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To celebrate its fifteenth anniversary, Gondwana Records proudly announces a highly limited edition series of exclusive coloured vinyl pressings by label peers Matthew Halsall, Portico Quartet and Hania Rani plus newcomers Jasmine Myra and Svaneborg Kardyb and catalogue favourites from GoGo Penguin and Caoilfhionn Rose.

To celebrate its fifteenth anniversary, Gondwana Records proudly announces a highly limited edition series of exclusive coloured vinyl pressings by label peers Matthew Halsall, Portico Quartet and Hania Rani plus newcomers Jasmine Myra and Svaneborg Kardyb and catalogue favourites from GoGo Penguin and Caoilfhionn Rose.

To celebrate its fifteenth anniversary, Gondwana Records proudly announces a highly limited edition series of exclusive coloured vinyl pressings by label peers Matthew Halsall, Portico Quartet and Hania Rani plus newcomers Jasmine Myra and Svaneborg Kardyb and catalogue favourites from GoGo Penguin and Caoilfhionn Rose.

Salute to the Sun: Live at Halleì St Peter's documents a very special concert recorded at the iconic Manchester venue during lockdown.

Released in November 2020, Matthew's Halsall's Salute to the Sun was the trumpeter's first album since 2015's Into Forever, and marked the debut of his new band. A hand-picked ensemble featuring some of Manchester's finest young musicians. The album drew it's energy from the band's weekly sessions and was inspired by Halsall's love of nature. Lush and spiritual it received universal praise, but Halsall and his band were frustrated that they were unable to share their beautiful new sound live with an audience.



On November 25th 2020, Halsall took his band into the iconic Manchester venue, Hallé St Peter's, for a concert recording in aid of the charity Mind, that was streamed on January 21st 2021 to a global audience in the thousands. The concert was also recorded for posterity.



"When we recorded Salute to the Sun, I wanted to create something playful but also quite earthy and organic that connected to the sounds in nature. It seemed to strike a chord with people and I was blown away by the response to the album. Our concert film, recorded at the height of last winter's lockdown was a special moment for us all and I feel that the concert recording captured something beautiful that we wanted to share".



Salute to the Sun: Live at Halleì St Peter's features Matthew Halsall– trumpet, Matt Cliffe- flute & saxophone, Maddie Herbert– harp, Gavin Barras– bass, Liviu Gheorghe– piano, Alan Taylor– drums and Jack McCarthy- percussion



The recording has been mixed by Matthew Halsall and George Atkins at 80 Hertz and is mastered by Peter Beckmann at Technology Works. The vinyl was cut at Calyx in Berlin and the album is pressed at Optimal in Germany. It is presented in the form of a limited edition 2LP set with artwork by legendary designer Ian Anderson of The Designers Republic.



Spread over three sides of the vinyl LP for maximum fidelity the fourth side of the LP (side D) features an etching of Daniel Halsall's now iconic artwork for the album Salute to the Sun and copies are strictly limited with just 3000 available in total. The album will also be available for download and on streaming platforms.

Soul Jazz Records’ new Holy Church of the Ecstatic Soul: Gospel, Funk and Soul at the Crossroads 1971-83 is a one-off limited-edition heavyweight special-edition coloured vinyl pressing + download code exclusively for Record Store Day 2023.

he album draws upon the extensive links between black American gospel music and soul music, showing how the sensibilities of gospel artists such as Shirley Caesar, Dorothy Norwood, Andraé Crouch and others crossed over into secular soul music during this period.

Holy Church of the Ecstatic Soul shows how sacred gospel music was at home with Stevie Wonder, Blaxploitation-style funk and produced music celebrated both in New York’s underground discos (The Paradise Garage, Studio 54, etc) and later sampled by the likes of Jay-Z, Snoop Dogg and Mary J Blige

To celebrate its fifteenth anniversary, Gondwana Records proudly announces a highly limited edition series of exclusive coloured vinyl pressings by label peers Matthew Halsall, Portico Quartet and Hania Rani plus newcomers Jasmine Myra and Svaneborg Kardyb and catalogue favourites from GoGo Penguin and Caoilfhionn Rose.

