quête:never never

"Relive Enoch's mystical journey in his quest to defeat the fallen angels!

El Shaddai Ascension of the Metatron is back on Nintendo Switch in full HD and for the first time in vinyl format!

To celebrate the occasion, in partnership with CRIM headed by creator and designer Sawaki Takeyasu, here's the game's original soundtrack in a magnificent Gatefold 2 x LP edition with white discs.

The El Shaddai Ascension of the Metatron soundtrack is composed and arranged by Masato Kôda and Kento Hasegawa, and features a variety of epic orchestral pieces and sacred, dreamlike melodies.

It has been praised for its quality and distinctive style, which fits perfectly with the game's artistic design and narrative."

40 years after its original release, a new and expanded version of ‘Goot From The Boot’ is here to stay! It was 1984 and the newborn Florentine label Spittle Records launched his manifesto, with a killer selection of Italian underground bands verging on the Hardcore/Punk firmament and the New Wave ‘end of the spectrum’. This new version contains three bonus tracks, including “V’Oi!” by Skulls, which could not be included in the first pressing due to a postal delay. Finally we put things in the right place. An essential piece of Italian Hardcore and New Wave history.

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

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

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

‘Sixty Nine’ the group’s debut LP that emerged in 1988 had critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves, ‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary – Neil Kulkarni


"A.R. Kane made some of the most exciting, forward-thinking, and science fictional music of their era".s*

The 10th anniversary edition of The Growler's "Chinese Fountain" has been updated to include a gatefold with never before seen photos and colored vinyl. Includes the favorites, "Going Gets Tough", "Black Memories" and "Rare Hearts

Over atmospheric instrumentation expanded by cinematic structure and pacing, Pearlty presents Knifeplay somewhere between dream-pop influenced shoegaze and lofty slowcore, never fully committing to one or the other in its insistence on creating an immersive, organic world.

Originally released in 2019, Knifeplay’s vivid debut Pearlty documents songwriter Tj Strohmer’s expressions of early adulthood in what he describes as “the journey from innocence to experience.”

Written during a time of immense inspiration, Strohmer was able to peel himself away from detached nihilism, uncovering the physicality and therapeutic powers of songwriting. Newly emboldened by this discovery and the talented community surrounding him, Strohmer channeled this revelation into his work, taking Knifeplay from a bedroom experiment that merely wrote songs to a more substantial project with a purpose.

KEYS has just completed their second album, “The Grand Seduction”. This all-keyboard band is the brainchild of singer Jake E (Cyhra, Amaranthe and others) and keyboardist Mark Mangold (Touch, Drive, She Said, Michael Bolton, Cher, Paul Rogers and others) with Emanuel Bagge (Sweden’s Got Talent Finalist) on additional vocals and keys, Irwan Fabrien (noted keyboard guitar sound designer) with help of drum gurus Alex Landenburg (Kamelot, Cyhra and others).

Featuring live performances with three keyboardists and a huge battery of keyboards, this ambitious band brings keyboard and instrumental prowess to new heights while playing songs that run the gamut from scathing progressive melodic forays to catchy and melodic rock anthems …and Jake’s award-winning voice (Burrn Vocalist of the year 2020). Previous KEYS album also featured guest keyboard additions by Charlie Calv of Angel and others.

Though songs are first and foremost, this band shows the versatility of keyboards in this day and age. These artfully crafted songs are ripe with scathing synth, organ and “guitar” pyrotechnics, dazzling time signatures and drumming, bombastic choruses and “guitar” riffs (played on keyboards with the now available plug in’s that perfectly emulate guitars). As Mark and Jake are first and foremost award winning songwriters, they never lose sight of the composition and melodies, though couched in the very signature and hard to pigeon hole sound (isn’t that the whole point?) of this band and Jake's 4 octave vocal range.

Destiny is the 1996 studio album by Cuban-American singer Gloria Estefan. It features a more ambient sound compared to her previous albums and includes the singles ""Reach"", ""You'll Be Mine (Party Time)"", ""I'm Not Giving You Up"" and ""Show Me The Way Back To Your Heart"". The single ""Reach"" became a hit around the world and was the official theme of the 1996 Summer Olympics in Atlanta. Destiny was certified Platinum in the US, double Platinum in Spain, and achieved Gold certification in four other countries. The album charted well in the US, Spain, UK and Norway among others. Destiny is being reissued for the first time since its original release in 1996 and is available as a limited edition of 1000 individually numbered copies on crystal clear vinyl, including an insert.

The Big Picture is the 2014 studio album by Kat Edmonson, who calls her music vintage cosmopolitanism pop. For the recordings of this album, she collaborated with acclaimed producer Mitchell Froom (Crowded House, Suzanne Vega). On The Big Picture, according to NPR, “she's a savvy student of '60s film soundtracks, jazz-pop stylists and Brill Building songcraft, nodding to her influences at every turn. But her take on those stylized musical languages is so fresh and fluent that the referencing never feels cumbersome."" The album features standout tracks “Rainy Day Woman”, “Oh My Love”, and “You Can’t Break My Heart”, which remain fan-favourites to this day. The Big Picture is available as a 10th anniversary edition of 500 copies on white & black marbled vinyl.

"25th anniversary reissue of AFI’s fourth studio album, Black Sails In The Sunset, first released on Nitro Records in 1999. Described by Alternative Press as the band's “first epic” in a 4.5 star review, the title is also the first to feature AFI's current line-up with the addition of Jade Puget. This special pressing features three bonus tracks; a never-before-released track “Weight of Words,” Japanese B-side “Who Knew?” in addition to “Lower It” which is exclusive to the vinyl format. "

This is the highly demanded second edition of System Olympia's first release "Dusk & Dreamland" EP.

Originally pressed by a small italian label in an unknown number of copies, this EP was the first appearance of System Olympia' very own blend of funk, melancholy and female sensuality that defined a whole new department in the italo/nu disco scene.

Features two new original tracks never pressed on vinyl before, Girl On Girl and Signal Your Love, and a new edition of the cover art illustrated by Pip Carter. Essential record for your home collection, club nights, late night car rides and bedroom entertainment.

MC Duke aka The Darkest Knight EP Picture Disc

Subbase honors the great MC Duke, Kashif Adham, a true legend in the music scene and the Godfather of UK Rap.

This incredible limited edition tribute vinyl picture disc celebrates MC Duke's legacy. He began working with Suburban Base in the early '90s and became the most prolific artist on their sister imprint, Boogie Times, before they collaborated with his own label, Hard Disk. This stunning picture disc features some of his rarest releases from Hard Disk, which have never been reissued since their original pressings in the '90s. Together, Duke and Suburban base meticulously planned and remastered these amazing tracks before Duke's unfortunate passing. He was so excited for collectors to enjoy these tunes once again.

MC Duke's unparalleled talent and unwavering dedication to music throughout his life solidified his status as a true legend in the UK music scene. He made significant contributions to UK music, from Hip Hop and Rap to Hardcore and Jungle. Let’s remember the man and his music!

This 4 track EP includes all tracks from The Darkest Knight HARDDISK 004 plus the promo only white label My Sound (HD7) which has sold for as much as £95 on discogs although none have been available for over four years since 2020

Sweet soul and sentimental music has never really gone out of style, and in the particular cases of the innovative wave of 1950's filin era Cuban boleros, or 1960's Nuyorican street soul, they both remain a thriving beacon of timelessness and universality, capturing a particular style of breezy Caribbean romantic music that has stubbornly thrived in the tough concrete landscape of New York City.

Perhaps there is some love in the heart of the city, as the new ensemble La Triunfadora has managed to tap into something of significant substance on their debut recording, Clasicos Sentimentales Para Una Nueva Generación. Co-produced by band leader Benjamin R. Juliá and renowned talent William Holland aka Quantic (recorded and mixed at the latter's Selva Recording studio in Brooklyn), the group has managed to capture the essence of this reemerging style of classic music, while further injecting their own inspired vision of experimental and psychedelic arrangements.

On A-side display for this debut 7-inch release on Names You Can Trust are two canonized Cuban boleros from maestro composer and guitarist Cesar Portillo De La Luz, stacked together in an old school continuous medley, and transformed with lush orchestration that has the talented musicians sparkling behind the duet of lead vocalists Candace Camacho and bandleader Juliá.

The B-side jumps from 1950's filin into Ralfi Pagan's iconic 1969 latin soul masterpiece "Hijo De Mama." Once again La Triunfadora peppers in just enough exquisite arrangements and musicianship to transform the original into something fresh, yet still guided from an analog sensibility, and ultimately performed with a familiar romanticism that these classic lovers' songs have managed to express over the decades to different generations.

Lucta from Milan finally unleash their debut album ‘Eterna Lotta’ which follows the demo 'Black Magic Punk’ from way back in 2018. The 9 track album takes you by the throat and never lets go. The music rages with a fierce atonal guitar tone and drums that push each track to its limits but it’s the vocals that really make this special. They are passionate and enraged and spat out in Italian. The band mixes the furious years of Italian hardcore from the 80’s, Rudimentary Peni and some classic pogo punk with a sense of paranoia to the overall sound. ‘Eterna Lotta represents the continuous internal and external struggle with life: from social interactions to self expectations and how everyone deals with it in eternal conflict. Lucta is the Latin word for "fight" and Lotta fully embraces every aspect of their lives. The band are outcasts, freaks, queers and punks and will forever fight for rights for those that need a voice and push towards a better future.' Limited to 500 copies on pink vinyl.

