You Better’, a defiant
message to an ex love, spelling out exactly how he’s messed
up - and then there’s those steel drums. Following that comes
the soda fountain soul courtesy of ‘A Bee Without Its Sting’, a
groovy protest song that makes its point with a tambourine.
The musical wagon train then takes you into the widescreen
windswept Western that is ‘Tame The Great Plains’, heading off
into a polyrhythmic panorama that’s full of hope. Slappin’ you
back to reality comes ‘World Remember Me Now’, a timely
reminder that when you’re lost in the routine of life, you can
always count on The Go! Team.

Limited edition gold vinyl edition.
Hamburg's funk adventurers at the top of their game with special guests Ice-T, Charlie Funk, Peter Thomas, Gizelle Smith, Lee Fields, JSwiss & the Mocambo Kidz.

Original press release note (2019):
Carrying blistering funk lines in their fingers and worldly influences in their hearts, the unique and distinctive Mocambo sound is not one to be confused with retro bands trying to recapture an era. Eschewing traditional recording methods, this DIY crew are committed to driving forwards, and 2066 sees them at the height of their powers, broadcasting a call for unity.
After reaching new audiences worldwide and earning critical praise for their two long players on Brooklyn's Big Crown Records in their tropical guise as Bacao Rhythm & Steel Band, the band have reassembled and refocused in their original form, the workhorses behind dozens of 45s on the Mocambo label and beyond. Crossing generations, this album introduces some of the world's youngest funk talent to step up and rub shoulders with soul and rap legends, soul sisters, an elder statesman composer/arranger and a brand new emerging artist out of New York.
As with all Mocambo releases, the two sides of the record have been meticulously sequenced by the
band. Side A welcomes us aboard with joyous instrumental stomper Preaching To The Choir, and a call to build bridges from Mocambo chanteuse and percussionist Nichola Richards, duetting with emerging rap talent, New York MC JSwiss. B-girls and b-boys are called to the dancefloor as Superstrada and Concrete Stardust commence, all buzzing synth lines and relentless drums. New Jersey legend and Big Crown associate Mr Lee Fields is guest of honour for Where Do We Go From Here before a horn workout brings us to a close with Macumba. It's time for a breather.
The B side kicks off with the grand return of the Golden Girl of Funk, Gizelle Smith, a sister who's been busy taking on the world. Composer and presenter Peter Thomas narrates a Return To Space to mark the centenary of the debut of his score to sci-fi show Space Patrol, which first broadcast in 1966. We're back down to Earth and the mean streets for the furious drums and car chase workout of Golden Shadow. Today slows down the pace for a reflective ballad with Nichola front and centre - and here's the next generation: the Mocambo Kidz sing along to their parents' instrumentation for Here We Go, a new kids' block party anthem... with no sleep 'til bedtime. The album closer makes it clear that the Mocambos are nowhere near powering down as Ice T and Charlie F unk bring their A-game for an old school attack which, since you're up bouncing anyway, gives you no excuse not to flip the LP and drop the needle right back on to Side A. Onwards!
A summation of their journey so far and a celebration in anticipation of what's to come, the album is set
to take its place in a legacy of open minded, organically recorded music, showering listeners with the crew's maze of tantalising sounds pulled from funk, afro, hip hop with cinematic composition and storytelling.

With his ongoing commitment to like-minded archivist label Finders Keepers Records, industrial music pioneer Steven Stapleton further entrusts us to lift the veil and expose “the right tracks” from his uber-legendary and oft misinterpreted psych/prog/punk peculiarity shopping list known as The Nurse With Wound List.
Following the critically lauded first instalment and it’s exclusively French tracklisting both parties now combine their vinyl-vulturous penchants to bring you the next ‘Strain Crack & Break’ edition which consists of twelve lesser-known German records that played a hugely important part in the initial foundations of the list which began to unfold when Stapleton was just thirteen years old.
From the perspective of a schoolboy Amon Düül (ONE) victim, at the start of a journey that commenced before phrases like kosmische and the xeno-ignant Krautrock tag had become mag hack currency, this compendium is devoid of the tropes that united what many would accurately argue to be the greatest progressive pop bands in Europe
(namely CAN, Neu! and Kraftwerk) and rather shatters the ingredients across a ground zero landscape for both inquisitive fans and socially rehabbing musos to begin to assemble a unique self-styled identity. If Krautrock was the music that journalist told us lurked behind schlager (German pop) in the 1970s, then this record includes the music that skulked behind Krautrock and perhaps refused to polish its backhanded name belt.
Including lesser-known artists like the late Wolfgang Dauner, whose career proceeded and outlived the kosmische movement while consistently informing and outsmarting them whenever they got stuck in their metronomic ruts, or how about Fritz Müller, the man who
was to Kraftwerk what Stuart Sutcliffe was to The Beatles but had more in common with Yoko and quite rightly couldn’t give a stuff about the Fab Four’s Hamburg roots.
Elsewhere we have a plethora of German bands made for German audiences as they try and shed secondhand flower power Americanisms and feel the benefits of much harder drugs and the realisations of difficult second album budgets while Kommune 1
newsflashes wipe smiles from everybody’s faces and replace them with opioid chic or acid-sarcastic grins. Bonzo Cockettes show us their Big Muffs and drummers ask for extra mics while Conny Plank goes for parliamentary office and gives babies good firm handshakes for the camera.
‘Strain Crack & Break: Volume Two’ is the sound of Steve Stapleton’s sponge-like mind and the dividends of anyone who was brave enough to even peek inside those brick-thick gatefold covers never mind drop the needle.
Over forty years since Nurse With Wound’s first album was released, Finders Keepers Records and Steve Stapleton take connoisseurs of our kind of music back to the disused elevator shaft towards ground zero. Arriving at the same checkout from different departments, Finders Keepers and Nurse With Wound continue to sing from the same hymnal with this ongoing collaborative attempt to officially, authentically and legally compile the best tracks from Steve’s list, where many overzealous erds have faltered (or simply, got the wrong end of the stick).
After ‘Strain Crack & Break: Volume One’ merely scratched the surface of this DIY dossier of elongated punk-prog peculiarities, this second lavish metallic gatefold double vinyl compendium drives a much deeper groove which, in accordance with Steve’s wishes, focusses exclusively on individual tracks of German origin - the country whose music forged the prototype of the NWW inventory in the form of his secondary school vinyl wantlist in the early 1970s, comprised of disassembled free jazz, unshowered stoner psych, hypnotic prog, deranged monk funk and fuzzed out Deutschmark bin bonzo beats.

MEMO
TDC INC. (non-hierarchical/non-liable)
DATE 15 APRIL 2021
Dear visitor,
We are excited that you have developed an interest in our product "Corporate Offering 1". Ownership of this product will place you at the helm of corporate culture. All your friends will be in awe by your consumption. Trust us.
"Corporate Offering 1" was exposed to an artificial scarcity treatment, as guided by principal marketing regulations that The Organisation celebrates. It hence comes with a numbered, signed and stamped Statement of Purchase (SoP), in addition to sound on both sides of the product. Without the SoP, the
product is invalid. There is no other way.
Needless to say, your future ownership of "Corporate Offering 1" is unconditional. This is important.
If you wish to become a Cog in The Organisation, please type tdc-inc.org in your browsing device and fill out the paperwork. It is not a lot, but it is important.
Thank you for your expectations, which will be justified.
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“Vax!” – Reminiscent of all the slippery vinyl that glitched under so many sweaty wet fingers in a steamy basement before time – a picture that seems highly illegal in our current antiseptic climate of hopefully germ free adolescents. Vax-inate! Give them the needle! It’s time.

Deti Vechnosti – Pered Rassvetom opens the gates to plug into the socket of our collective deranged consciousness, generating frisky and flamboyant specks to brightening darkness that confines our lives. Offering glimpses of the great unknown we also carry within. The Track introduces Chikiss & Mustelide’s new group “Deti Vechnosti”.

Alexander Arpeggio & OhLandy’s “Der Anruf”, wich originally appeared as a French language version on a previous Sameheads / Diapason tape release tells those tales of hot and hotter heat. Karmic payback for the sweaty and long nights enveloped in the halo of resonating frequencies of silly and high-spirited mischief.

Rouge Mécanique – Down the Line – follows suite in the odyssey that is a demented night out, sitting in front of a club, realising that the leatherjacket you picked up a few streets ago from the ground doesn’t smell like adventure but like spew.

The B-Side opens with Automatenfall – a hardware electronic 3 piece, previously appearing live at Sameheads during a “My Friend calls it K-Jazz” event. A yearning that eventually gets us on a spiritual path and headed toward enlightenment through the meandering melange of chimes, that little sounds that usually overcome us in the weirdest of times.

Das Kinn – the new project from Toben Piel, who’s part of Frankfurt’s MMODEM family, and one half of Les Trucs evokes memories of better days, black leatherpants – think Falco meets DAF – Überpop for the Untergrund.

Stopping for a final coup d’œil is Alessandro Adriani’s – Preserved Data Space. A persuasive case of brutally but lovingly worked machines serenading sawtooth waves of an infinite Weiter, a dissolving timeframe – the longest after hour I’ve been to, it lasts more than a year now already and counting.

Written by Michael Aniser.

Just when you thought that lockdown fatigue was getting the best of you, SIRS comes correct with another four tracker of edit wonders to rework your mind from dreary to cheery in the drop of a needle.

With Lovebirds taking listeners on a blissed-out, sun-kissed Balearic trip for the last record, SIRS leads you into the night with four Italo pumpers that put the ‘u’ in euphoric.