Wenn Du auf der Suche nach dem härtesten, schnellsten und brutalsten Thrash Metal bist, solltest Du es nicht versäumen, Dir die begehrten ersten beiden Alben "Tortured Existence" (1990) und "Epidemic Of Violence" (1992) von DEMOLITION HAMMER zu besorgen. Diese gnadenlosen Alben der legendären New Yorker Band, die seit 2016 für umjubelte Live-Auftritte auf der ganzen Welt wiedervereint sind, sind endlich wieder bei Century Media Records in farbigen Vinyl-Editionen erhältlich und bieten den für die Band typischen rabiaten Gesang, rasende Riffs, wütende High-Paced-Beats, headbangfreundliche Moshparts und Brutalität en masse. Nachdem sie mehrere Jahre lang vergriffen waren, kannst du dir diese definitiven Versionen von "Tortured Existence" und "Epidemic Of Violence" jetzt wieder zu einem fanfreundlichen Preis sichern! Thrash or be thrashed!!!

Wenn Du auf der Suche nach dem härtesten, schnellsten und brutalsten Thrash Metal bist, solltest Du es nicht versäumen, Dir die begehrten ersten beiden Alben "Tortured Existence" (1990) und "Epidemic Of Violence" (1992) von DEMOLITION HAMMER zu besorgen. Diese gnadenlosen Alben der legendären New Yorker Band, die seit 2016 für umjubelte LiveAuftritte auf der ganzen Welt wiedervereint sind, sind endlich wieder bei Century Media Records in farbigen Vinyl-Editionen erhältlich und bieten den für die Band typischen rabiaten Gesang, rasende Riffs, wütende High-Paced-Beats, headbangfreundliche Moshparts und Brutalität en masse. Nachdem sie mehrere Jahre lang vergriffen waren, kannst du dir diese
definitiven Versionen von "Tortured Existence" und "Epidemic Of Violence" jetzt wieder zu einem fanfreundlichen Preis sichern! Thrash or be thrashed!!!

The Normandy duo MAMAN KÜSTERS delivers one of the best electro-ebm sound we could find in planet earth, their fully analog sequences create an immediate kind of state of trance that only very few artists reach to delivery.

This EP, that comes out at the same time as their new albumb ” Le Petit Chaos De” released via our partners of UNKNOWN PLEASURES RECORDS, arrives with 2 mind-blowing remixes by GARETH JONES (renowned as Depeche Mode producer, among many other gigantic acts) and the techno producer INSIDER. If you like to make dance, buy this plastic immediately.

Comes presented in a one-off truly limited edition of 300 copies lacquered pressed on 180gr. high quality solid black vinyl.

All tracks have been specially remastered for long cut vinyl by Daniel Hallhuber at Young and Cold Studios.

The first release from GREED singles club: Grove - Sound of the Underground.

“I whipped up this evil Bristol-soaked, bashment-heavy edition cover while touring, and have been playing it out at festivals throughout Europe, inspiring big queer mosh pits and walls of death.”

Grove have released a cover of the pop classic, “Sound of The Underground” by Girls Aloud. This is the first release under The state51 Conspiracy singles club and is available digitally and on limited edition 7” vinyl.

Doubling down on the D’n’B stylings of the original and adding a bashment twist, Grove moves the song into a propulsive new territory. The bass hits that extra bit harder, the lyrics given an extra sense of bite and bounce.

Super limited edition 300 vinyl

Three timeless tracks from the esteemed D.C. LaRue back catalogue get brand new remixes from three equally exciting producers to give a modern spin to these ‘70s classics.

LaRue joined the music industry by recording two top 40 pop records influenced by the teen-idol era. In his early adulthood, he began writing songs about the fast-growing club and bar subculture he frequented where the most outcast of society’s young and marginalized could safely congregate after being ostracized in work, church, school, and often family. In this relatively brief selection of LaRue classics, contemporary remixes paradoxically bring out the timelessness of his songs, in tone, message and musicality.

First up, ‘Do You Want the Real Thing’ gets a fresh update from re-edit royalty Opolopo in the style of the lush yet sharp Motown and Philadelphia production pieces that inspired the arrangement originally, still resonates as a nightly inner dialogue or negotiation, another of LaRue’s literary signatures.