Nowadays, fresh proponents of folk rock seem to prefer fiery delivery to vibrant depth of the pieces they perform, and it's a rare feat for them to explore the Stygian regions of a centuries-spun lore. However, David Carroll, an erstwhile member of SPINNING WHEEL who hasn't publicly practiced the art for decades, sticking instead to the luthier aspect of music industry, knew better when embarking on this project and inviting longtime fellow travelers for the ride. Those kindred spirits, tethered for years to FAIRPORT CONVENTION and GRYPHON, never ceased to be excited by the possibilities of delving into tradition, especially when there's no showcase to make out of tragedy inherent in familiar tunes, with filigree fed into songs per se rather than their perfunctory trappings. That's why "Bold Reynold" is so compelling without ever sounding flashy, the resulting gloomy tapestry stressing the ancient wisdom of every cut on offer.

Samosa Records cranks up the summer groove with another sizzling release in the outstanding (Re) Funk+Head series – a collection of juicy tracks from the Samosa back-catalogue selected and re-edited by the man himself, De Gama.

This sumptuous vinyl cut of ITALO Funk and Boogie kicks off with Mexico’s finest, The Funk District and the enigmatic ‘La Rapina’. This is pure, unfiltered Funk District chemistry from the first bar. Snake hips guitar, rolling bass and that super-solid 4-4-4 beat pound into your consciousness whilst the hypnotic chant and Latino-infused vocal tempt you into sin.

Next up on the A-side is Samosa head honcho DeGama and his deliciously refreshing ‘Piňa Colada’ - a new edit of the original 2011 version never previously released on Samosa. And what a mystery box it is. Tight beats, punchy bass, looped synth and house-tinged high-hat lead us to a haunting, melodic vocal breakdown. There’s a subtle Afro flavour to this one, definitely for sipping cocktails in a hammock or Caribbean beach bar.

On Side B Italian Maestro Paul Older takes the beats down several notches with the explosive ‘Daboom’ – the DeGama Re-Groove of Paul’s first vinyl release way back in 2019. This is a straight up, mid-tempo peacock strut down Funksville Boulevard. Possibly wearing a Zoot Suit. Imagine having breakfast with Herbie Hancock and you might get an idea of just how funky this tune is. He’s passing you the eggs and you’re buttering the toast.

The last track sees DeGama delve into his dark magic box for the mind-melting, film noir themed ‘Higher’. The tempo is scaled right back to 92bpm for this portrait of pain, joy, lust and hallucinogenic dreams. ‘Higher’ reveals a side of DeGama that we know lurks in there, but only sometimes makes it to the surface. Smokey, sassy and sultry, this is definitely one for the dimly-lit after party.

The latest episode in the (Re) Funk+Head has set the Samosa bar even higher. This simply has to be in your summer record box and don’t you dare leave home without it.

Taken from the forthcoming "Movements Vol.12" compilation album, "Funky Broadway" by The Villagers has never been released - until now. The B-side features the Garage-Rock cut "You're My Baby (Don't You Forget It)" from 1966, the same year as Dyke & The Blazers recorded the original version of "Funky Broadway".

Emerging Belgian DJ/producer STEYA shares her debut EP on IMF, becoming just the ninth artist to release a full body of work on Marcel Fengler's influential label.
The Berlin-based artist has stamped herself as one to watch since breaking through in 2022, a regular at RSO Berlin and Grelle Forelle in Vienna, she's also played Tomorrowland, Exhale, Rex Club andBasement in NYC.
Her first forays into production reinforced her quality, with 'Neon Reecho' featuring on RAW's Third Eye compilation in 2021, followed by the release of 'Elysian' on BCCO's second V/A as well as the excellent 'Prototype X' on the '10 Years of IMF' that dropped in 2022, followed by a standout contribution to the label's new HARDPROOF V/A series in 2023 with 'Trigger Me'.
Her debut EP crystalises 20 years of devotion to techno, presenting abroad palette of sonic influences formed since her early days as araver in Antwerp. At the same time, it continues the label's philosophy of pairing a next generation artist with one of the greats of the genre, with STEYA's hero Rolando featuring on her 'Dopamine EP' with a remix of the incandescent 'Things You Never Said'. Growing up in Belgium where the 'Knights of the Jaguar' was a staple childhood anthem, it was "one of her biggest wishes to have him as a remixer".
An EP borne through two years of dedicated studio time, 'Dopamine EP' kicks off with the electric title track, a gritty tribal outing marked by dynamic shifts in tempo throughout. 'Fast Life' is a slick bass-led cut with plenty of bottom-end kick before a punchy synth melody get sadded to the brew. Swedish producer Hertz - a favourite of STEYA's ("I've played one of his tracks in every set since the beginning of my career") joins the project to re-work the title track, upping the energy ofthe original. 'Things You Never Said' begins life centred around energetic rolling grooves, before warm synth rushes give it a distinct Motor City vibe. Rolando fittingly steps up for remix duties to close out the EP, delivering a masterclass in deep simmering techno, extending the original by two minutes.
"It's a big honour to release my debut EP on such an amazing label like IMF, which is very close to my heart. I poured my heart and soul into this project. It showcases the artistic direction I've developed overthe last few years and is an important milestone in my artist journey." - STEYA
"After experiencing many of her stunning DJ sets, it's wonderful to seeher thriving also as a producer. What really excites me is witnessing her continuous growth, always fuelled by her deep passion for music. So, I'm thrilled to release STEYA's debut EP on IMF, featuring three original dancefloor anthems and two stellar remixes by Rolando and Hertz." - Marcel Fengler

Reflection is also-ran late-'60s British blues-rock, with more rock-oriented takes on the kind of approach used by heroes Freddie King and B.B. King. B.B. King's "You'll Never Know," in fact, is covered here, though most of the material was penned by the band. Steamhammer doesn't put much of an original spin on its sources, or on the British blues-rock form, though this is competent and does generally have a moodier, more downbeat feel than most of the band's competition in the genre. The expressive qualities of Kieran White's voice, though, are limited, as though he's being pinched by something that keeps him from letting go too much. The best moments come when they venture just a little outside of the ordinary U.K. blues-rock model, particularly when Harold McNair adds some jazzy flute; "Down the Highway" sounds a little close to some of early Jethro Tull. Future Jefferson Starship member Pete Sears plays session piano. The 2002 CD reissue on Akarma adds two bonus tracks from 1969 singles, "Windmill" and "Autumn Song," which are more explicit forays into the more melodic jazz-blues-rock direction mined by the likes of Jethro Tull, Colosseum, and Davy Graham in the late '60s, again with prominent flute. ~ Richie Unterberger

Keep on Dancing EP by Marky Ramone's Blitzkrieg on 10-inch 45 rpm vinyl with four versions fresh out of the oven. Faithful to the essences, the band of the only Ramone still standing trims all the fat off the originals and makes every second count. High voltage. DESCRIPTION Marky Ramone needs little introduction. The only Ramone still standing was born in 1952 in Brooklyn and joined the band in 1978, replacing Tommy, and remained with the Ramones until they disbanded in 1996 (with a 1983-1987 hiatus due to personal problems). He is a restless person and has never stopped recording and performing live, either solo (MR & the Intruders, MR & the Speedkings) or in projects and collaborations (Joey Ramone, Teenage Head, Tequila Baby, Wardogs...). MARKY RAMONE'S BLITZKRIEG is the name of the band with which he has been touring the world for 15 years celebrating the Ramones' legacy, as well as adding some own-penned songs and some covers of other iconic punk rock bands to his repertoire. Over the years the line-up has varied, but in recent times the band has consolidated its position on stage with the resounding presence of Vitoria-Gasteiz's own Iñaki Urbizu "Pela" (La Excavadora, Victima's Club) as frontman and vocalist, and the Argentinians Marcelo Gallo and Martín Sauan (Expulsados) on guitar and bass. So, the time seemed right to transfer all the energy generated live to a 10" plastic EP. Four versions fresh out of the oven. Three tracks under two and a half minutes and one just over three minutes. True to the Ramones essence, they remove all the fat that was left over from the originals and make every second count. The Gentrys' "Keep On Dancing" opens the selection. The original track reached number four in the US charts in 1965 and, after passing through the hands of MARKY RAMONE'S BLITZKRIEG, classic Ramones covers like "Do You Wanna Dance" inevitably come to mind. The idea is easy, speed up the original a bit, in 4/4, and then play it faster. The hard part is that the result is so exciting and energetic. "It's Not Unusual", the Tom Jones hit, becomes maximum fun. The familiar, catchy tune is elevated to a whole new level of energy and intensity so that the chorus can be belted out loud. The Beatles' "Octopus's Garden", originally composed and sung by Ringo Star, is transformed into a playful punk-pop song to escape, if only momentarily, from the worries of the earthly world in the backdrop of a bar with a good sound system. Closing "New York, New York", the classic song from the Frank Sinatra songbook, celebrates New York City. It fits perfectly with Marky's identity as a native of the city, rooted in its culture and spirit, capturing the vibrant energy and rebellious attitude of the city that never sleeps. Some can cover hundreds of different songs and make them their own, and others can't. MARKY RAMONE'S BLITZKRIEG, like their originators, are certainly one of those who can. The band is just as comfortable with a colossal song as they are with a ditty, it's all about electric atmosphere and chemistry and, on each of these new recordings, the voltage is very high. One euro from the sale of each record will go to the victims of war. Stop the war!