Roman Flügel is a magician. This statement is far from being a hyperbole. Just put the needle down on any record – I mean any! – of his ( collaborations included) since the early nineties and see for yourself: none of them are without that special effect. The magic works instantly. And as the thing with magic goes: it’s challenging to explain it. But I guess that is what makes it magic.

Eating Darkness is the title of his newest spell. Affected by the fundamental shock that any system got in 2020 – but not the result thereof – it is an album that could absorb it – as its name might suggest. Music and nightlife work hand in hand as escapism and as anchors or as the undercoat of social interactions. They enable people to deal with hardships as well as the burden and the joy of life. That is the starting point and hope of Eating Darkness: the outlook and invitation to enrich each and everyone’s existence.

Bound to the single LP format and reminiscent of a time with format limitations, the nine tracks are testament to Flügel’s weakness for the art of pop music with the use of little and especially short motifs. Furthermore equipped with a clear instrumentation and without any camouflage, Eating Darkness corresponds to his idea of a virtual band.

As it happens, the opener is called The Magic Briefcase. That sits not only well with my first sentence, but pretty much embodies the album and Roman Flügel’s apparatus in an alternative title: Crystal clear sounds and melodies bounce on and off the dance floor, living room and club are pulled together and transcendental moments take turns with the tangibility of reality. After all, that is how a real magician allures you.

Tkay Maidza is a tour de force on her new EP ‘Last
Year Was Weird, Vol. 2’.
Her sonic versatility takes centre stage on eight
tracks that include spitfire summer anthem and
lead single ‘Shook’, smooth boy-bye manifesto
‘Don’t Call Again (feat. Kari Faux)’ and trap-infused
‘Awake (feat. JPEGMAFIA)’, which was nominated
for a 2019 ARIA award and earned a best of the
decade nod from The Needle Drop, as well as
praise from Pitchfork, The FADER, Dazed,
Complex, and others.
The EP follows 2018’s ‘Last Year Was Weird, Vol.
1’, which established her as an exciting voice in
the new guard of hip-hop.

As if the ever evolving style and sprawling narratives of Creeper didn’t already keep him busy enough, Will Gould reacted to last year’s initial lockdown by delving into the archives to complete the debut EP from his side project SALEM. Working alongside his friend and collaborator Matt Reynolds, SALEM quickly sold-out the first vinyl pressing of their self-titled debut EP while also earning fresh acclaim and streaming an In The K! Pit show for Kerrang!.

Now the second chapter in the SALEM story emerges from the underworld with the news that they’ll release their new EP ‘SALEM II’ on May 7TH and now share the first taste of the EP in the shape of the new single ‘DRACULADS’.

‘DRACULADS’ opens with the kind of larger-than-life b-movie horror love letter that can only come from Gould’s poison pen: “Maybe the blood of Jesus Christ is laced upon your lips / I get a little closer to God and too drunk each time we kiss.” It sets the tone for a blitzkrieg rush of melodic punk and raucous rock ‘n’ roll that only stops for breath for the song’s cabaret croon breakdown.

Elsewhere, the EP builds upon the style that SALEM established with their debut. From the tongue-in-cheek reference to The Smiths on the opening track ‘William, It Was Really Something’ to the closing ‘Heaven Help Me’, SALEM play it fast, frenetic and fun. As with the best old school punk EPs, ‘SALEM II’ is an escapist rush of attention that commands your attention for 15 minutes before it’s time to drop the needle back to the start.

Needless to remark the importance of Max Roach in the evolution of modern Jazz drumming. Let's just say that back In the mid Forties the young Roach has performed in most of Charlie Parker's recordings
including the legendary Savoy sessions, a crucial step in the history of Jazz recording. Recorded in NY between 1957 and 1958 and originally released on Emarcy label this is Roach's first official tribute to
Charlie Parker. This is also Roach's first pianoless group, a formula which will become a trademark in his later career. Here Roach displays a strong line up featuring Kenny Dorham on trumpet, George Coleman or Hank Mobley on tenor sax, and Nelson Boyd or George Marrow on bass. The tracklist includes six highly inventive versions of Parker's classic Bop tunes such as "Yardbird Suite", Confirmation", "Ko-Ko", "Billie's Bounce", "Apres-vous", and "Parker's Mood". What else?

For Böser Herbst, Thomas Fehlmann returns to the sediment of ages, drawing from a similar lexicon of sounds to that used on 2018’s ‘1929 – Das Jahr Babylon’. Like that album, Böser Herbst was produced as the soundtrack to a documentary made by Volker Heise, ‘Herbst 1929, Schatten Über Babylon’, which offers historical insight to the third season of the television series Babylon Berlin. It adds yet another string to the bow of this most forward-thinking and creative artist, whose history takes in NDW (Palais Schaumburg), techno (3MB) and psychedelic ambience (The Orb), plus a clutch of gorgeous solo albums that explore wide terrain, from the dancefloor through supine home listening to compelling soundtrack work. Fehlmann’s approach here was to ‘capture’ samples of contemporaneous music, “picking up the dirt and dust of original 1920s archive sound and music excerpts and shaping the essence into this selection of tunes,” he recalls. After delivering the material to the editing room, Fehlmann “threw all the pieces up in the air, deliberately lost the overview in consequence, researched the atmospheric thread and assembled it for this album.” That explains the singular nature of the material here, and its ability to sit together so neatly and discretely, as its own entity. For Böser Herbst is a music box of possibilities, shadowed by its historical provenance, but never crudely beholden to it, rather “keeping the references only as a distant nod, a scent.”

It’s certainly an evocative listen, a cornucopia of textural pleasure and sensual, tactile assemblage. The spiralling, psychedelic cycle of “Karnickel” winds its way between the ears like thread to the needle; “Mit Ausblick” immerses the listener in deep, gaseous tones, only to be lifted into the air by the glassy drones of “Umarmt”. “Wunschwechsler” crackles with the unpredictability of weather systems while a guitar-like loop unspools across the horizon. Throughout, you can catch tiny tastes of the source material, but they’re pressed into greater service, Fehlmann using these sources for their evocative capacity and then saturating them with grain and rumble, abstracting outwards. It’s a music of temporal disjuncture and clairvoyant resonance, “speaking with the past – alert, distant and quixotic.”

Für “Böser Herbst“ schürft Thomas Fehlmann tief in den Sedimenten der Zeit und schöpft dabei aus ganz ähnlichen Klangquellen wie auf dem 2018 erschienenen Album “1929 - Das Jahr Babylon“. Auch “Böser Herbst“ wurde als Soundtrack zu der von Volker Heise gedrehten Dokumentation “Herbst 1929, Schatten über Babylon“ produziert, die den historischen Background der dritte Staffel der deutschen Fernsehserie “Babylon Berlin“ beleuchtet und dabei Archivmaterial mit Stimmen unterschiedlichster Zeitzeugen verknüpft. Das neue Album fügt eine weitere Saite zum Bogen dieses überaus voraus denkenden und kreativen Künstlers hinzu, dessen Geschichte NDW (Palais Schaumburg), Techno (3MB) und psychedelischen Ambient (The Orb) umfasst, plus eine Reihe von großartigen Soloalben, die ein weites Terrain erkunden, von der Tanzfläche über entspanntes Hören bis hin zu Soundtracks.

Fehlmanns Herangehensweise auf diesem Album war es, Samples aus jener Zeit "einzufangen", "den Schmutz und Staub der originalen 1920er Archiv-, Sound- und Musikaufnahmen zu sammeln und als Essenz in die einzelnen Tracks einfließen zu lassen", erinnert er sich. Nachdem Fehlmann das Material im Schnittraum abgegeben hatte, "warf er alle Teile in die Luft, verlor dabei absichtlich den Überblick, suchte sich dann einen atmosphärischen roten Faden und setzte alles wieder zusammen." Das erklärt die Einzigartigkeit des vorliegenden Materials und dessen Eigenschaft, sich fein säuberlich und gänzlich unangestrengt zu einer Einheit zusammenzufügen. “Böser Herbst“ ist eine Spieldose voll unbegrenzter musikalischer Möglichkeiten, umspielt von düsteren historischen Quellen ohne darin zu ertrinken – Fehlmann ging es stattdessen darum, "die Referenzen nur wie eine flüchtige Geste, wie eine Ahnung von etwas zu behandeln."

“Böser Herbst“ löst eine Vielzahl an unterschiedlichen Vorstellungen beim Hörer aus, es ist ein wahres Füllhorn an lustvollen Texturen und sinnlicher, taktiler Assemblage. Der spiralförmige, psychedelische Kreisel von "Karnickel" dreht sich in die Ohren wie ein Faden ins Nadelöhr; "Mit Ausblick" lässt den Hörer in tiefe, gasförmige Töne eintauchen, um anschließend von den transparenten Drones von "Umarmt" in die Luft gehoben zu werden. "Wunschwechsler" knistert mit der Unberechenbarkeit eines aufziehenden Unwetters, während sich ein gitarrenartiger Loop am Horizont abzeichnet. Überall kann man winzige Spurenelemente des Ausgangsmaterials erhaschen, aber sie werden in einen größeren Kontext gesetzt; Fehlmann benutzt seine Quellen nur als Mittel zum Zweck, um eine bestimmte Wirkung hervorzurufen, die einzelnen Teilchen werden angereichert mit Struktur und Körper und schließlich abstrahiert wieder ins Außen gesendet. Es ist Musik, an der die Zeit sich bricht und in die Zukunft schaut wie in einen Resonanzraum: Musik, "die mit der Vergangenheit spricht - hellwach, mit aller gebotenen Distanz und voller Rätsel".