‘Let Them Dance’ greeted in its time as a one of the breakthrough moments of new music technology, is reinterpreted by Dr Packer mainly with its live acoustic tracks, also retaining bright, rhythmic synthesizer hooks with results that are still true to his intentionally oblique lyric, a novelistic portrayal of the drug dealers, the LGBTQ+ underground community, and the powerful upper class elite that made up the multi-racial, socially integrated crowds on the dance floors at the height of disco.

Last up, ‘Indiscreet’ from LaRue’s 1976 concept album, ‘The Tea Dance,’ tells much of the story about how disco had already birthed its own far more popular and influential successor form, Hip-Hop, by the time it was declared dead by the superannuated establishments of the radio, media, and record businesses. Released in a highly limited, personally inscribed 12-inch 45 rpm edition for a select list of top disco DJs, its complex, elastic polyrhythm made it as irresistible to younger black DJs and breakdancing teens as any of the year’s other big street breakouts. Only Good Vibes Music head honchos and Scotland’s finest The Knutsens give it the magic touch for the modern dancefloor.

We are super excited to present this third slice of exclusive and brand new music from friends and family of the label. We hope you love these big orange slabs of vinyl as much as we do.

Volume 3 takes another deep dive into the diverse range of styles that we love here at SB. Ranging from disco and soul tinged house, to some deeper goodness and on to raunchy acid and techy stompers. Everything you would expect to hear at any one of our parties.

As always a huge thank you to all the incredible artists who’ve contributed to this edition. These wouldn’t happen without you… Now grab your mates, stick these tunes on loud, and DANCE!

The fourth release in Fu Manchu's 30th Anniversary vinyl reissue series, No One Rides For Free, is a new vinyl specific remaster of the band's debut album. These songs are the only recordings of the band's line-up of Scott Hill (vocals/guitar), Mark Abshire (bass), Eddie Glass (guitar) and Ruben Romano (drums). The 8 song collection was recorded on April 16 and 17, 1993 at Sandbox Studios in LA, produced by the band along with Brant Bjork. This reissue was remastered by Carl Saff for optimum fidelity. This limited edition 2,000 unit LP run is pressed on red vinyl with white splatter and the newly designed gatefold package includes never before seen photos of the band and flyers from the shows of the era. The limited edition 1,000 unit CD run also features the updated art and a digital specific remaster.

Graham Lambkin (of Shadow Ring fame) returns with a long awaited epic double LP, Aphorisms, his first major solo outing since Community (Kye, 2016). Recorded mostly during the early winter months of 2022, in post-pandemic New York and post-Brexit London, Aphorisms assembles the sonic detritus of daily life into hauntingly intimate aural soundscapes. Made between Lambkin's residence in East London and Blank Forms in New York, Aphorisms superimposes the two spaces onto one another creating an imaginary stage where his musical dramas unfold. A transatlantic mediation on the rooms where Lambkin has lived and worked, Aphorisms summons up hallucinatory vistas by way of the composer’s collage technique, layering field recordings, piano, guitar, percussion, vocal fragments, and repurposed elements on top of one another in double, triple, and quadruple exposures. Like the Shadow Ring’s Lindus (Swill Radio, 2001) recorded between Folkestone and Miami Aphorisms ruminates on estrangement and displacement, catching Lambkin as he returns to London after two decades of living in the States, in his words, “leaving home to return home.” Aphorisms continues Lambkin’s synthetic-naturalist approach to sound-making, twisting disparate and unique elements together to create the sensation of a coherent sonic space. At the heart of his practice is the illusion of form, whereby Lambkin combines sonic elements, documenting the moment that they coalesce into music only to disintegrate back into incidental sound. The album is centered around two pianos, one in New York and one in London, sounding together as if through the ether, creating a spectral atmosphere that Lambkin fills with melodic snippets, fragments of songs, spoken-word musings, and guttural barks or “the animal purity of voice,” as he has it. The superimposition of the two spaces is maximized in the album's closing titular track, where, much like on earlier works such as Salmon Run (Kye, 2007) and Softly Softly Copy Copy (Kye, 2009) fragments of familiar melodies float through the mix as though being played from afar. Aphorisms is Lambkin at his best, extending methodologies only hinted at previously and taking his now-idiosyncratic mission statement to a new chapter.