HIGHLIGHTS Originally released in 1980, this was Stiv Bators' first solo album. Now reissued with 2 bonus tracks, not available on the original version, a slightly different picture on the cover (the actual unfiltered photo as used on the 1980 issue) and a booklet with extensive liner notes and photos. Bators was the man who destroyed Rocket from the Tombs, from which he hijacked half the members to found one of the most influential American punk bands to have existed, The Dead Boys. Stiv had turned in his broken teeth for a more power pop oriented solo career. This is not an album recorded by a has-been former punk idealist; instead it's a true step forward into another unknown arena packing all the glare and attitude that remained from the last. The music is more similar to 60's power pop than the vicious punk rock that Bators became known for originally, while a member of The Dead Boys. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever. DESCRIPTION On August 11th of 1980, Stiv Bators, David Quinton Steinberg, George Cabaniss and Frank Secich flew to Vancouver, in British Columbia, Canada. They were there to do the West Coast leg of the "URGH! A Music War" tour. On the bill of the tour were Pere Ubu, Magazine, the Members, and they were billed as Stiv Bators and the Dead Boys or just the Dead Boys. After the tour they were supposed to embark on a 6-week tour of Australia, New Zealand, and the Far East. During the beginning of the Urgh Tour the Australian Tour was abruptly canceled. Greg Shaw who owned Bomp Records decided that since the band were already going to be in California that they should do Stiv's solo album which they had planned to do after returning from Down Under. So, Bators and the rest of the group set up camp at the infamous Tropicana Motel in West Hollywood and Greg booked them into Perspective Studios in Sun Valley, CA. Before going into Perspective, they went into Andy Chappel's Stone Fox rehearsal studio in North Hollywood, CA for a few days to rehearse the songs and arrange them for the album. "We had 'Evil Boy' (Zero-Secich), David Quinton's 'Make Up Your Mind' and my song 'A Million Miles Away'. We also rearranged mine and Stiv's 'The Last Year' changing the key from D to F# and making it much easier to sing in a power pop vein. In addition, we had 'Swinging A Go-Go' another great contribution by George Cabaniss. Stiv and I had written two more for the album 'Ready Anytime' and the album closer 'I Wanna Forget You (Just the Way You Are)'. We also had a moody dark instrumental (written by Cabaniss-Quinton-Secich) that we were playing around with for some time. Stiv was supposed to write lyrics for it, but he never got around to it, so we left it as an instrumental. It had a great vibe and reminded me of the John Cassavetes 1956 film "Crime in The Streets" and was thus christened that. The last song we picked for the LP was 'I Had Too Much To Dream (Last Night)' which was the one cover we did that suited Stiv's voice perfectly. After a few days of rehearsing at Stone Fox, we went into Perspective Studio in Sun Valley, California. Greg hired Thom Wilson (who would later become a famous punk rock producer of Offspring, Iggy Pop, Dead Kennedys, T.S.O.L., Bad Religion and many others). Stiv co-produced with Thom and Andy Chappel and Thom did the engineering." Frank Secich recalls. In September, after the "Disconnected" mixing sessions, Stiv went to Baltimore to film "Polyester" with Movie Director John Waters and actors Tab Hunter and Divine. Stiv then went to the UK to record with the Wanderers doing their LP "Only Lovers Left Alive". He wanted to have both bands going simultaneously but logistically and practically they all knew that could never work. The "Disconnected" Band would do one last tour to support the album release of "Disconnected". The LP was released by Bomp Records on Monday December 08th, 1980. Later that night, John Lennon was murdered in New York City. So many of the principal characters involved in the creation of "Disconnected" have passed on. Stiv Bators (June 3rd, 1990), Greg Shaw (October 2nd, 2004), Thom Wilson (February 8th, 2015), and George Cabaniss (July 17th, 2020). But "Disconnected" lives on and on and has left quite a legacy for itself. There have been over 100 cover versions internationally of the songs from "Disconnected" and it has been in print and reissued in various forms in many countries around the world. New generations continue to discover it. It still holds up very well and sounds as fresh and vibrant as ever.

Repress!

Vocal powerhouse Izo FitzRoy exploded on to the scene in 2017 with her debut LP 'Skyline', the album incorporating a stunning fusion of styles spanning gospel, funk and soul as Izo's raw bluesy tone and direct lyricism took centre stage.

Her new album 'How The Mighty Fall' builds further on the soul foundations of her debut. Recorded between Paris, London and Sheffield, it sees her collaborating with three stellar producers and a host of talented musicians.

Disco royalty – Dimitri From Paris (Glitterbox, BBE) directs fellow Parisians Cotonete on her smash single 'I Want Magic'. Studio wizard Shawn Lee (BBE, Ubiquity) brings the funky AOR vibes on 'Slim Pickings' and the Mercury Prize nominated - Colin Elliott (Richard Hawley, Jarvis Cocker, Paul Weller) who produced the bulk of the album, completes the trio. Guesting on the record are the UK's most in demand brass section – The Haggis Horns and Izo's long-time collaborators - Soul Sanctuary Gospel Choir.

Conceived during the aftermath of the breakdown of her long-term relationship, Izo looked to this personal experience for inspiration for the album as well as casting further afield at the wider themes of mental, societal and communication breakdowns.

Despite the strong material, at one point it seemed the record might never materialise. Just as the world was getting on board with her debut LP and international touring was taking off, Izo lost the use of her voice and required surgery on her vocal chords in the second part of 2018. A long schedule of vocal rehabilitation was necessary to get back to a position where she could first talk, then sing regularly enough to get back to work.

Thankfully after this difficult personal period for her, the silver lining from the experience was that post-recovery she gained a whole new octave at the top of her vocal range! This in turn has influenced her song writing on the album & allowed her to enhance her compositions with more vocal light and shade from this unexpected gift.

After gaining recognition both in the Korean indie scene and abroad as vocalist/guitarist of Vidulgi OoyoO (shoegaze/post rock) and guitarist of JuckJuck Grunzie(noise/psychedelic), Ham relocated to Chicago where she began experimenting with home recording. In 2019, she released an EP comprised of intimate acoustic compositions under the name Sophysoon.

With Home in the Desert, Ham embraces the solitary action and lo-fi aesthetics of home recording to create a fuzzier, more expansive sound, inspired by the organized noise of bands she grew up with in Korea's indie scene. Home in the Desert, written and recorded in her apartment between 2021-2022, developed out of Ham's attempts to envision how skeletal guitar lines might sound when performed live at ear-splitting volumes by a full band. “I never expected that I would make loud music again, but one day I took my guitar out and started jamming on my own.“

As its title suggests, Precocious Neophyte's debut release negotiates the impossible longings for perpetual spaces and times of home. In doing so, Ham fills unstable distances with what KEXP calls "ethereal vocals and soaring melodies," and cradles the insecurities of isolation in overdrive warmth and many layers of distorted guitars.

Palmyra’s full length LP You Are What You Absorb was released in 2013. “The title comes from a lifetime of absorbing music and pinching production ideas, not just listening to music, but deconstructing it and putting it back together my own way” as described by Palmyra. With the release of two singles, Shy Boy and You’re My Brian Jones, Stevie Van Zandt took notice again, and added You Are What You Absorb to the Underground Garage music library. Palmyra has signed with Wicked Cool Records, released Come Spy With Me with her band The Doppel Gang, formed all gal trio , The Coolies with Kim Shattuck and Melanie Vammen, and released an EP, Uh Oh... It’s The Coolies, and various 45’s with the label. Now, a decade later, Wicked Cool Records is reissuing You Are What You Absorb on vinyl for the first time. “I’m thrilled that this album is finally coming out on vinyl. I’ve always been proud of this one, and feel that it holds up in every way - the songwriting, the production, and am looking forward to a new life and audience for the record.” Palmyra Delran

"Promise": 1985 kam Sade mit einem Album auf demselben Niveau zurück: Auf das hervorragende "Is It A Crime" folgten die Klassiker "The Sweetest Taboo" und "Jezebel". Das Album wurde in den Abbey Road Studios mit halber Geschwindigkeit von den Original-Mastern gemastert. Das Mastering mit halber Geschwindigkeit erzeugt einen außergewöhnlich klaren Klang, der die Dynamik der Originalmischungen bewahrt. 180G Vinyl. Die Originalcover wurden einschließlich der Papierqualität und Druckmethoden reproduziert.

Repress.

Welcome to “Through Lines”, a collection of hand picked tracks by genre nomad and bass innovator Martyn, made between 2005 and 2015, carefully recovered and remastered for vinyl and digital release on 3024. Previously only available on 12” across a scattering of different labels, this set includes essential ‘Martyn Music’ (as the producer likes to classify it); tracks like “Vancouver” (A 140 staple to this day), “Mega Drive Generation” and his classic remix of TRG’s “Broken Heart”, as well as deeper cuts like the rare “Friedrichstrasse” and house gem “For Lost Relatives”.

This is not just a compilation of remastered music, it’s a document of an era of UK inspired dance music where ideas, genres, tempos and scenes seemed to rapidly merge and splinter off. An exciting time where producers constantly tried to one-up each other with new ideas and influences, in a vibrant international scene of small club nights from FWD>> and DMZ in London to Red Zone (co-run by Martyn) in the periphery, the earliest online forums like Dubstepforum and radio shows like Dj Flight’s BBC 1xtra show and Mary Anne Hobbs’ Breezeblock. Innovation in music never happens in a vacuum and is always a product of community, producers, writers, and other makers continuously inspiring and pushing each other to come up with the next thing. This ethos is present in all of Martyn’s music throughout the years, but also in his work with Jeroen Erosie as 3024 and within the 3024 Mentoring Program he runs today.