Compilation of all the recordings by this legendary punk band prior to their LPs: the sessions for their single 'Mucha Policía', taken for the first time in 27 years from the original tapes, which has unearthed two studio recordings unissued until now; plus rehearsals, demos and live recordings. Completely remastered. A furious, noholds-barred sonic account of a period of immense changes for Spain and the Basque Country. The origins of the most important Spanish punk group, regarded as one of the essential bands of the genre all over the Spanish speaking world.It was a time when the walls were teeming with socio-political proclamations, where the hammer and sickle - alongside the illegal Ikurriña (the flag of the Basque Country) - were the most widely used symbols. A time of general strikes and protests on the streets that often ended in an ugly manner. A time also of smoky joints, where huge speakers played loud rock and there were dreams of strawberry fields. In Santurtzi, on the left bank of the Nervión estuary, a unique band was born: ESKORBUTO. Iosu Expósito and Jualma Suarez lived in working class neighbourhoods that had grown fast. Both Kabiezes and Mamariga were, in the 50s, mainly rural areas of Santurtzi. In the 60s, industrialization and rampant development transformed them into urban areas without any investment in urbanism. Some elements for the alchemy led to the explosion: intelligent young guys who were nevertheless incapable of adhering to school discipline, a country in full swing towards freedom after 40 years of dictatorship. It was a context very familiar with the turbulence of the "Basque conflict", with neighbours seduced by the "armed fight" and the "liberation of Euskal Herria", with the question of "identity" constantly present, traumatic episodes of killings, tortures and imprisonments .One day at the end of the 70s they decided to start a band. The first period of Eskorbuto's life, before the damage done by the needle became noticeable, was incredibly fruitful. They soon found a rehearsal space, thanks to their first drummer ("Gu"), and there the first songs were born: 'Enterrado vivo', 'Busco en la basura', 'Éste es el porvenir', 'Mucha policía, poca diversión'. It was a period of line-up changes. Iñaki Laiseka played bass for them, and that role was also taken by "Seni" and "Garlopa", two precursors of "left bank" punk. Later on they found Paco Galán, who also came from a similar neighbourhood to theirs (Repélega, in Portugalete). Paco always was the necessary engine, the piece around which the rest revolved, which guaranteed continuity. His drumming also added an apparently chaotic element to the already unbridled guitar melodies and visionary texts, halfway between dirty realism and Edgar Allan Poe's nightmares. These recordings are taken from those early times of excitement and vertigo, of journeys to Madrid under a train's seat and endless trips up and down the left bank looking for "someone that I've heard is selling an amp". Now the Reina Sofía Museum exhibits their "Impuesto Revolucionario" LP and there's no Spanish speaking country without legions of fans.

Just two months after the release of his seminal album After The Gold Rush, Neil Young played a solo show at The Shakespeare Theater, Stratford, CT on January 22 1971. The show was filmed and recorded, and the concert shown on German TV later in 1971.
 
In 2020, while Neil and his team were reviewing his Archive for future projects, Neil re-visited the 16mm film and audio recording of this show that had been preserved in the Archive for almost 50 years. Piecing together the tapes and footage, Neil realized that he had the full concert – the film of which is the earliest live footage of Neil performing that is known to exist.

Neil has written on NYA that this show is “superior to our beloved “Massey Hall”. A more calm performance, without the celebratory atmosphere of Massey Hall, captured live on 16mm. “Young Shakespeare” is a very special event. To my fans, I say this is the best ever.”
 
As an insight into Neil’s prolific song writing at the time, the concert features two songs from the recently released After The Gold Rush but four songs from the classic Harvest album that was still over a year away from being released. The wonderful set list also includes acoustic renditions of favorites such as “Ohio”, “Cowgirl In the Sand”, “Helpless”, “Down By The River” and “Sugar Mountain”.
 
The ancient analog tapes have been lovingly restored – resulting in (as Neil says on NYA) “one of the most pure sounding acoustic performances we have in the Archive”.

Young Shakespeare is being released almost exactly 50 years after the original performance.

Just two months after the release of his seminal album After The Gold Rush, Neil Young played a solo show at The Shakespeare Theater, Stratford, CT on January 22 1971. The show was filmed and recorded, and the concert shown on German TV later in 1971.

In 2020, while Neil and his team were reviewing his Archive for future projects, Neil re-visited the 16mm film and audio recording of this show that had been preserved in the Archive for almost 50 years. Piecing together the tapes and footage, Neil realized that he had the full concert – the film of which is the earliest live footage of Neil performing that is known to exist.

Neil has written on NYA that this show is “superior to our beloved “Massey Hall”. A more calm performance, without the celebratory atmosphere of Massey Hall, captured live on 16mm. “Young Shakespeare” is a very special event. To my fans, I say this is the best ever.”

As an insight into Neil’s prolific song writing at the time, the concert features two songs from the recently released After The Gold Rush but four songs from the classic Harvest album that was still over a year away from being released. The wonderful set list also includes acoustic renditions of favorites such as “Ohio”, “Cowgirl In the Sand”, “Helpless”, “Down By The River” and “Sugar Mountain”.

The ancient analog tapes have been lovingly restored – resulting in (as Neil says on NYA) “one of the most pure sounding acoustic performances we have in the Archive”.

Young Shakespeare is being released almost exactly 50 years after the original performance.

Stix Records, a sub-label of Favorite Recordings, proudly presents Scary Dub, a new project by Mato, made of exclusive Dub versions of some of the most famous horror movie soundtracks. Available as Vinyl LP & Digital on February 5th 2021.

Do you remember The Exorcist, Halloween, Jaws, Evil Dead, The Twilight Zone or The Return Of The Living Dead and their haunting musical themes? Imagine all and many more remixed by the French dub master, along with three original and scary compositions. Needless to say, Mato, who’s playing most instruments and synthesizers, did a fantastic job and you’ll be blown when hearing these versions.

Starting his reggae production career in 2006, Thomas Blanchot (aka Mato) has released music through various projects on EDR Records, Big Singles or Makasound... In the meantime, he developed a real trademark: taking over classics French, Hip-Hop, OST, Classical or Pop songs, into roots reggae-dub new versions. Besides, since 2010, Mato has built a solid reputation thanks to his hot remixes of Hip-Hop classics on Stix Records.

Freshly unleashed from the vaults of Desco Records and remastered for the first time since its 1998 release, it is an honor to announce the re-release of one of the finest and most satisfying needle drops of the last 40 years. An album that needs no introduction, yet one is required...we're talking raw soul and heavy, heavy funk sung with aplomb by one of the best in the biz...Ladies and Gentlemen... Presenting...

The Lee Fields' classic, "Let's Get a Groove On". And groove you shall, for this is supernova of soulful superiority. There is no equal.

Lingering at the remains of a campfire before dawn, with the politics of the personal burnt into ash, running his stick through what’s left, Wand singer/guitarist Cory Hanson is reflecting on a series of moments in which he steps farther into himself, finding the ultimate big sky country on the inside of his skull. It’s a combination of songs and sounds that journey
through bleak and broken territory and places of sweet, lush remove and it adds up to the best record he’s been involved in yet: his second solo album, ‘Pale Horse Rider’.

 Cory’s first solo, ‘The Unborn Capitalist From Limbo’, was an intense affair, a grand experiment that produced inspiring,
nconventional music - but this time around, he wanted to breathe a bit easier, to feel that breath in the music as well. So he and his band drove out to the desert to record in a lowstress environment: Brian Harris’ Cactopia, a house surrounded by 6ft tall sculptural psychotropic cacti. They built a studio inside and then they made music and lived off pots of coffee and chili and cases of Miller High Life as they played guitars, bass, keyboards and drums in what seemed increasingly like a living biomech, their tech made out of fungal networks and cacti needles.

 It was loose and flowed onto tape well. Recorded by Robbie Cody and Zac Hernandez (who assisted on Wand’s ‘Laughing Matter’), the sounds were great from the get-go. First takes were mostly best takes. Fuelled with DNA lifted from country-rock cut with native psych and prog strands, Cory guided his craft toward the cosmic side of the highway, a benevolent alien in ambient fields hazy with heat and synths, early morning fog and space echo spreading the harmonies wide.

 ‘Pale Horse Rider’’s got a lot to get out of its mind, looking around and seeing that, on the surface, things don’t always look like much. A lifelong Californian, Cory’s naturally found himself standing to the left of most of the
country. The west may be only what you make it; these days, the roadside view looks exceptionally sunbleached and left behind. ‘Pale Horse Rider’ eyes the city, the country and the fragile environment that holds them both in its hands - a record as much about Los Angeles as it can be with its back to the town and the sun in its eyes; as much about
ostalgia as new music can be with the apocalypse over the next rise.

 On ‘Pale Horse Rider’, Cory Hanson moves ceaselessly forward. The old myths weave and waft, the shadows of tombstones flickering in the mirages and the light that lies dead ahead.

Lingering at the remains of a campfire before dawn, with the politics of the personal burnt into ash, running his stick through what’s left, Wand singer/guitarist Cory Hanson is reflecting on a series of moments in which he steps farther into himself, finding the ultimate big sky country on the inside of his skull. It’s a combination of songs and sounds that journey
through bleak and broken territory and places of sweet, lush remove and it adds up to the best record he’s been involved in yet: his second solo album, ‘Pale Horse Rider’.

 Cory’s first solo, ‘The Unborn Capitalist From Limbo’, was an intense affair, a grand experiment that produced inspiring,
nconventional music - but this time around, he wanted to breathe a bit easier, to feel that breath in the music as well. So he and his band drove out to the desert to record in a lowstress environment: Brian Harris’ Cactopia, a house surrounded by 6ft tall sculptural psychotropic cacti. They built a studio inside and then they made music and lived off pots of coffee and chili and cases of Miller High Life as they played guitars, bass, keyboards and drums in what seemed increasingly like a living biomech, their tech made out of fungal networks and cacti needles.