Whitelands follow their acclaimed single ‘Setting Sun’ – which saw the London-based band added to the BBC Radio 6 Music playlist – with their first ever vinyl release, an EP of reworkings, which is released as a limited edition orange vinyl 10” on June 23.Simply titled Remixes, the EP features two reworkings of ‘Setting Sun’ by dreampop legends A.R. Kane – the short Initiation Dub and the epic Hero Remix, which comes in three parts, titled Departure, Initiation and Return and takes the song to some unexpected and exciting new places.“Whitelands came up in conversation three times in a week,” explains A.R. Kane’s Rudy Tambala of how he got to know the band and came to remix them. “Two times is coincidence, three times is a conspiracy, so I reached out to them on social media, and we started chatting. They’re cool, like baby Kanes. ‘Setting Sun’ was close to my heart, reminding me of ‘Fools Gold’ meets Slowdive versus Frank Ocean. Anyway, I heard several approaches in my head, so I thought, ‘Fuck it, let’s do ’em all’. “I knew I wanted to take a prog approach: Marvin Gaye’s What’s Going On, Pink Floyd’s The Dark Side Of The Moon, Sasha’s Involver2, Coltrane’s A Love Supreme, Frank Ocean’s Blond, etc. Even my own sixty nine. It’s that seamless drift from one part into the next, stretching the idea until it ruptures, creating space for a new way of perceiving; this has the first inklings of hive mind, telepathy, in a musical form; you dissolve into it as it dissolves into you. A fundamental dreampop construction and aim, whereby subject and object become one. Ahem. “As the extended mix took shape it suggested to me the three components of The Hero’s Journey, hence the titles. The three-minute pop song was determined by the technical limitations of the 7” vinyl single. Digital has obliterated that. The perfect dreampop song has no time limit. ‘Setting Sun’ A.R. Kane Hero Remix is timely.” Alongside Rudy’s reworkings is an equally dazzling drum’n’bass take on last year’s single ‘How It Feels’ by the band’s guitarist Michael in his howdogirlssleep guise.

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration.

This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.

The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory.

The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new.

Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

I Shall Die Here / Earth Triumphant is an expanded edition of the fourth full-length album by The Body, first released to widespread acclaim, and terror, in 2014. Sharing their moribund vision with Bobby Krlic, aka The Haxan Cloak, the tried and true sound of The Body is shred to pieces on I Shall Die Here, mutilated by process and re-animated in a spectral state by the collaboration.

This double album set is expanded with the previously unreleased Earth Triumphant, a full-length companion album that would become I Shall Die Here, showcasing The Body's brutality in its most primal form. With both albums revisited by The Body and Seth Manchester at Machines With Magnets and remastered by Matt Colton at Metropolis Studios, this is the definitive edition of a shocking classic of unbridled bleakness and innovation. Formed by drummer Lee Buford and guitarist Chip King in Little Rock, Arkansas in 1999, The Body soon relocated to Providence, Rhode Island. The duo remained in Providence for a decade before moving west to their current home of Portland, Oregon. Their debut self-titled album (Moganano, 2003) and on the widely-acclaimed, classification curtailing of All the Waters of the Earth Turn to Blood (At A Loss, 2011) readied the band for even more experimentations. The employment of the Assembly of Light Choir's classical chorales on All the Waters, alongside more industrial music techniques such as vocal sampling and drum programming, prompted RVNG to inquire with King and Buford which darker corners of the electronic universe they were presumably interested in exploring.

The undertaking of I Shall Die Here was aided by Seth Manchester and Keith Souza, The Body's long standing engineer and creative collaborator, and noted producer Bobby Krlic. Krlic's own work as The Haxan Cloak struck a similarly despairing chord to The Body with the celebrated Excavation (Tri Angle, 2013), itself a minimalist evocation of the afterlife. I Shall Die Here shares similar nether space with the morbidly deviating darkness of Excavation, but remains sculpturally frozen in a sort of earthen purgatory.