Chris Cohen was always a quiet kid. In fact, this introversion was one reason he began playing music as a toddler-to communicate without speaking, to identify with others without the direct representation of words. It has worked, too, with Cohen's terrific stint in the mighty Deerhoof and his own captivating art-rock act The Curtains, preceding production and session work for the likes of Weyes Blood, Kurt Vile, Le Ren, and Marina Allen. Somewhere along that long way, Cohen started writing lyrics. He found that, though it didn't come naturally, the process offered a new sense of self-discovery and reckoning, a way to see himself and the world from unexpected angles. His three twilit albums of casually complicated pop during the last decade radiated these epiphanies: handling family strife, navigating advancing age, and understanding social woes. But Cohen has never had as much to sing so directly as he does on Paint a Room, his first album in five years and his debut for Hardly Art. If Cohen's meanings have previously lurked inside the tessellated musical layers he built alone, they are newly clear and resonant here, animated and underscored for the first time by a band playing in real time. There is the endless miasma of state violence on the subversively melodious opener "Damage," the existential exhaustion of modernity on the horn-traced jangle "Laughing": this is Cohen communicating with friends not only through his deep understanding of groove, harmony, and hook but also with his listeners through songs that croon of our uneasy little era. On Paint a Room, Cohen's music feels like a warm spring breeze, easy to love and gentle to feel. But it's often carrying something heavy, as if blowing in from some unseen storm cloud. Paint a Room both reckons with reality and conjures an alternate one, where nighttime walks and a neighbor's wind chimes offer endless escapes for the imagination, space for the mind to roam. Sublime and sun-lit, these 10 songs consider dreamy new ways out of old predicaments, clearly stating the problem and dancing and singing their way somewhere new. Paint a Room features Jeff Parker contributing the fluttering horn arrangement on "Damage," and Parker collaborator Josh Johnson (who produced Meshell Ndegeocello's Grammy-Award-winning album The Omnichord Real Book) supplying flute, sax, and clarinet arrangements throughout the record.

VOICE sind zurück und werden das Herz eines jeden Metalfans mit ihrem neuen Album "Holy Or Damned", das mit eingängigen Hooklines und einer beeindruckenden Produktion besticht, schneller schlagen lassen.
Nach ihrem erfolgreichen 2017er Comeback-Album "The Storm", besinnen sie sich nun zurück auf ihre Wurzeln und präsentieren mit "Holy Or Damned" ein abwechslungsreiches, neues Album, auf dem jeder Song nahtlos in den nächsten Song übergeht, ohne dass der Spannungsbogen unterbrochen wird.
Dieses Album gehört zweifelsohne in die Musiksammlung aller Metalfans, die eingängige Hooklines, ein wohldurchdachtes musikalisches Konzept und eine beeindruckende Produktion zu schätzen wissen.
In den Texten geht es um das Auf und Ab im Leben. Es geht darum, geliebt und gehasst zu werden und die Texte zeigen, dass sich der Blick auf die Welt binnen Sekunden ändern kann.
Mit "Holy Or Damned" fängt die Band die Essenz von über 30 Jahren musikalischer Kreativität ein.
Besonders hervorzuheben sind die Gastmusiker, die VOICE auf diesem Album begrüßen dürfen: Gitarrist Ragnar Zolberg (Sign, ex-Pain Of Salvation) bereichert den Song "Dream On" mit seinem Solo. Ebenso beeindruckend ist der Beitrag am Bass von Hans-Jürgen "Jäcki" Reznicek (Silly) beim Song "Tears In The Dust".

LUMBEROB has always strived for maximalist sonic vaudeville, always hoped for real electro gabber hardcore noise art, always grabbed for frenzied illegibility, always lurched loosely improvised from a psych-swamp of love. On the new album, HUNTER GATHER, LUMBEROB swings swanky as proper pop deviance. Built from the same loopy logic which drives the stomping slaphappy force of his live show, these tunes are crafted out of lovely and weirdly thunk out loud and large soundscapes. Mixed and mastered by Shimmy-Disc founder Kramer (Daniel Johnston, JD Pinkus, Pan American), the album surprises, estranged from obvious categorization. These slippery little bouncy bangers are bold exercises in genre discovery. It sounds like nothing and it goes with everything. LUMBEROB is a tough act to follow, a surreally inventive performer who spins giddy with excitement, dancing dumb and banging hard. That's just what he does, and HUNTER GATHER is a refined encapsulation of that energy. There's truly a beautiful stupidity to be found here. HUNTER GATHER is noise-pop, art-rock, psych-primitive, dumb-dance. The album teams with bright sounds, spinning visions, and brut poetics. It curves furiously like a naughty noodle and, yes, it spins you dizzy at times. Nothing is old in that feeling ever. Listen loudly.

Françoise Hardy auditioned for Vogue Records at 18 and went on to top charts with her very first release, a 1962 self-titled record now known as

“Tous Les Garcons Et Les Filles” based on its hit song. From there, the infamously timid Hardy became one of the few French pop stars of the era to

cross over, jetting from England to France to record, serving as a muse to designers like Yves Saint Laurent, and inspiring Bob Dylan and Mick Jagger.

That debut showcases Hardy at her simplest, wringing rockabilly-tinged pop magic from modest jazz percussion and steel guitar. Hardy wrote most

of her own material, setting her far apart from her peers, and on her debut she penned every song but two. Her lyrics would never be this close to yé-yé traditions again.

Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.

Late night `60s R&B caught on tape at Jim Kirchstein's jack-of-all genres Cuca studio. Released on minuscule pressings into the Wisconsin wilderness, these 26 sasquatchrare tracks uncover the soulful paths between the Chicago, Milwaukee, Rockford, and Rockford scenes. Featuring Harvey Scales, Step By Step, Betty Moorer, Seven Sounds, Twiliters, Birdlegs & Pauline, Esquires, Artie & The Pharaohs, and Fantastic Six, this 2xlp tells an alternate history of soul music that could only happen in the Hinterlands on Highway 12.

Far East Suite is a 1967 concept album by American jazz musician Duke Ellington, inspired by his group's tour through Asia. Ellington and longtime collaborator Billy Strayhorn wrote the compositions. Strayhorn died in May 1967, making Far East Suite one of the last albums recorded during his life to feature his compositions. The album won the Grammy Award in 1968 for Best Instrumental Jazz Performance – Large Group or Soloist with Large Group. The Penguin Guide to Jazz gives the album a four-star rating, noting that ""Ellington's ability to communicate points of contact and conflict between cultures, assimilating the blues to Eastern modes in tracks like ""Blue Pepper (Far East of the Blues)"", never sounds unduly self-conscious. This remains a postwar peak."" Allmusic calls this one of Ellington's ""more memorable recordings,"" describing it as an example of ""Ellington and Strayhorn in their late prime,"" and as such, ""quite essential."" Far East Suite is available on coloured vinyl for the first time as limited edition of 1500 individually numbered copies on orange coloured vinyl.

These days it seems as if at every turn, week in week out, the Reggae fraternity grieves the loss of another journey man singer, unassuming session musician or foundational sound man.

The power of remembrance, of tribute, of deeply honouring the historical legacy of so many singers & players has been, from its very inception, central to the mission of Ital Counselor Records. The arrival of IC008 carries forth this tradition in the form of an epic tribute to two of our most cherished influences who have recently passed on – The ever-spirited drummer Angus “Drummie Zeb” Gaye of Aswad fame and the indomitable UK sound man, the Mighty Zulu Warrior Jah Shaka.

This release brings together some of the usual Ital Counselor collaborators Chris Lane (AKA the Dub Organiser, Fashion Records), Soothsayer Horns, Inyaki BDF, along with new IC collaborator Gil Cang (Riz Records, Tuff Scout Records).

Collectively known as the IC All Stars, their mission was to rebuild a mythic dubplate made legendary by Shaka in the early 1980s. Known on the scene as Rasta Serenade, this horns driven instrumental dubplate was a never released version of Aswad’s vocal cut “Just a Little Herb” only ever played on Shaka’s sound.
To achieve maximum effect, the Dub Organiser dug back into the Fashion records vaults to unearth an unused loop of ‘Drummie’ marching out a militant beat. Inyaki BDF was recruited to lay down the bassline. Soothsayers horns hit harder still. Chris and Gil put the final guitar, keys, and mix touches to make this 4-cut maxi 12” a sound system killer; a set of big people dubs for the young and old. Meditative and marching; Weighted and spritely IC008 must mash up sound system dance north, south, east and west. Take a listen and you will hear.

Drummie Zeb of the Tribe of Zebulon.
Jah Shaka of the Tribe of Simeon.
This is a tribute. This is a remembrance.
This is also a pushing forward of a tradition
In a new Direction
A movement Forward
Ital Counselor Style.

A lost solo piano record from the Night Tripper! Originally put to tape in ‘82 & ‘83 for the Clean Cuts label, these tracks have remained unheard until now.

Two numbers feature the doc's raspy growl while his solo piano navigates us through the rest of the train ride, past touches of blues, jazz, and foot stompin’ boogie-woogie jive. It's the kind of magic that can only come from a dusty tape box.