 It was loose and flowed onto tape well. Recorded by Robbie Cody and Zac Hernandez (who assisted on Wand’s ‘Laughing Matter’), the sounds were great from the get-go. First takes were mostly best takes. Fuelled with DNA lifted from country-rock cut with native psych and prog strands, Cory guided his craft toward the cosmic side of the highway, a benevolent alien in ambient fields hazy with heat and synths, early morning fog and space echo spreading the harmonies wide.

 ‘Pale Horse Rider’’s got a lot to get out of its mind, looking around and seeing that, on the surface, things don’t always look like much. A lifelong Californian, Cory’s naturally found himself standing to the left of most of the
country. The west may be only what you make it; these days, the roadside view looks exceptionally sunbleached and left behind. ‘Pale Horse Rider’ eyes the city, the country and the fragile environment that holds them both in its hands - a record as much about Los Angeles as it can be with its back to the town and the sun in its eyes; as much about
ostalgia as new music can be with the apocalypse over the next rise.

 On ‘Pale Horse Rider’, Cory Hanson moves ceaselessly forward. The old myths weave and waft, the shadows of tombstones flickering in the mirages and the light that lies dead ahead.

Award-Winning Welsh Multi-Instrumentalist The Anchoress Returns With Her New
Studio Album ‘The Art Of Losing’
Featuring Guest Appearances From James Dean Bradfield (Manic Street Preachers)
And Sterling Campbell (David Bowie, Duran Duran)
“A devastatingly powerful voice.” MOJO “Hounds Of Love, updated for the 21st century.” PROG “Davies is making music like nobody else at the moment.” NME
‘The Art of Losing’ is the second album from Welsh multi-instrumentalist The Anchoress (aka Catherine Anne Davies), following up on her critically acclaimed debut album,
‘Confessions of A Romance Novelist’, which was named amongst the Guardian critics’
Albums of the Year, won HMV’s Welsh Album of the Year, Best Newcomer at the PROG
awards, and a nomination for the Welsh Music Prize.
Written and produced by Davies, the new album features guest performances from
James Dean Bradfield (Manic Street Preachers) and drums from Sterling Campbell (David Bowie, Duran Duran) along with the mixing talents of Dave Eringa (Manics, Wilko
Johnson) and grammy-award winner Mario McNulty (David Bowie, Prince, Laurie Anderson).
‘The Art Of Losing’ ambitiously navigates the topic of loss in all its forms and was written
and recorded during an unfeasibly busy few years as Davies found solace and purpose in
a range of projects whilst navigating her griefs. Most recently this came via the release
of her collaborative album ‘In Memory of My Feelings’ with Bernard Butler (on Pete
Paphides’ label Needle Mythology), duetting with the Manic Street Preachers on ‘Resistance Is Futile’, and being personally invited by The Cure’s Robert Smith to perform at his
Meltdown Festival. She also brought a new generation of ears to legendary Scottish rock
band Simple Minds, where she spent much of the last five years appearing on the ‘Big
Music’ (2015) and ‘Walk Between Worlds’ (2018) albums.
The Anchoress will launch the album with a special show at London’s Queen Elizabeth
Hall in July 2021.
*2 LP 140gm Black Gatefold Vinyl Edition with lyric printed inner bags.

Ståle Storlokken - Rhodes piano, Hammond organ, grand piano, Eminent 310, Mellotron, Continuum Nikolai Hængsle - Electric bass, electric and acoustic guitars Torstein Lofthus - Drums, percussion. After a solid run of five studio albums and 2019's two double live albums, Psychedelic Backfire I and II, Elephant9 had taken their groovy mix of high energy rock and power jazz as far as they could. In this respect Arrival Of The New Elders comes as a welcome and most timely addition to their recorded output. More varied, mature and reflective, don't let the self-ironic (?) title mislead you, they are as groovy as ever, but more structured and less jam oriented, with the longest track clocking in around the seven minute mark. Rather short, by their standards.Having built a solid live reputation even before their brilliant 2008 debut Dodovoodoo, the trio boasts what is probably the strongest rhythm section in Norway, complemented with keyboard magician extraordinaire, the one and only Ståle Storlokken. And boy, does he excel himself on this album, notably with more focus on the Rhodes than before. That said, this is nothing if not another strong group effort from what has been a very tight unit straight from the outset. Seven brand new compositions from Storlokken and one from Hængsle make way for what we consider to be their finest and most cohesive album to date. Arrival Of The New Elders was recorded by trusted stalwart Christian Engfelt, with early Dungen producer Mattias Glavå handling the mixing duties.Ståle started his musical journey in Veslefrekk with Jarle Vespestad and Arve Henriksen in the 90s, soon morphing into Supersilent with Helge Sten on board. He's also a member of Moster! and Humcrush, and have collaborated with a number of artists, most notably Motorpsycho. Nikolai is also a member of Bigbang, Needlepoint and Band Of Gold and have appeared on a couple of hundred records. The same goes for Torstein, an associate member of numerous bands ranging from pop and soul to free jazz. But Elephant9 has always been their special baby.

Vampa were just kids, 13-14 years old, when they recorded and released their raw and very Iron Maidenesque 45 back in 1982. DIY all by themselves… The lyrics (sung in Swedish) is the ultimate hate for school-anthem. The boredom and frustration of (barely) teenage kids totally sick of school and its teachers has rarely been captured in a better and more enjoyable way. Even though the lyrics are in Swedish the language that grabs the listener as the needle is dropped into the groove is universal. Original 45 is near impossible to find. On The Dole Records found the members, got loads of rare photos that fills up the printed inner sleeve.
Comes with new original artwork by Swedish artist Oscar Nordblom, the guy behind the notorious Jobcentre Rejects-drawings
File under: ”beyond essential to any serious rock’n’roll fan”.

It has been twelve months since singer-songwriter Lucy Spraggan chose to go sober, and life has changed a lot. In fact, the present day Lucy Spraggan is, in a multitude of ways, unrecognisable from the person of yesteryear. Control - both relinquishing it and taking it back - plus rediscovering oneself, is a recurring theme of the past year and Spraggan’s forthcoming album Choices. Aptly named, the songs that comprise the collection offer insight and introspection that saw her let go of alcohol, embrace exercise and a healthier lifestyle, move onwards through a divorce and find solace in its wake. Needless to say, it may have been necessary, but it was by no means easy. In conclusion, “it’s really just been an enlightening thing.”

It was a solid bet that Skratchorama Records would release a 7” DJ tool specifically crafted for the international portable turntable scene. DJ Chmielix is known as a perfectionist when it comes to music production, turntable music, DJ battles and a rubix cube… he’s as hard on the cut as they come and the Mighty Wicked 7” embodies these vibrations.

The A & B side of this record both include 6 original skipless acapella scratch loops with a variety of laser samples, aaaahhhs and fressshhhhes. Side A has 4 tracks arranged in 100BPM and 2 tracks in 133.33BPM. Side B is all arranged at 83.33 BPM for use at regular speed on a turntable. This offers the ideal track size for a 7” battle record. The tracks are large enough to easily cue the needed loop on the fly, and small enough that the maximum amount of samples can be put on the record… needle dropping made easy! Each side’s tracks are separated by hidden samples which inject creativity into performances using this record. At the end of each side a single rotation of each skipless loop has been arranged twice back to back giving DJ’s two full sample banks to get dirty on the cut with.

The record has a secret theme, but we’ll leave it to you to figure it out!

Pressed on blue vinyl, artwork by Maciej Kwietnicki, and mastered by the legendary D. Perez, you are in for one of 2020’s finest scratch records… it’s time to take it to the next level!!

Bright Lights & Back Alleys is the fourth studio album by the English rock band Smokie, released in 1977. Recorded primarily at Whitney Recording Studios in Glendale, California, from March to April 1977, it was produced by Mike Chapman and Nicky Chinn, as were the band’s all previous albums. Three singles were spawned; “Needles and Pins”, “It’s Your Life”, & “Baby It’s You”.

This expanded edition contains 4 bonus tracks: “Here Lies a Man”, “Now You Think You Know”, “Alone in a Cell” and “Lay Back in the Arms of Someone”. The package contains 2 printed innersleeves and extensive liner notes. The D-side has a cool etch of the Smokie band logo. Available as a limited edition of 1000 numbered copies on translucent red coloured vinyl.

Houston’s reputation for developing first-class jazz acts is well-established, as a stream of young players have been distinguishing themselves for decades…among those musicians and mentors who stood tallest, Bubbha Thomas was no exception (and a major key-player) in this long tradition of talent.

Before becoming an artist and educator, Bubbha Thomas (born 1937) was a Fourth Ward kid who grew up in a music-filled household. In High School he divided his time between music & basketball (he excelled at both) and studied with jazz legend Conrad “Prof” Johnson. “Prof” would later bring jazz glory to Texas with the Kashmere Stage Band, the group of teenagers who would win the “Best High School Stage Band In The Nation” prize in Mobile, Alabama in 1972 and who were anthologized in 2006 on Now-Again’s ‘Thunder Soul’ (which led to the 2010 Jamie Foxx documentary of the same name).