In 1981, Dr. John began recording his first of two solo piano albums. The “new” performances featured on this release are of the same quality as the music on Dr. John Plays Mac Rebennack and The Brightest Smile In Town.

His left hand creates a three-note rhythmic pattern that forms the foundation for the performance while his right soulfully plays the melody and then builds off of it in the tradition of the New Orleans piano blues masters. In other songs, it begins as a nostalgic and heartfelt ballad, picking up steam during the performance and switching moods several times before returning to where it began.

While it is a real shame that he would never again record a full album of unaccompanied solos (Dr. John enjoyed leading a band too much), the release of Frankie & Johnny gives one an additional opportunity to discover just how brilliant and spirited a pianist Mac Rebennack was during his colorful career.

Over the last 20 years, Portland, Oregon's Federale has carved out a unique niche within the indie music landscape, blending their signature spaghetti-Western instrumental sound with increasing doses of moody vocal arrangements in the spirit of Lee Hazlewood or later-period Leonard Cohen. Still, through it all songwriter (and lead singer, when there is one) Collin Hegna has maintained a strictly retro vibe, and Federale's records have always sounded period-correct for an alternate-universe 1971 where rock and roll never caught on.

Reverb & Seduction, Federale’s sixth studio album, marks the band’s 20th anniversary, and finds them beginning to color outside those Ennio Morricone lines. Perhaps Hegna—who also spent the last 20 years as a dues-paying member of The Brian Jonestown Massacre—has finally decided to give his psych-rock alter ego a seat at the Federale table.

“Before, I'd have an idea and think, ‘Well, that can't be a Federale song’, because it had distorted guitars or whatever,” says Hegna. “But then I thought, 'Well, why not?’” This openness to a broader palette of influences allows Reverb and Seduction to veer into psychedelic and even gothic territory—think Love and Rockets or Sisters of Mercy—that the 2010s Federale might have considered off limits.

The album's first single “Heaven Forgive Me,” for example, draws on Goblin (the Italian prog-rockers who scored Suspiria) and perhaps even a little Depeche Mode, while “Advice from a Stranger” borrows the fuzz and feedback of DIG!-era BJM and The Electric Prunes.

Odie Leigh would never have called herself a musician before the depths of the 2020 pandemic when her rapper roomies made a bet: Whoever records a song that goes viral first, wins. Slightly ticked off that they hadn’t included her in the wager, she decided to hit them with her best shot, and Leigh was crowned the victor when a track she wrote blew up on TikTok. “I was like, ‘I’m gonna show y’all. I’m gonna win.’“ Four years after posting what she calls “that silly joke song” on TikTok, Odie Leigh has continued to transform and evolve as an artist — from what she calls “acoustic, ethereal folk sad girl music” to harder-edged tunes that flirt with early Aughts pop-punktivism.

Born and raised in Louisiana, Odie Leigh sang in the church choir, sure — her grandfather built the building, after all, and her family attended three times per week. But after moving to New Orleans to study English, she fully intended on making her bones in the film industry. That 2020 wager changed things, though, when Odie realized that she could win hearts in addition to bets. After her releases began gaining steam on social media, Odie Leigh started hitting stages hard. She toured Europe, North America, and played Newport Folk in 2023, followed this year by gigs at Boise, ID’s Treefort Music Fest with more to come.

Julian Cope's second album of 1984 - Never re-pressed in its original format, this re-issue faithfully replicates the original Mercury Records UK release with poster, and is pressed onto high quality 180g vinyl. Fried is one of Julian Cope's boldest. It made many think that after a while teetering on the edge, Julian Cope had finally tipped over into an artistic madness, amplified by his wearing a turtle shell and staring at a toy van on a landscaped spoil tip in Warwickshire on the album's sleeve. Opening track Reynard The Fox added to it all, a six-minute psychedelic garage rock tour-de-force, breaking down to a Cope monologue where he gravely intones English folk tales from his vantage point, referring also to an onstage stomach-slashing incident from 1983. Sunspots, the sole single taken from the album, is one of his greatest recordings in a career that spans over 40 years. Fried is up there with some of the very best works of the singular British eccentric.

“Come my lady/Come-Come my lady/ You’re my butterfly, sugar baby”…If there was a song-track to the turn of the millennium, Crazy Town’s “Butterfly” was it, starting with its appearance on the 1999 album Gift of Game and winding up with its reign at #1 in the charts in February 2001. Anchored by a sample of Red Hot Chili Peppers’ “Pretty Little Ditty,” it forever defined the term “nu-metal power ballad,” and was a rare-for-the-genre love song to boot! But the album from whence it came didn’t fly as high as it did, with over 2.5 million copies sold, just because of “Butterfly.” The Gift of Game brings the noise with an all-out alternative metal assault, and the band’s rappers—bolstered by guest appearances from KRS-One and Mad Lion—are markedly better than their rap/metal contemporaries. And then there’s the album art, created by member Shifty Shellshock’s father and uncle, which lends a vivid rendering to the fantasies of every teenage boy listening to “Lollipop Porn.” In short, this was a freakin’ HUGE record that somehow…somehow!...has NEVER been on vinyl. So how to handle its momentous debut on its 25th anniversary? Well, first, we’ve created an inner sleeve with all of the lyrics (and there are a lot of ‘em). Our sources also tell us that the very explicit hidden bonus track on the CD release has mysteriously made it on here. But when it comes to the vinyl, given what we anticipate is going to be, ahem, crazy demand, we have pressed the record in two different colors, one in “Red Devil Velvet” vinyl and the other in “Yellow Butterfly” vinyl. Come dance with us and Crazy Town…twice!

Limited Edition Pressing / 500 Units - Contains 10 Tracks Previously Unavailable On Vinyl.
The Early Seminal Songs of Willie Nelson.

“I’ll never be Willie Nelson. He’s the master.” Neil Young “Three chords and the truth - that’s what a country song is” Willie Nelson The breadth and scope of Willie Nelson’s career is staggering. He first established himself as part of a new generation of progressive country songwriters in the early ‘60s.
Here are the obscure and rarely heard demo recordings he made prior to signing to Liberty and before RCA.
All of these recordings are both musically and historically significant."

Real Gone Music is proud to present the original mono version of what most folks consider to be the single greatest postwar album of Western music, Marty Robbins’ 1959 record Gunfighter Ballads and Trail Songs. Everything about this album is iconic, from its “quick draw” cover art to the songs it contains—“Big Iron,” “Cool Water,” “The Master’s Call,” “Billy the Kid,” “The Strawberry Roan,” and, of course, “El Paso” (here in its rare, full-length version)— that have come to define the Western genre. And the music has never sounded better than it does here: this silver and red “Bullets ‘n’ Blood” pressing was remastered from the original tapes by Vic Anesini at Battery Studios in New York. Comes complete with the amazing original album art, too…a classic album now even collectible than before!

Enjoy The Ride Records proudly presents the Don't Fall In Love With Yourself Soundtrack.

Don't Fall in Love with Yourself is a documentary that explores the life of enigmatic musician and artist, Justin Pearson (The Locust, Swing Kids, Dead Cross, Planet B, Head Wound City, Deaf Club). From childhood tragedy to his rise in the San Diego punk scene, Don't Fall in Love with Yourself takes an in-depth look at a career made of blood, sweat, and spit.

Much of the footage has been sourced from dozens of VHS & Mini-DV tapes recorded over the past three decades. With never-before-seen footage of one of the most interesting and unique musical movements in recent memory. Interviews include Justin Pearson, Dave Lombardo, Eric Paul, Gabe Serbian, Jason Pettigrew, Travis Ryan, Jeremy Bolm, Jon Syverson, Molly Neuman, and more.

Don't Fall in Love with Yourself includes tracks from throughout Justin Pearson's career plus previously unreleased score music by Luke Hensgaw (Planet B), Alex Edkins (Metz) and Graham Walsh (Holy Fuck). It features music by The Locust, Swing Kids, Struggle, Crimson Curse, Retox, Planet B, and Justin Pearson/Gabe Serbian. Remastered by Dave Marino for vinyl.

Don't Fall in Love with Yourself is housed in an embossed silver foil laminated jacket, which includes a full-color double-sided insert.