After finishing college, Bubbha got drafted in the service (he was a Korean War veteran) and would return to Houston in the early 1960s where he found work as a session drummer for the Duke and Peacock labels. Thomas drummed on recordings by O.V. Wright, Buddy Ace and the Mighty Clouds of Joy. He was playing his own stuff and backing luminaries such as R&B singer Chuck Jackson and homegrown legends like Lightnin’ Hopkins. Bubbha Thomas also teamed up with some of his equally legendary peers (like guitarist Melvin Sparks & organist Leon Spencer) and eventually established his own group, the Jazz Merchants.
Bubbha learned every style that was thrown at him and he played straight-ahead jazz with renowned artists before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane and Sun Ra…the result of these new found influences was the incredible spiritual jazz ensemble ‘The Lightmen’, who released four incredible recordings in the 1970s. Their first album ‘Free As You wanna be’ predates the deep-set, maverick jazz issued by the likes of Tribe and Strata East and is a harbinger of some of the best in the 1970s jazz underground. The Lightmen albums eventually fell out of print until 2017 when the Now-Again record label brought them back into circulation and generated new interest in Bubbha Thomas’ work.
Thomas had a storied career as a drummer and bandleader, but perhaps his most enduring work is that as founder of Houston’s Summer Jazz Workshop, a remarkable program that nurtured upcoming talent for generations...we can’t begin to count the number of young people who benefitted from the exposure to music-arts because of Bubbha Thomas and what he meant to the Houston music community. In his career he earned five Grammy nominations and authored a pair of books. Next to this he was also a writer/editor for several local newspapers, ran one of the first Houston African American Television shows and he hosted a radio program on KYOK. Impressive to say the least!

Bubbha Thomas passed away in March 2020 at the age of 82. It was obvious he was a principled, fiery & wise person…and any anger he felt at America’s (and the world’s) injustices he met with music, intellect, activism and unity!

Next to his work with ‘’The Lightmen’’, Bubbha also released the fantastic (solo) album ‘Life & Times’ in 1985. ‘Life & Times’ (which we are proudly presenting you today) is particularly interesting to boogie-enthusiasts because of its high doses of funky twerks, solid grooves, crazy synth work, soulful vocals and excellent drum-beats courtesy of Mr. Thomas himself. You’ll quickly find yourself shaking hips the moment the needle hits the first track! The whole album is backed by a fantastic cast of all-star players and includes Howard Harris (Ruth Copeland), Dwight Sills (Bobby Lyle - TLC), Jerry McPherson (Donna Summer), Leo Polk (Kashmere Stage Band), John Gordon (Strata East) and Jackie Simley (Queen Latifah - Lionel Richie). All of the above makes this LP an essential purchase for any self-respecting fan and collector.

Tidal Waves Music now proudly presents the FIRST ever vinyl reissue of this fantastic album (originally released in 1985 on Lightin’ Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) complete with the original artwork.

2LP + 7"

With her DJing and creative project Automagicalley on hiatus, Adi’s 2020 has been home to a slower kind of alchemy - the creative processing of two years’ worth of musical sense impressions into the basic fact of a needle on a record.

Italian composer Gadi Sassoon debuts on A Strangely Isolated Place with an experimental exploration of impossible physics; an intricate soundtrack based on newly created sounds and abstract atmospheres. In 2015 Gadi was invited to Edinburgh by The NESS Project to check out their groundbreaking sound synthesis work. With the help of a supercomputer, the NESS group had created new digital systems capable of creating sounds so complex, rich and realistic they were indistinguishable from acoustic instruments. Better yet, the code could be hacked to create completely imaginary sonic worlds with bizarre physical properties. Gadi fell in love with this idea and became resident composer at NESS for the following years, collaborating with the researchers to create impossible instruments: mile-long trumpets blown by dragon fire in Black Hole Fanfare, needle fingers brushing eternally vibrating strings in Pi (p), giant resonating lattices of bound masses and springs in the Moto Perpetuo suite and Collision Suite, marbles sliding on thousand-string fretboards in Young's Modulus, morphing bouncing objects in Chaos & Order, an orchestra of giant bowed basses in Life On A Tidally Locked Planet. Multiverse was designed and created by bending the laws of physics in subtle ways, effectively creating acoustic simulations from parallel universes. Gadi combined the NESS sessions with analogue synths and live instruments in his Milan studio, with the intent of creating a space for the listener to get lost in - blurring the lines between organic and synthetic, loud and quiet, the abstract and the familiar.

Edit royalty The Reflex delivers an incredible revision of this epic cover of the Michael McDonald anthem 'Sweet Freedom' capturing the perfect blend of disco, soul and unadulterated good vibes. Ready and waiting to lift your mood at the drop of a needle.

Neuauflage des ikonischen ersten Warp-Albums von Brian Eno aus dem Jahr 2010. Eine exzellente Kollaboration mit den damaligen Jungtalenten Leo Abrahams und Jon Hopkins.

Having established himself in the UK's contemporary Jazz funk scene with a slew of high calibre releases, Dr Rubberfunk holds a reputation for quality productions surgically delivered by an accomplished multi-instrumentalist and producer.

After being hounded to join the roster in his early career, he signed to Jalapeno Records in 2008, and the years since have seen him release multiple albums, produce label artists, such as Izo FitzRoy, and be regularly called upon to bring his flair to remixes across the roster.

In 2018 he stepped back into the limelight to release a series of limited 7" singles, winning praise from fans throughout the 45s scene. This wide-ranging support led to the release of his LP 'My Life at 45' in early 2020, garnering critical acclaim from the likes of Bandcamp, BBC 6Music, Fatboy Slim and Blues & Soul Magazine, to name a few.

Now, and not a moment too soon, Dr Rubberfunk brings us a pair of outstanding beat treats from his back catalogue, pressed to 7" vinyl for the very first time. Featuring 2 tracks originally written for the 2006 Red Bull Beat Battle at the behest of Rocksteady Crew legend Mr. Wiggles, 'Come Back Breaker' & 'Beats Working' have become firm favourites with breaking crews worldwide.

Drawing on his continued influences from the sample-based collages of early cut and paste pioneers, 'Come Back Breaker' and 'Beats Working' suitably highlight the lessons learnt from that era. Coupled with the good doctor's signature drums and rolling basslines, spoken words snippets and needle-drop samples get the party started and carry it on well past bedtime.

Following the well received inclusion of Bonus Beats on all of the 'My Life At 45' series 45s, and upholding the noble drum-a-pella tradition, Dr Rubberfunk went back to his original session recordings to bring you 'Drums Working' - grab yourself two copies and keep the beats working for days!

Back in stock!!

Active as a professional DJ in Japan since the late eighties, DJ Yoshizawa Dynamite is also a renowned remixer, compiler and producer. An avid record collector and an expert of the Wamono style, Yoshizawa published the Wamono A to Z records guide book in 2015 which instantly sold-out. The book unveiled a myriad of beautiful and rare records from a highly prolific, but still then unknown, Japanese groove scene.

After many years working as a record buyer for several stores, DJ Chintam opened his own Blow Up shop in 2018 in Tokyo's Shibuya district. A member of the Dayjam Crew and a specialist of soul, funk, rare groove and disco music, Chintam is also an expert of the home-brewed Wamono grooves. He supervised and wrote the Wamono A to Z records guide book together with Yoshizawa.

With this first volume of the Wamono series, our two DJs here guide you through some of the best and rarest jazz funk and rare groove tunes produced in Japan between 1968 and 1980. Put the needle on the record, turn up the volume and dig right now into the Wamono sound - the cream of the Japanese funk, soul, rare groove and disco music developed throughout the years since the end of the sixties in Japan!

Multi Natural is a new example of Christina’s organic chamber music. We enter nine composed chambers. Nine rooms to inhabit, constructed out of elements that are slowly fusing. The album is a string of semi constant metamorphosis. A gesture appears, is elaborated upon—or is halted and replaced by a new gesture. Multi Natural has multi focal points, quite dissimilar to Christina’s other works that tend to have a more linear path.

Within this album lives a composer who is not afraid to let the content take over. In this, obviously composed work, there is still a large space for all those sounds to act freely. It is almost like Christina is waiting for the music to compose itself. This technique speaks of respect and trust for the listener, since it gives thelistener freedom to personally connect the lines.

When you put the needle on this record, everything turns to stone. The music flows and nurtures. Sounds that come from various realities—molded into a mutual understanding. With each spin, new events catch the ears. Like looking at alandscape, perceiving new details close and far with every gaze.

When Christina warps both time and space for you, it comes to you as a gift.

2 legendary DJ/turntablist classics on one 7"

Favorite Recordings presents Jazz Traficantes by LE DEAL, a new musical adventure from the finest French jazzmen with Florian Pellissier (Piano & Fender Rhodes - Camaraõ Orkestra, Cotonete,
Aldorande, Setenta), Yoann Loustalot (Flugelhorn – Bruit Chic, Old & New Songs, Aerophone, Lucky Dog), Théo Girard (Upright Bass – Pensée Rotatives, Discobole) and Malick Koly (Drums - The Wallace
Roney Quintet). Needless to say, they’re used to play all over the globe and quite often to New York. During one of these
trips to the Big Apple, they discovered that the legendary Van Gelder studio (where most of Blue Note, Verve and CTI albums were recorded) was still active and opened so they decided to book a few days session.

Here is the story told by Florian Pellissier: “The tracks had been written the night before. We were going to run through them and then record. A simple plan. Van Gelder had passed a while back, but he left the keys and secret codes with his faithful assistant Maureen before heading off to create the right sound up in heaven. Nothing had changed in the atmosphere or configuration, not even the way the mics were placed. The studio and its wooden beams still exuded New York’s sixties jazz, dimly lit streets and clubs where anything might happen past midnight. Maureen knew just how to capture the ambiance of the sessions and bottle the energy without spilling a drop, taking infinite care to collect each cymbal tone, drum roll and trumpet phrase, without losing a single vibrating bass string or the slightest keyboard pause.”