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

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

Die Ramonas sind die wahrscheinlich beste Tribut-Band der legendären The Ramones, den New Yorker Urväter des Punks. 2004 in Großbritannien gegründet, versteht es die ausschließlich aus Musikerinnen bestehende Band den ultimativen Garage-Punk-Rock-Sound von 1976 perfekt einzufangen und bei energiegeladenen Auftritten auf die Bühne zu bringen. Getreu ihres Mottos "Touring, touring is never borning" haben den Ramonas ihre ständigen Tourneen in den letzten Jahren den Ruf einer der am härtesten arbeitenden Band innerhalb der Szene eingebracht. Zu Recht: denn seit 2016 schreiben Die Ramonas auch eigene Stücke, die sie in ihren Shows unter die Ramones-Klassiker mischen. Deutlich erkennbar am Bühnenoutfit von Sängerin Lisa: während sie bei den Ramones-Covern ganz im Stil von Joey Ramone die obligatorische Sonnenbrille trägt, nimmt sie diese bei der Präsentation der eigenen Songs ab. Für die neue LP "High on life" hat die Band eine grandiose Auswahl dieser Eigenkompositionen zusammengestellt, die mühelos den 76ger-Geist ihrer Vorbilder einfangen. Fur Fans von RAMONES, MUFFS, TRAVOLTAS, Punk, Garage, Powerpop

After remaining unavailable for years, here's the long-awaited vinyl reissue of the debut album (originally released in 1972) by one of the epoch-making groups in the history of Peruvian rock: We All Together. Their original compositions -all sung in English- betray their passion for McCartney, taking Beatle centrism to new heights in South America. While the Uruguayan Los Shakers could remind us of the first phase of the Fab 4, We All Together is like their '70s version. Amazing compositions, with nods to prog rock and the twilight imprint of singer-songwriters living the end of the hippy dream, that show both diversity and a defined identity. A must for any '70s rock collector. DESCRIPTION Between 1967 and 1974 Saúl and Manuel Cornejo led a series of epoch-making groups on the MAG label (New Juggler Sound, Laghonia and We All Together) in the history of Peruvian rock. All these bands were directly influenced by the British invasion and used new sounds from Hammond, phase shifters, synthesizers and tapes played backwards, which stimulated rivalry with other groups. Another hallmark of the brothers was the technical quality of their records, thanks to Saul's supervision of all MAG recordings between 1972 and 1974. At the end of 1971, when Laghonia was working on the last tracks of "Etcétera", they met Manuel Antonio Guerrero's (MAG) son, Carlos, who had just got back from the USA, and gladly joined in the choruses of the last songs Laghonia was recording. They met up again soon after to rehearse some of Paul McCartney's songs. As soon as he heard them play, Guerrero Senior urged them to form a group focused on cover versions of foreign hits not yet known in Peru. Initially, the Cornejo brothers weren't enthused by a project so different from Laghonia, but ended up accepting as it gave them the opportunity to spend time in the studio. Carlos' melodic voice was another incentive, although they made it clear that the new group, We All Together (WAT), would stick to the mixing desk: "The group isn't into presentations or shows, we're about recording music and purifying it to the max," stated Saúl at that time. Their first album included four covers of Paul McCartney and Badfinger, several compositions by Carlos Guerrero -appealing Beatles-style melodies- and two songs from Saúl and Manuel's archives. 'Children', by keyboardist Carlos Salom, opens the LP: a nostalgic description of childhood, with the distinctive piano sound (achieved through mixing) that permeates the record. Although WAT sang and composed in English, they had no intention of undermining or alienating national culture. Their aim was much more innocent: they simply wanted to make it in the English-speaking world. 'It's a Sin to Go Away' was composed during Laghonía's lifetime as a band and it features guitars played backwards and a psychedelic-progressive style closely attuned to the era. After being included on several compilations, praise for the song has flowed from Europe and the United States in recent years. The album was released in July 1972 and became one of the best-selling Peruvian rock LPs.

Remastered edition on 180 grams double vinyl of 'Euskal Herria Jamaika Clash', released by Talka Records & Films in 2006. To the 12 tracks that appeared in the original CD edition we have added 5 remixes made by producers as renowned as Xabi Pery, Rob Smith, Neil Perch, Peter Rose or Nebukhednezzar and Daniel Díaz. DESCRIPTION "On the wall of the toilet a freshly made graffiti, "Get out of the ghetto, organize the hate", reminded me of the rage we owe to this society. However, I was also at ease, savoring our Original Soundtrack: "ROOTS, ROCK, RAP, REGGAE". This phrase belongs to the song "B.S.O." from the album "Gure Jarrera" by Negu Gorriak. For music fans, the real ones, the ones who spend their fingers searching for rare vinyls in second-hand shops, there are records that have a special meaning. That record has special meaning for me for several reasons, but one of them is singular: it has helped me to discover a multitude of music. It turns out that the credits of that album were full of fundamental names in rock, hardcore, funk, Hip Hop, soul, ska, Latin music... a good guide for the young man of musical discoveries that I was fifteen years ago. But there was also that song, "B.S.O.", with the word "REGGAE" at the end of the chorus. A genre that I had never paid much attention to and that since then, slowly, I have been tasting... from classic figures to new trends, from Jamaican reference records to admirable peninsular formations (Basque Dub Foundation, Lone Ark or The Starlites). A few years ago I had the opportunity to interview Fermín Muguruza and in one of his answers he said: "It's clear that the basis of reggae is going to remain firm, because it's been a constant since Kortatu's first album. Reggae will be there in any of its expressions or derivations, of which there are already many". And it's true. Going through Fermín Muguruza's discography, and his groups, forwards or backwards, we come across reggae in different doses, proportions and orientations, but it has been present in all his albums. And in his "solo" stage, in a more prominent way. Now he releases "Euskal Herria Jamaica Clash", a coherent link in his chain of albums, where he accentuates that proportion of reggae, looking more than ever at the classic conception of the genre, but with some mestizo nuances present (rock strength, some Hip Hop drums or the sound of the trikitixa). The album has been recorded in Jamaica and has featured some renowned figures from those lands: U-Roy, Luciano, Lisa Dainjah, Masta Blasta, Yacine, Toots and the I-Threes (the usual female vocal trio in Bob Marley's albums, to which Rita Marley belongs). The new album offers twelve tracks, where, apart from reggae, one can also feel the optimism of the new lights that illuminate the future of the Basque Country ("Euskal Herria Jamaika Clash")... an optimism that is intertwined with descriptions of local customs ("Azoka Eguna"), rebellious spirit ("Mongolian Barbecue", "Basque Xamuraia", "La Fille Du Quartier Populaire"), songs of hope ("Yalah Yalah Ramallah"), a snapshot of a symbolic triumph ("Beamon Jauzia"), criticisms of alienation ("Askatasun Parabolika"), to the dictatorship of the empire ("Plastic Turkey"), a poetic air of rest on music and feelings ("Baxua eta Lurra"), a final instrumental ("Le Mouv Dub") and a luminous and hopeful revision in reggae key of an old song by Kortatu ("La línea del frente"). "Euskal Herria Jamaika Clash. The soundtrack of the present: DREAMS, HOPE, ROOTS, REGGAE." FM-Hop (2006)

"Fear Life For A Lifetime’ is the eagerly anticipated debut album from Stone that demands attention. The songs unfold as a coming-of-age narrative, delving into the turbulent experiences of young adulthood. Produced by Rich Costey the album explores the alternative genre spectrum, blending post-punk fervour, indie anthems & hip-hop influence with a sharp edge. The album tackles a range of topics love, ambition, self-doubt, confidence, or a sense of belonging, this album resonates deeply, offering a sense of community embodying the spirit of Liverpool at its core.
The album features x 11 tracks, including the single ‘My Thoughts Go’."

Christopher Cross's debut album boasts nine legendary hits, solidifying its status as one of the most successful LPs of the classic rock era. This masterpiece is a treasure trove of chart-toppers, including the iconic "Sailing," a timeless number one that cemented Cross as a superstar and earned him all four general field awards in a single ceremony at the 1980 Grammy Awards, bringing home Record of the Year ("Sailing"), Album of the Year (Christopher Cross), Song of the Year ("Sailing") and Best New Artist at the 23rd Annual Grammy Awards. This feat was not replicated for 39 years, until Billie Eilish won all four awards at the 62nd Annual Grammy Awards in 2020. Other top hits like "Ride Like The Wind," featuring superstar Michael McDonald, further showcase the album's crossover appeal across all formats in 1979. The album features some of the most sought after musicians of the era including Don Henley, Larry Carlton, Eric Johnson, and more! Produced by legendary producer, Michael Omartian. Seeker Music is proud to present this iconic new pressing featuring limited edition lyric poster insert.

A very special double-LP gatefold edition celebrating the 50th Anniversary of the legendary Mr Ms club that opened its doors in 1974.

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

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

MC Duke aka The Darkest Knight EP Picture Disc

Subbase honors the great MC Duke, Kashif Adham, a true legend in the music scene and the Godfather of UK Rap.

This incredible limited edition tribute vinyl picture disc celebrates MC Duke's legacy. He began working with Suburban Base in the early '90s and became the most prolific artist on their sister imprint, Boogie Times, before they collaborated with his own label, Hard Disk. This stunning picture disc features some of his rarest releases from Hard Disk, which have never been reissued since their original pressings in the '90s. Together, Duke and Suburban base meticulously planned and remastered these amazing tracks before Duke's unfortunate passing. He was so excited for collectors to enjoy these tunes once again.

MC Duke's unparalleled talent and unwavering dedication to music throughout his life solidified his status as a true legend in the UK music scene. He made significant contributions to UK music, from Hip Hop and Rap to Hardcore and Jungle. Let’s remember the man and his music!

This 4 track EP includes all tracks from The Darkest Knight HARDDISK 004 plus the promo only white label My Sound (HD7) which has sold for as much as £95 on discogs although none have been available for over four years since 2020

Live LP from cult French punk / new wave band Dogs - limited white vinyl plus obi.

In the spring of 1984, the Dogs give a concert in Rouen, their hometown, at the Exo 7, the local venue. They play as a quartet, Dominique, Mimi, Hughes and Antoine. They are under contract to EPIC and have just released their 4th LP "Legendary Lovers" the previous year.

The concert, of course, will be rock and, in the band's image, elegant. It will be recorded and will remain unpublished to this day. With this record, you're holding in your hands the very essence of a rock concert as it should be: a small, smoke-filled venue (it's not compulsory) with no giant screen, no need for binoculars to see a tiny singer on stage waving to 25,000 spectators. The magic created by 16 strings, four electric guys, can only work this way. That's what you'll find here. Dry and clean.

"Live at Home" is that concert, finally available.

Lionel Herrmani

2024 Reissue

Although he rose to prominence in the NYC jazz scene, working as Nina Simone's exclusive touring pianist, he never blossomed as a solo artist, so he decided to take the plunge and create "Liberated Brother" on his own. This work, which was completed in just 2 days of rehearsal and 5 hours of recording with trusted musicians, is an important work that instantly boosted his popularity as a composer!

The opening title track, "Liberated Brother," is a Latin-taste instrumental covered by Weldon's mentor, Horace Silver. Freddie Hubbard, J.J.Johnson, Peter Hervorzeimer and others have covered "Mr. Clean", which has a complex melody but a memorable phrase. Stanley Turrentine covered jazz-funk "Sister Sanctified" with comical synth phrases, and the version was re-evaluated with the sampling of Boogie Down Productions' "My Philosophy". The album "A Tribute to Brother Weldon" released in 2004 on Stones Throw after Weldon's death covers Blakestra. And jazz funk with a strong blues taste, "Homey" is a super classic that was heavily played on the dance floor in the 90's. The simple and groovy drums with few sounds and the melancholy melodica played by Weldon are cool and very sophisticated songs, and I agree that it was useful in the rare groove scene.

A work that triggered the recognition of his talent as a composer, with such a large number of masterpieces recorded. Don't miss this opportunity!

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

Never before had the lyrics of Peruvian cumbia been able to touch the reality of migrants from the countryside living in the capital. In 1974, Grupo Celeste, under the direction of Víctor Casahuamán Bendezú, recorded 'En el campo', a first single that not only broke sales records, but also brought thousands of people into contact with their homeland. The band not only wove the nets of that urgent, necessary reconnection, but also gave birth to one of the most relevant popular singers in the history of Peru: Lorenzo Palacios Quispe 'Chacalón'. The year was 1974. Until then, only Los Destellos had recorded a non-instrumental cumbia song, 'Elsa', in 1970. Víctor Casahuamán Bendezú, a musician, creator and the composer behind Grupo Celeste understood that in order to continue the legacy of Peruvian bands from the sixties like Los Demonios de Corocuchay, Los Yungas and Los Demonios del Mantaro, it was necessary to address in his lyrics a special and urgent topic: the feeling of displacement from the homeland and the vicissitudes of the migrant sector. The experiences of those who traveled from the provinces to the capital in search of opportunities they could not find in their towns of origin; the process of settling and adapting in a foreign city; the challenges derived from this change of environment; the recognition of a different culture and the creation of a space they understood as their own were the stories that had to be told in the songs. This is why Grupo Celeste was the backbone of cumbia in Peru: it established a common story that thousands of migrants would identify with. From this idea and impetus was born 'En el campo', the band's first single.

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

Repress!

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

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

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

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

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

‘Sixty Nine’ the group’s debut LP that emerged in 1988 had critics and listeners struggling to fit language around A.R. Kane’s sound. As a title it was telling - the year of ‘Bitches Brew’, the year of ‘In A Silent Way’, the erotic möbius between two lovers - and as originally coined by the band themselves,
‘dream pop’ (before it became a free-floating signifier of vague import) was entirely apposite for the music A.R. Kane were making. Crafted in a dark small basement studio in which Tambala recalls the duo had “complete freedom - We wanted to go as far out as we could, and in doing so we discovered the point where it stops being music”. There was an irresistibly dreamy, somnambulant, sensual and almost surreal flow to ‘sixty nine’s sound, but also real darkness/dankness, the ruptures of the primordial and the reverberations of the subconscious, within the grooves of remarkable songs like ‘Dizzy’ and ‘Crazy Blue’. Alex’s plangent vocals floated and surged amidst exquisite peals of refracted feedback but crucially there was BASS here, lugubrious and funky and full of dread, sonic pleasure and sonic disturbance crushed together to make music with a center so deep it felt subcutaneous, music constructed from both the accidental and the deliberate, generous enough to dance with both serendipity and chaos. ‘sixty nine’ remains - especially in this remastered iteration - ravishing, revolutionary – Neil Kulkarni


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To say that The Sinseers play oldies would be a misnomer. Fronted by bandleader and son of East Los Angeles Joey Quiniones, the group has quietly chipped away at the sounds of R&B and soul for the last half-decade. Quinones and his crew have continuously created a distinctive vibe that explores all aspects of a timeless genre, bringing together their interpretation of music through an unmistakable modern lens.With their most recent effort, the aptly titled Sinseerly Yours (Colemine 2023), the band recorded most of the album live in the studio. With Quinones on vocals and keys, vocalist Adriana Flores, Christopher Manjarrez on bass, Francisco Floreson on guitar, Bryan Ponce on guitar and vocals, Luis Carpio on drums and vocals, saxophonists Eric Johnson and Steve Surman, and Jose Luis Jimenez on trombone, The Sinseers achieves their most fully realized sound to date.All of the album's stunning tracks were recorded in a converted studio space in Rialto, California, known as Second Hand Sounds. The converted studio space, which used to be a dentist's office, allowed the group to experiment with their sound like never before - this time, the group managed to take a series of big swings, only to emerge with a fuller, more pronounced version of themselves. Despite those new strides, the band remains wholly committed to its sonic aesthetic while injecting its brand of vibrant 21st-century cool.Of course, the group has never been the type to shy away from their influences as they expertly toggle between 60s pop vis-à-vie early Beatles records to obscure dancehall Jamaican tunes - all fully extrapolated and reinterpreted through modern Chicano soul sound that the group has built their everlasting repertoire on.Quinones and bandmates have continued to apply what they've learned from their previous releases and their relentless touring schedule throughout the country. It's clear here that the work is paying off, putting to practice their musical chops thoroughly with all members expertly honing their sound. The melting pot of ideas is showcased with incredibly lush orchestrations and arrangements, married with pitch-perfect harmonies, allowing the group to further solidify themselves in the pantheon of the Southern Californian songbook.

A limited pressing in transparent yellow of Eyedress's album, Let's Skip To The Wedding - a loved up remedy for uncertain times. Limited to 1000 copies worldwide

2024 Reissue

Deep in View is the debut album from Cola, a new project from Ought members Tim Darcy and Ben Stidworhty. Built on a foundation of elegant guitar grooves and knotty rhythms, Deep in View offers meditations on modern life and technology through curious lyrical vignettes, where everyday objects and scenes are never just as they seem. Cola, which most obviously is the fizzy beverage that’s bound “to poison most ordinary life on Earth,” as Darcy recites in spoken word on closing track “Landers,” but is also a term in poetics, as well as acronyms related to social security (Cost of Living Adjustment) and aeronautics (Collision on Launch Assessment).

The album sounds streamlined and intentional, as the rhythms of the punchy and exuberant guitar parts, urgent basslines, and unexpected drum patterns all tangle with each other in an elegant dance. At the center of all these elements is Darcy, whose characteristically wry voice shifts from detached to decisive to distressed, throughout the album’s course. Both enigmatically dense in meaning but precisely intricate in sound, Deep in View is an album that sparks novel interpretations with every listen, like an art object that takes on new shape with each angle from which you hold it.

"Enjoy The Toons Records in conjunction with Nickelodeon proudly present Doug & The Beets - Songs From Bluffington. Featuring new artwork sourced from the original Nickelodeon style guide, this limited edition 12" vinyl pressing with screen printed B(eet) Side was pressed at 45RPM for optimal sound quality.

Songs From Bluffington is a tribute album by Doug & The Beets. The band is composed of Long Island natives Chris Wall, David Kaplan & Matthew Fox, who came together to pay tribute to their favorite songs from Bluffington, which otherwise were never commercially released."

Daniel Hope's latest album "Irish Roots" embodies his deep connection to Ireland, which he inherited from his paternal great-grandfather who left Waterford for South Africa in the 1890s. Although he has never lived in Ireland, Hope's fascination with Irish culture led to the making of the documentary "Celtic Dreams: Daniel Hope's Hidden Irish Story".

Supported by musicologist Olivier Fourés and experiences with the award-winning Irish band Lúnasa, Hope explores the interplay between folk and classical music. "Irish Roots" reflects this journey, presenting compositions by Ina Boyle and Turlough O'Carolan alongside classics such as "Danny Boy" and Vivaldi's L'estro armonico concertos.

Daniel Hope is joined on his new album by a stellar line-up of guest artists including Lúnasa, harpist Siobhán Armstrong, flautists Sir James and Lady Jeanne Galway, singer Rea Garvey, multi-instrumentalist and folk musician Ross Daly, fellow violinist Simos Papanas and the Thessaloniki State Symphony Orchestra conducted by Daniel Geiss

“On the Move” is a tune originally released on a very rare 7” in the mid 70ts and became the title track of the BOBBY BYRD album in the year 1993 when the Godfather’s Godfather, at least Soulbrother # 1, as Fred Wesley calls him, probably the most warm-hearted and soulful gentleman on Planet Funk, was sitting in the living room/office of his back then, brand new label Soulciety Records in Hamburg, Germany, listening to some of his old 7” singles. When Soulciety released the studio album “On the Move (I Can’t Get Enough)” in 1994, the album became a somewhat hoped for, but still unexpected success. Rare Groove-enthusiasts the world over, who knew about Bobby’s songs as well as the ones he wrote with James Brown (e.g.: “Sex Machine”), plus all the Hip Hop-fans who dug him from the countless times his songs had been sampled (Eric B. & Rakim used almost all of Bobby’s version for their hit “I Know You Got Soul”), loved these fresh but original sounding recordings. For the first time ever, this classic is now available on a SEDSOULCIETY RECORDINGS 7” vinyl, including the never released instrumental version on the flip side.