Indeed, the four contrabandists succeeded to deliver an outstanding album, filled with themes that’ll get stuck in your head, just like in the 19 minutes long performance “Mexican Junkanoo Suite” and its three
parts. But more than just beautiful melodies, LE DEAL truly managed to bring a sense of drama to their compositions, going into the deepest emotions through gutted arrangements, improvising with great attention to the articulation of their ideas. From the beginning to the end, musicians and engineers did their best to emulate the proper vintage sound. Jazz Traficantes could prove once and for all that
French Jazz can indeed cross the borders. The album will be available as Tip-On Deluxe Vinyl LP but also on CD & Digital with a bonus track, “Noche en la Carcel”

Finnish DJ/ProducEr duo Cut BEEtlEz droppEd thEir dEbut privAtEly pressed High Jump 7” EP bAck in 2014. ThAnks to A hook up from lEgEndAry MC, DJ, vinyl vEtErAn And All round top fEllA OxygEn thEy sEcurEd A dEAl with AE Productions And rEturnEd in August 2017 with 12” singlE Droppin’ NEEdlEs fEAturing OxygEn And Soundsci crEwmAtEs AudEssEy and U-GEorgE.

SincE thEn Cut BEEtlEz hAvE bEEn mEticulously crAfting thE rEst of this Album whilE concurrEntly working with ThE Good PEoplE on thEir Cut PEoplE EP rElEAsEd in 2019 on FAbyl REcordings.

BEing thAt nEithEr J MAn or HP LovEscrAtch ArE MC’s thEy nEEdEd somE vocAl AssistAncE And rEcruitEd thE immEnsE tAlEnts of rEgulAr cohorts ThE Good PEoplE along with Guilty Simpson, RAh DiggA, El DA SEnsEi, J-LivE, OxygEn, REks, Truck and REtnA – All of whom wE’rE surE nEEd no introduction. ThE Droppin’ NEEdlEs mAin vErsion from thE singlE is Also includEd for good mEAsurE but thE rEmix rEmAins ExclusivE to thE 12”. EyE cAtching Artwork by thE EvEr AmAzing Mr Krum finishEs off thE pAckAgE nicEly!

Gennaro Giamundo AKA Genny G launches his new record label “Parsimonia” with the first instalment Parsimonia EP.

The package is comprised of 4 original tracks plus 1 remix by Artizhan. Vastly different in their presentation the tracks explore the fringe of deep and house music with bouncing synths, vocals, percussion drums all tied together with fretless baselines.

Limited of 250 copies handmade with insert and artwork (incl. digital code for download release + 2 bonus tracks).

Demon Records presents Distortion: 1989-1995, the first in a series of four expansive vinyl box sets chronicling the solo career of legendary American musician Bob Mould. Bob Mould’s career began in 1979 with the iconic underground punk group Hüsker Dü before forming the beloved alternative rock band Sugar and releasing numerous critically acclaimed solo albums. Volume one in this new series covers 1989 to 1995, beginning with Mould’s first post Hüsker Dü album Workbook and continuing through to Sugar’s final studio album File Under: Easy Listening.

Each album is presented with brand new artwork designed by illustrator Simon Marchner and pressed on 140g clear vinyl with unique splatter effects.

Includes a 28-page companion booklet featuring: liner notes by journalist Keith Cameron; a foreword by writer and actor Fred Armisen; a tribute from Richard Thompson; lyrics and memorabilia.

Mastered by Jeff Lipton and Maria Rice at Peerless Mastering in Boston.

Featuring an array of bonus tracks including Sugar’s 1995 collection of Bsides and non-album tracks Besides, along with Distortion Plus: 1989-1995 a new and exclusive collection of rarities and collaborations (pressed on clear vinyl).

Marilyn Manson returns with his eleventh studio album WE ARE CHAOS via Loma Vista Recordings. Co-produced by Manson and GRAMMY® Award winner Shooter Jennings Brandi Carlile, Tanya Tucker, the ten-track opus was written, recorded, and finished before the global pandemic. Manson heralds the record’s arrival with the title track and lead single “WE ARE CHAOS.”

Manson’s painting, Infinite Darkness, which can be seen on the album cover, was specifically created to accompany the music. His fine art paintings continue to be shown all over the world, including gallery and museum exhibitions from Miami to Vienna to Moscow.

Manson says of the album, “When I listen to WE ARE CHAOS now, it seems like just yesterday or as if the world repeated itself, as it always does, making the title track and the stories seem as if we wrote them today. This was recorded to its completion without anyone hearing it until it was finished. There is most definitely a side A and side B in the traditional sense. But just like an LP, it is a flat circle and it’s up to the listener to put the last piece of the puzzle into the picture of songs.

“This concept album is the mirror Shooter and I built for the listener - it’s the one we won’t stare into. There are so many rooms, closets, safes and drawers. But in the soul or your museum of memories, the worst are always the mirrors. Shards and slivers of ghosts haunted my hands when I wrote most of these lyrics.

“Making this record, I had to think to myself: ‘Tame your crazy, stitch your suit. And try to pretend that you are not an animal’ but I knew that mankind is the worst of them all. Making mercy is like making murder. Tears are the human body’s largest export.”

Faitiche presents a new album by Frank Bretschneider. abtasten_halten was made as part of the raster.labor installation first presented at CTM Festival in 2019. It is perhaps the most radical work in Bretschneider’s distinctive oeuvre: abtasten_halten is a self-generating composition for synthesizer modules whose sole sound source is the movement of two VU meter needles. The resulting percussive sounds coalesce into rhythmic combinations – all random, without repetition. The album resembles a meditation on infinite rhythmic variation. abtasten_halten is Frank Bretschneider’s first release on Faitiche.

One sound can give birth to thousands of tones through self-fertilization. Pierre Henry, 1982

Frank Bretschneider on abtasten_halten:
abtasten_halten (sample_hold) is a largely self-generating composition for a modular synthesizer system. Self-generating here means that as soon as a current flows, the various modules interact, but within limits set by the composer via the connections between the modules (patches): timing, tempo, timbres, dynamics. These conditions are kept variable to a certain extent or left to chance, so that the composition created is always similar but never the same. On the one hand, the use of random generators opens up possibilities that would not otherwise have been considered. On the other, it offers the fascination of the unfinished and the unique: totally unexpected musical events that you might hear only once.

abtasten_halten combines my preferences for percussive music in general and electronic music in particular. Largely avoiding repetitive structures, the piece is more like a free improvisation, quiet and diffuse, but also extremely dense, in ever-changing contrasts and transformations.

The tone generators are two modified VU meters whose needles, driven by trigger impulses, create a simple one-bar pattern by hitting against a metal spring that is connected to a piezo element (thanks to Gijs Gieskes / Gieskes.NL). The tempo is continuously varied over a period of about ten minutes by several mutually modulating LFOs, ranging from about 0.06 Hz up to the lower audio range of about 18Hz.
The percussive sounds thus obtained are then passed through low-pass filters with moderate resonance and random frequency modulation to additionally colour the sound. Further processing is then executed by an echo module whose tempo and repetitions are again determined by random parameters. Finally the audio signal is occasionally enriched with reverb to add more spaciousness to the sound.

The concept for the installation raster.labor was developed by Olaf Bender, Frank Bretschneider and David Letellier. Many thanks to raster - artistic platform.

On Frank Bretschneider:

Frank Bretschneider works as a musician, composer and video artist in Berlin, making mainly electronic work based on complex rhythmic structures and interlocking textures, whose many-layered sound is inspired by the experimental set-ups of modern physics, often supplemented by perfectly synchronized computer-generated visualizations. In 1986, he founded AG Geige, one of the most influential underground bands in East Germany. In 1996, he co-founded the label raster-noton and has since released many solo albums.

Italian Disco remixer extraordinaire Moplen is back at the controls with a super sublime reworking of a wonderful and rare early 80's Leroy Burgess jam from the Salsoul vaults. 'Heartbreaker' is an underground classic, seeing Burgess back in the studio with longtime collaborator Sonny T. Davenport and Kiss FM mastermixer and producer Shep Pettibone on mixing duties. A tight and flawless early 80's production sensibility and the incredible vocal arrangements and lyrical performance of Leroy Burgess make this one a definite essential in any DJ's box. This is the real deal. If you dig that post-Disco electronic sound this one is for you, simply perfect in every way and quite tough to track down these days in its original form with copies reaching high figures on the second hand market. Needless to say, Moplen injects his own personal style into his remix and adds his unique flair creating an essential new version of this classic on the B-side. Always understanding, respectful and fresh, Moplen pumps 'Heartbreaker' in all the best ways, crafting a drum and bass heavy DJ version and new arrangement that you will be hearing for many years to come! Disco bliss.

This remix and reissue is 100% supported by Leroy Burgess, who dug Moplen's new vision of this 1983 classic. Fully licensed, sanctioned and released by Above Board distribution and Salsoul Records, 2020. Accept no imitations!

Tetrode Music head honcho and Sound Signature affiliate, Specter, lines up the next Second Hand Records NYC release and it’s that deep, soulful goodness you need in your life.

'Peace of Mind' hits right from the needle drop. Made for the dancers! Listen to this on a real sound system for that enhanced feeling.

'Front & Center' keeps the energy flowing, mixing deep chords over dark warehouse bass lines. Big leagues tune!

'Cold Sweat' would fit snuggly against any Larry Heard record, or maybe its just that Chi-town flavor soul music we love! Byron The Aquarius adds another layer of flavor to this already killer cut. Deeeeeeep!

DJ Support:
DJ Spinna, Kai Alce, Ash Lauren, Byron The Aquarius, Stefan Ringer, Hugo LX

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records, as evidenced in the spooky soundtrack works of The Sorcerers, the big band brass of The Yorkshire Film & Television Orchestra and even in the soul-jazz of The Lewis Express ('Theme From The Watcher).

Everything released on ATA is written and guided by the label heads Neil Innes and Pete Williams, who frequently dip their toes in the Library pond while working on other projects. These occasional one-off tracks have accumulated over the past few years and have now found a home on the first volume of an ongoing series : The Library Archive

Ranging from heavy big band brass (Whack, Slap & Blow, Kaye Okay) to evocative thriller soundtrack (Midnight Heist, Wiretap, The Needlenose) via introspective ethereal soundscapes (Nuclear Wind, Siren's Sea) these 11 tracks faithfully recreate the feel of the Library music catalogues of the 60s and 70s.

The globe-trotting Robert Millis returns to Helen Scarsdale for this beautifully fragile album of dissolved glass rendered as a collage of recontextualized minimalism. To astute listeners, Millis should be a household name due to his work in the unpredictably diverse Climax Golden Twins as well as his impeccable curations for Sublime Frequencies (collections include the Deben Bhattacharya: Men and Music on the Desert Road and Indian Talking Machine books). Hie previous solo work include Relief (released here on The Helen Scarsdale Agency in 2013) and The Lonesome High for the Sun City Girls’ Abduction Records in 2016. His scholarship into the hidden corners of music across the world has also earned him Guggenheim and Fulbright fellowships.

Related Ephemera is an album composed mostly from the hiss, the crackle, the surface noise of 78rpm shellacs and wax cylinders. “Horrifying,” Millis explains “is the concept to record collectors that vinyl degrades and can be easily damaged. however, initially records were considered ephemeral, especially 78rpm records. They were novelties. Fleeting. Entertainment.” Millis intends for the album to be a feedback loop whereby the patina of handling, playing, living with the record will circle back to the original source material. Furthering that metaphor, Millis amplifies and dilates feedback tones generated from his collection of vintage gramophones.

That said, Millis does cite the intrusion of exactly one field recording, a broken toy, and a few notes from a cello. But the construction of these rarified tones, crispy textures, ghostly rattles, and fluid resonance that ripples through all of Related Ephemera has its origins in the tactile nature of the vinyl medium. It’s hardly the stuff of sentimental nostalgia though. Related Ephemera is more an act of time travel, slipping backwards and forwards with the scratch of a needle (Watch out! What pre-recorded needle jump sound is not your turntable going haywire!). The emotional core to the album is that of a resigned melancholy, almost Bergman-esque in its starkness but not without a brief moment of dark humor.

Here is an album that aligns itself aesthetically with Nurse With Wound’s Soliloquy For Lilith, Philip Jeck’s more languid collages, and even some of Harry Bertoia’s sculptural atmospherics.

The vinyl was mastered and cut by Helmut Ehler at D&M Berlin, whose expertise was necessary given that part of the original compositions from Millis’ reworked surface noise were exceedingly problematic to cut. The D&M cut does temper the composition into a mysterious, diaphanous cloud; where the digital-only mastering provides a cascade of insects gnawing within your inner ear. Two facets. One piece of music.

colored vinyl

Never ones to turn down some acid, Schrödinger’s Box welcome a well-seasoned 303 master into its ranks. With more than a decade’s experience of knob jerking body bending bangers, Snuff Crew are true veterans.

The intent of Always Oldschool is laid bare on the needle drop. Throbbing beats are laced with silver-box squawk as vocals circle in the midnight sweat of “Mile High.” Forged in the sound of Chicago, “Mousehole Groove” is a gnarled and nasty banger brimming with attitude. Accentuating that attitude, Hard Ton arrives to bring his unique vocals to the proceedings. Drenched in simmering decay, spiked with rusted snares, “Jack Until” is an ode to the club and the possibilities it brings. Carrying on from that late night romp, we wake up with “Sunday Morning.” Club comedown? Think again. Piano keys cut a sharp and fine mood with lyrics only pushing the happiness even higher. Smouldering with a touch of something sinister, “Friendship” closes the proceedings.

Always Oldschool burns with a full intensity. A 12” of fiery floor funk and enflamed passions, a 12” that comes with Snuff Crew’s guarantee of sore muscles and a flourish of romance.

Impromptu muscovite supergroup Lilipulu turn the needle neon with a quartet of unexpected killers for club cosmonauts, rainforest ravers, anxious insomniacs and giddy punks.

Unplanned, inspired and all the way live – the pin is glowing! Ever wondered why the Growing Bin releases sound so damn good? Well, it has more than a little to do with mastering magician Sergey Luginin, whose eagle-ears and technical know how have been a part of the process since GBR002. For the latest Glowing Pin powerplay, our man in Moscow joins some close friends on the other side of the console, letting the creative juices flow for ‘Four Amazing Tracks’. Luring Simple Symmetry brothers Sasha & Sergey and DJ & photographer Ivan Pustovalov into his studio with the promise of an afternoon stroll through the nearby Elk Forest, Sergey set the circuitry in motion and the quartet got lost in music. What begin with a plan for some simple edits and a woodland walk quickly became a full scale studio throw down, reimagining forgotten favourites amid a multi-instrumental stew of propulsive polyrhythms, low slung bass, cosmic synths and frazzled guitars. There’s techno-tribal hypnosis on the mind bending, brain blending A1, poetic post punk on the angular, janglier A2, outrageous Afro-cosmic on the freaky Floyd-in-Lagos B1 and languid ambience on the lysergic lullaby which closes the set. Recorded as they worked and presented in chronological order, this EP is a triumph of inspiration over perspiration - a snapshot of a moment which will last forever.
Patrick Ryder

Sugar were the US alternative rock trio fronted by ex-Hüsker Dü vocalist / guitarist Bob Mould. First released in 1995, Besides is a collection of B-sides, remixes and live versions. Highlights include a live rendition of ‘JC Auto’, the rare studio recording of ‘Clownmaster’ and a cover of the Who’s ‘Armenia City in the Sky’. Issued on heavyweight 180g clear vinyl for the first time.

The 11-track album titled “Needledrop” provides a suite of both uplifting and easy-listening moments, refined and understated individually yet cohesively crafted with the honest musicianship and inarguable credentials that we know of production duo Session Victim.

The German pair of Hauke Freer and Matthias Reiling are no strangers to releasing quality long-format albums and while rising through a discerning community of DJ’s have previously released three consecutive albums on tastemaker label Delusions of Grandeur culminating in 2017’s “Listen To Your Heart”.

Their latest and fourth studio album via the label Night Time Stories (the London based sister label to the coveted LateNightTales) marks a notable move towards the home listening dynamics of their career counterparts such as Nightmares on Wax and Portishead that have played such a strong influence in Session Victims variety of output over the last decade.

As accomplished producers, Session Victim have been intent on delivering a characteristic body of work for uninterrupted easy listening and with Needledrop have landed with significant inspiration from the engaging jazz and soul compositions that found their way into early 2000’s trip hop.

Fusing downtempo beats, smooth tones and hedonistic grooves via their intuitive sampling sessions, Session Victim’s fourth album succeeds in actively engaging the listeners mood and intellect in equal measure.

The albums clear stand out is "Made Me Fly” which presents a soothing yet expressive live vocal performance by singer songwriter Beth Hirsch, best known for her collaboration with French duo Air on their 1998 album Moon Safari.

As self-confessed semi-reclusive studio geeks, Session Victim have turned their 2020 album focus towards a large arsenal of dusty influences which has inspired them to rediscover the intuitive and playful side of their production personalities while also demonstrating their cherished music knowledge.

The Word is one of the better kept secrets of 1980s Austrian disco music. Yet once you put the needle on this record, you notice that it sounds oddly familiar. The awe inspiring signature piece “Lobster” has the same analogue, slow moving aesthetic as Zenit’s timeless “Waiting” that was featured on Edition Hawara’s first release. The same goes for the three other wonderfully unconventional, proto electronic songs: “Easy”, “All My Life” and the eponymous “ The Word”. And there are even more commonalities with Zenit’s LP: The vocals are Linda Sharrock’s, who here teamed up with Karl “Charly” Ratzer and Peter Ponger, the twin brother of legendary Falco producer Robert Ponger. The result of this collaboration is, well, also quite legendary. How this kind of sound emerged in Vienna in 1984 is still a bit of a mystery, but clearly all the stars were aligned when Sharrock, Ratzer and Ponger were jamming in the studio. We are very proud to share this secret with you. Just as there are very few lobsters in landlocked Vienna, there are very few records like this out there.

Changes, always changes! That is the path than an artist travels in his musical career. But road always as a goal. And Jesus Gonsev gives us one of them in his first album as an artist. Eight tracks for enjoy this long tour and see his influences on it. An album where different styles are played, Deep House, Breaks, Electro, Techno. But harmoniously converge with that characteristic Gonsev's touch. Now is the time to start this journey by placing the needle on the vinyl. Do you want to change your life? A new life...

Molecular Meditation is a bespoke light and sound environment featuring the voice of the Fall's Mark E Smith. Smith is heard making observations on mundane objects, events and a range of meditation techniques basically associating his discontent with an apolitical british upper class. His voice forms the narrative component of an electroacoustic composition by Jan St. Werner placed in a hyper-real scenario evoking a state of transformation and deceleration.