"The Proposal" is the collaboration full-length by Jersey City emcee Ransom and producer extraordinaire Statik Selektah. Originally released in 2013, the album features guest appearances by Styles P of The LOX, Termanology and Ea$y Money. This first ever vinyl release also features bonus track "Dollars & Sense" as well as brand new artwork by Luca Lacorte aka Blo/B.

* Vinyl bonus track

Mario Rusca is most probably the biggest living Italian jazzman. His major influences are Duke Ellingtons composing abilities and Hampton Hawes' brilliant sound. He immersed himself in the harmonic inventions of the incredible pianists of the 60s and 70s: from Bud Powell to Bobby Timmons, Wynton Kelly and Bill Evans. Mario Rusca has been the house pianist of Capolinea, the most important Italian jazz club of the 70s and 80s. He went on to perform in important national and international settings-representing Italy in the "Piano Solo'' category of the "International Festival of Varsavia" and participating with his quintet at the "International Festival of Montreal". He has collaborated with a multitude of prestigious names: Chet Baker, Tony Scott, Curtis Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Bob Berg, Lee Konitz, Dusko Gojkovic, Al Gray, Kay Winding, as well as Stefano Bagnoli, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Jimmy Owens, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy, Steve Grossman, Franco Ambrosetti, Woody Shaw, and Eddie "Lockjaw" Davis. With Gerry Mulligan, in particular, he toured in 1976 and with Lee Konitz, he recorded Wheres The Blues? at the end of the 90s. In this regard, Suspension in 1975 with Tullio De Piscopo and Recreations in 1976 with the phenomenal Larry Nocella playing saxophone are still very beautiful and modern recordings. As Mario says, "In jazz, you choose the companions that you can dialogue the most with.there needs to be an interplay, there needs a...a way of feeling, which is why you choose musicians because they feel like you, or, if nothing else, they follow you". The chemistry between the three of them is perfectly aligned, synergistic. Tonys drums and Riccardos bass create a soft and essential rhythmic tapestry that never hinder the creative prowess of the band leader. Here Mario Rusca is interpreting the most dynamic jazz standards. Blues for Gwen by McCoy Tyner, Blues Walk by Lou Donaldson, Blue Minor by Sonny Clark, Turnaround by Ornette Coleman, Bass Blues by John Coltrane or even Super Jet by Tadd Dameron. You cant help but imagine yourself on top of a convertible, smiling and carefree, while they travel through the soloist progressions of Turnaround and Super Jet. We need to underline the four originals included in this recording: Blue Dream (for Allerim), Tempo Blues, Double Horn e Monochrome Blues, extremely suggestive compositions, rich of intuitions and which well exhibit Mario Rusca composition skills and his ability to play the blues. MONOCHROME BLUES is a winning trio album which will deeply please the most demanding jazz hears. The musicians Mario Rusca (piano) Riccardo Fioravanti (bass) Tony Arco (drums)

"Microcastles" ist der Nachfolger des hoch gelobten Deerhunter-Albums "Cryptograms" (2006). Und wie es scheint, macht Bradford Cox (Atlas Sound) sein Versprechen wahr: "My punk days are over!", tönt der Leadsänger und kreative Kopf der Band auf MySpace. Tatsächlich überrascht "Microcastle" mit lockerem Charme und lässt nur noch stellenweise den wilden Garage-Sound der frühen Deerhunter aufleben. Das beinahe schon sakrale "Activa" unterstreicht das vielseitige und klare Songwriting der Band, während "Saved By Old Times" mit einer so kickenden Gitarre daherkommt, dass es auch auf ein Album von Dave Mathews passen würde.

WAAN represents the musical marriage of seasoned saxophonist Bart Wirtz and keyboard wiz Emiel van Rijthoven. "Echo Echo", the album"s title reflects the relationship between WAAN"s two members. They are the echo of each other"s echo - a symbiotic and never ending musical relationship and far more complex than just being a dance music influenced jazz album.

alphacut sets off into brushy tribal jungle

the early 2010s have been a prosperous era for a lotta fast dance and bass music. dubstep's magic was fading due to brosounds taking over but the idea of some fresh air inbetween drums and basslines was thankfully carried on into the jungles too. not only halftime but also tribal beats grew strong, whether it being in warm dubby or cold darker reincarnations.
speaking of living on, this plate is not only a sequel to that era but also a tribute to the one like morphy, who brought dubby tribal brushy jungle onto alphacut around that time. it light up a spark to head for new territories, its soul is vibing on in 45seven and especially in this new alphacut - post morphem!

rude operator are opening with a minimal dancehall feel, wriggling from 8bar to 8bar, switching tensions with patterns with a slice of footwork dna inside - zero chances to freeze!
rainforest is stepping on with enlightening skanks and mystic basses under a riddim one simply can't escape as well.
paradox effects is not only flipping sides but vibes pretty much too. keeping it tribal and one-seventy but much darker with an amen from the vaults in a bunker-conrete jungle - the raw and free sound of leipzig.
dreadmaul is closing with a masterpiece which could have been executed by the homaged dubbing don himself. moody pads meet distant dub sirens and robotic amen leftovers step up into a hypnotising groove, taking you back down in the woods.

we are happy to be back with a solid round-up package which should never leave your tribal crates again, zooom!

Born Samantha Owens in Liverpool, Jones began her recording career in The Vernon Girls, a female singing group affiliated with the Vernon Football Pools company; they created a popular Beatles tribute album in 1964 with producer Charles Blackwell, who launched Jones’ solo career that same year. Blackwell producer a debut solo LP for Ascot in 1968; two years later, Larry Page released sophomore set A Girl Named Sam, with Austrian wunderkind Mark Wirtz casting her in the broad realm of pop, though most of the songs describe romantic failures. The album thus has a tongue-in-cheek cover of Burt Bacharach’s “I’ll Never Fall In Love Again” and credible renditions of Aretha’s “You Make Me Feel Like A Natural Woman” and Jackie DeShannon’s “Put A Little Love In Your Heart.”

Limited green vinyl 180gr press with one bonus track for RSD 2020.

Getting their start in the mid-1960s as a covers band, the Surrey-based group that began as The Late and who would be forced to take the name Unicorn mid-way through the recording of this excellent debut LP soon understood that originals made better sense, pointed in that direction by the success of Crosby, Stills and Nash. Given greater depth by Gerry Rafferty’s producer, Hugh Murphy, Uphill All The Way makes for superb listening, the musical craftsmanship yielding intricate textures beneath Ken Baker’s dreamy lyrics, the intelligent folk rock complete with country and western underpinnings. A must for UK folk rock fans!

Mythical Sussex psychedelic protoprog band Five Day Rain cut an album that never was in 1970, since a dispute nixed its official release. This must-have collection of rarities includes outtakes such as the fuzz box-filled 'Dartboard' and the raunchy 'Floating', as well as a tasteful cover of Bobby Hebb's 'Sunny,' plus full version of 'Rough Cut Marmalade.' 'Spare The Children,' released as a 45 by side project Studd Pump is included here too. Required listening for all who wish to understand the Five Day Rain story in full.

Given The Fall's penchant for iconoclasm, it's no surprise that they decided to say goodbye to the '70s with a series of gigs at Northern England's gruffest halls. The band's formidable live show was met with even more derision and disorder than customary during these late '79 and early '80 performances, and they skillfully amplified such sentiments back at the crowd. Totale's Turns, The Fall's first live album, was released on Rough Trade just prior to their pivotal third album, 1980's Grotesque. "The difference between you and us is that we have brains," shouts Mark E. Smith to open Totale's Turns as the band breaks into the rollicking "Fiery Jack," their latest single at the time. Each player is at their jagged best: Marc Riley and Craig Scanlon's splintering guitars, Steve Hanley's thunderous bass and Smith's combative sneer reverberate over "Rowche Rumble," "Choc-Stock" and "Spectre Vs. Rector" more than any studio would ever allow. Totale's Turns never panders to live-record conventions, serving instead as a gripping exhibit of The Fall en masse and arguably the most accurate document of the group to date. Superior Viaduct's edition is the first time that Totale's Turns has been available on vinyl domestically. Liner notes by Brian Turner.

First ever reissue of this excellent self-titled South African jazz album by Spirits Rejoice.
Check out tracks like 'Woza Uzo Kudanisa Nathi' or 'Papa's Funk' !

The 1970s is regarded as a period of experimentation, boundary-breaking and hybridization in modern music and this spirit certainly informed the mushrooming of ideas that occurred in South African jazz during this time. In the shadow of more commercial township jive and soul, South African jazz evolved on the fringe, nurtured by passionate and enterprising independent producers who courted the interest of the mainstream with enchanting concoctions of jazz with folk, rock, soul and funk.

With a lineup hailing from far flung regions of South Africa, the mercurial sound of Spirits Rejoice and its willingness to weave a patchwork of different influences into its recordings is not hard to account for. More difficult to reconcile is that the band didn’t manage to level up to the status enjoyed by its peers in larger music markets abroad. Nevertheless, Spirits Rejoice has maintained its revered status in the collective memory of South African jazz for over four decades and their recorded artifacts return in the 2020s with the group’s vitality and energy undiminished.