Molecular Meditation premiered at Cornerhouse, Manchester in 2014. This album presents a re-edited and remastered stereo version of the original multi-channel piece. Voice and guitar feedback were recorded at Blueprint Studios Manchester, electronics in Werner's St.udio in Berlin. The B-side consists of unreleased new work partly written around the same time as Molocular Meditation in context of Werner's Fiepblatter Catalogue on Thrill Jockey. Back to Animals is a non-metric rhythmic exercise frantically hybridizing percussive accents with synthesized pulse.

On the Infinite of Universe and Worlds is an electronic opera based on Giordano Bruno's Renaissance writings which Werner was asked to conceptionalize for new music festival Music Nova in Finland. VS Canceled finds Mark E. Smith reading an email from Domino Records explaining their discontinuation of the Von Sudenfed project a band Mark E. Smith had founded with Mouse on Mars' Jan St. Werner and Andi Toma in 2006. Their debut album Tromatic Reflexxions came on Domino out in 2007. The vinyl record, cut with a diamond needle, provides as much acoustic depth as the digital version.

From the cosmic creative musical mind of Swiss/Catalan studio whizz, Zeleste Nightclub engineer, video nasty film composer, occasional Jaume Sisa (Muìsica Dispersa) collaborator and future electronic music therapy pioneer J. M. Pagaìn comes the synth-ridden, vocoder-loaded 1984 sci-funk soundtrack to Barcelona’s daytime TV response to the universal E.T. phenomena. Get ready to meet your new alieniìgena amic and the unidentified flying object of thousands of Catalonian kids’ affections through the 1980's as Finders Keepers present Pagaìn’s lost lunar modular synth score to ‘Kiu I Els Seus Amics’ (Kiu And Friends aka Kiu Is Your Friend).

From the same intergalactic phenomenon that brought such delights as Turkey’s exploito cash-in ‘Badi’ or South Africa’s lo-rent homage ‘Nukie’ to our unregulated small screens and the same craze which filled international airwaves with the likes of Extra T’S electro smash single ‘E.T. Boogie’ or the million selling Columbian ‘Cumbia De E.T. El Extraterrestre’ smash hit... not to mention a wide range of unofficial theme-tune cover versions from Holland, Austria, France and Germany (lest we forget an inspired late period Lee Scratch Perry Album).

In 1982 the diaspora from Steven Spielberg’s small fictional mid-American neighbourhood that played host to everyone’s favourite torch fingered, three toed, Skittle-scoffing space goblin touched virtually every family home in every major city resulting in one of the biggest cinematic merchandise phenomenas of the 21 st Century, resulting in an unexpected high-demand / short-supply play-off in which bootleggers, copyists and counterfeiters rose to the challenge like never before.

When Spielberg regrettably told interviewers that he had no intention of making a sequel to ‘E.T. The Extra Terrestria’ it instantly became open-season for the imitators... but way before somebody squeezed-out ‘Mac & Me’, ‘ALF’ and ‘The Purple People Eater’, a team of kid’s TV executives in Catalunya were ready to fill the widening gap in the market without haste. Created in 1983 by Luna Films and Televisioì de Catalunya (TV3) and screened exclusively in Catalunya, ‘Kiu I Els Seus Amics’ was one of the first E.T. ‘tributes’ to make it out of the gate and with a crew of five individual directors and writers to ensure that the five episode, one-off series hit the wave of phone-home-fever, Kiu has since remained a short but sweet micro- memory in the hearts of an entire generation of Catalonian cosmonauts.

This special Finders Keepers edition comes complete with all of Pagaìn’s cosmic synthesiser soundscapes fully intact (barring striking comparisons with the likes of Tangerine Dream, John Carpenter, Vangelis and the soundtrack music of Suzanne Ciani), as well as some rare, unreleased, incidental TV edits. The bulk of this LP is made up of tracks taken from the rare full-length album, which was released after the TV programme had already been aired and coincided with sales of jigsaws and rubberised play figures in an attempt to catch-up with the unexpected mega-success of the show, needless to say, with a short promotional window, the LP (and cassette edition) did not benefit a re-press and with most copies sold to children, few vinyl pressings have escaped repeat needle scratches and decorated sleeves.

“…Voices Heard From The Year Of Thirteen Moons…”
Beyond the decay of ruins hums the subtle sound of Vapor, a suite of dystopian instrumentals by Italians Do It Better visionary Johnny Jewel. His trademark analog synthesizers have never sounded more crystalline, their landscape never more evocatively barren. Chiming bells slowly twirl like the rusted music box of a child’s nightmare, a pitch-black bleak that is utterly frightful — Jewel channels the beauty & horror of a world that long ago abandoned its own destiny. This is a fever dream flashback. The kind that strikes you in the blur of night & refuses to weaken its grip until the sheets are drenched in sweat. This soundtrack is as elegant as it is violent, conjured in the deepest blacks & most vivid reds. These 21 celestial tracks clock in at just over an hour. Warping wind from a spiraling pinwheel…The sound of dust in the Garden of Hera, walking the tightrope between Life & Hades. The thin line that divides the Heavens from the Earth. Breathe Deep.

Produced & Mixed By Johnny Jewel
Mastered By Mike Bozzi At Bernie Grundman Mastering
Cut By Bernie Grundman In Hollywood
Artwork By Johnny Jewel

When was the last time EDMX served you what you expected? Maybe you drop the needle down in anticipation of some slick boogie-inflected synth pop and get walloped in the face with hellfire techno. Perhaps you were itching for body-popping electro and got cerebrally hijacked by pagan coldwave.

On this latest magnum opus, his first on Queen Nanny. Ed Upton is in the mood to get down low in every sense of the word. On the frequency range, this is a record dripping with lard-fed bass at every turn. The arrangements too are devilishly low in channel count – raw riddims with just a few key ingredients to do the necessary damage. Then there are the tempos, which predominantly set cruise control at 90 BPM and glide.

It’s not hard to tell where EDMX’s inspiration has sparked from on this album – in the spirit of celebrating the compatability of oddball sonics from all corners of the globe, he’s patched his sound into a specific vibe and struck gold with some of the most distinctive riddims you’re likely to hear all year.

We're delivering you what is truly a passion project for us at Bauhaus Records. When the album came out in 1986 Avi Matos' album "Lokeach Et Hayom Le'at (taking the day slowly) was the first ever reggae and dub album to be made in Israel. Needless to say it was way ahead of its time. Back then, the production has been a milestone and brought together some of Israel's best musicians at the time.
Re-mastered with love to provide the true reggae and dub sound

2x12", 180g

Keith Carnal's debut album on his own Second Degree imprint.

“Mohammad Reza Mortazavi is a virtuoso percussionist known for playing traditional Persian instruments such as the tombak and daf. After developing more than thirty new striking techniques and progressing to be one of the most prominent players in Iran, Mortazavi travelled to Germany, eventually settling in Berlin to record and perform regular concerts the world over. His acclaimed performances have taken in venues such as Berlin Philharmonie and Sydney Opera House. In recent years, he has been embraced by the experimental electronic music community, collaborating with Burnt Friedman, Fis and Mark Fell.

Ritme Jaavdanegi is Mortazavi’s sixth LP, and his first one available on vinyl. The album came together from recordings made in Berlin in June 2019, inspired by Mortazavi’s vivid reminiscence about profound experiences he had listening to music as a child. As he drifted in this time-slipping reverie, the phrase ‘ritme jaavdanegi’ or ‘rhythm of eternity’ came to mind, and he found the phrase itself to match the 11/8 metre he was striving for. As such, all eight pieces on this album adhere to this time signature, which in itself harks back to the Aksak, a rhythmic pattern based on the alteration of binary and ternary quantities executed in a fast tempo, intrinsic to traditional music from Iran, Turkey, Afghanistan and the Balkans.

In the same way these non-standard folk rhythms started to impact on Western music in the early 20th Century, so now you can hear an ever-increasing embrace of polyrhythms and metres that break away from the dominant 4/4 ideology. What’s most striking about Ritme Jaavdanegi, perceived through a lens of modern Western experimental music, is how Mortazavi’s virtuosic playing rivals the intensely programmed dynamics of electronica. His rapid, needlepoint drum hits bend their tonality in incredibly musical ways, but there is still an underlying focus on cyclical repetition that encourages the same ancient transcendental quality that so many contemporary artists strive for.”

White Vinyl

This is "Altair", a collection of kaleidoscopic post-breakcore on Love Love Records from veteran french surrealist Ruby My Dear. Presented with artwork by TAPT on white vinyl.

The lights are out and a strange alien force surrounds the periphery of your hearing.. The sound of a haunting music box flickering in the darkness draws you closer but as you begin to approach everything explodes into dank crossbreed DnB rhythms that punch you in the gut and send you flying. As the bombardment of breaks momentarily subside you realise you've been beamed aboard the mothership and are now surrounded by unknown and indescribable visions.

You are given a brief moment to contemplate before your legs are swept from underneath you by a flurry of amens that would fry the minds of the hungriest of junglist's epicures. Journeying deeper into the heart of the beast you become aware of distant and immense rumbles but are stopped in your tracks by grinding brutal machinery rising up on all sides. As quickly as it appeared it starts to collapse and you are plunged into near darkness once again.

Pulses of light slowly begin to stab rhythmically from behind clouds and you feel yourself begin to move faster and faster through a void that is now streaked by a spectrum of colour. Floating debris starts re-arranging around you at light speed and every fiber of your being is simultaneously stimulated with needle-like accuracy. As the last string plucks play out the darkness falls away and the cover artwork comes back into focus. You immediately leave wherever you are and encourage someone else to experience this music.