The Body's musical approach, engraved by Buford's colossal beats and King's mad howl and bass-bladed guitar dirge, became something even more terrifying with Krlic's post-mortem ambiences serving as both baseline and outer limit. I Shall Die Here sonically serrates the remains of metal's already unidentifiable corpse and splays it amid tormented voices in shadow. This expanded edition gives us a window into the creation of a classic with the inclusion of its in utero twin, Earth Triumphant. Recorded as a nearly finished album by Buford and King before The Haxan Cloak's transformation, it stands as a raw statement of intent, the original DNA for what would soon mutate into something wholly new.

Fans of I Shall Die Here will find familiar sonic fragments in a more primitive state - like seeing an out-of-context photograph of a family member taken well before you knew them - but the album stands on its own in its minimalist brutality, a natural bridge to what The Body was soon to become. The Body's I Shall Die Here / Earth Triumphant will be released in digital and vinyl formats on June 30, 2023. On behalf of The Body, The Haxan Cloak, and RVNG Intl., a portion of the proceeds from this release will benefit Intransitive, an organization that works to advance the cause of Trans liberation in Arkansas through art, education, advocacy, organizing and culture in order to create effective systemic change and on-the-ground impact.

Jam Baxter returns with two new tracks 'The Stump' produced by Chemo X Last Japan & 'Red Hawaiian', produced by Zygote, the Strange U producer. These limited edition white double A side 7" vinyls are being released in conjunction with his newly released book 'Off Piste' - which sold out in under 12 hours. All records are hand numbered and come in a printed sleeve with 3mm spine & black paper inners. Limited to 500 copies (only 200 left), never to be repressed, get yours while stocks last.

From Elvis in Memphis retains the distinction of being the most cohesive, passionate, mature, and emotionally invested record Elvis Presley ever made. Named one of the 500 Greatest Albums of All Time by Rolling Stone, the white-soul landmark features backing by "The "Memphis Boys" and teems with rhythm-heavy country, gospel, R&B, and blues. Lauded for its natural, open sonics, the 1969 set now comes across with remarkable clarity, presence, and warmth courtesy of a premium restoration befitting a king.

Mastered from the original master tapes, pressed on MoFi SuperVinyl at RTI, and strictly limited to 10,000 numbered copies, Mobile Fidelity's UltraDisc One-Step 180g 45RPM 2LP box set of From Elvis in Memphis unearths the ravishing inner detail, sticky rhythms, and brilliant arrangements of Chips Moman's inspired production. In short, this unparalleled reissue unlocks the spirit and gestalt of the recording and takes you inside American Sound Studio. It also brings you up close and personal with Presley's singing – widely considered by many to represent the finest of his career – located dead-centre amidst the instrumental hurricane. Equally impressive are the contributions of the aforementioned Boys, and how their Southern-brewed playing – a balance of leisure with swiftness, grandiosity with concision, freedom with control – dovetails with Presley's vernacular.

The lavish packaging and gorgeous presentation of the UD1S From Elvis in Memphis pressing befit its extremely select status. Housed in a deluxe box, it features special foil-stamped jackets and faithful-to-the-original graphics that illuminate the splendor of the recording. No expense has been spared. Aurally and visually, this UD1S reissue exists as a curatorial artifact meant to be preserved, pored over, touched, and examined. It is made for discerning listeners that prize sound quality and production, and who desire to fully immerse themselves in the art – and everything involved with the album, from the images to the finishes.

Sharing much in common with the full, rich, orchestrated Stax Records sound, From Elvis in Memphis oozes with choice nuances and distinctive flourishes that on this ultra-hi-fi edition not only arise with previously unheard transparency and sharpness, but complement and serve the whole. Take the specific tonalities and blending of violas, cellos, and horns that communicate mood and serve as counterpoints. Or lively performances of the backing quintet, and how the piano and Hammond organ trace the lines of the melodies and Presley's lead. Listen to the uplifting support provided by the cadre of backing vocalists (more than a dozen credited), unrivalled in Presley's canon and a precursor to the approach he'd soon adopt in Las Vegas.

Of course, From Elvis in Memphis precedes the icon's transition into his glitzy jumpsuit phase – and follows his merciful move away from the hoary soundtrack work that consumed nearly a decade of his creative life and prompted a rebirth that began in 1968. As the bridge between eras, the record seizes on Presley's rejuvenated attitude and commitment to quality, facets that drip from the fervency with which he delivers every word. For the same reasons, and for the fact it traces back to Presley's original roots and hip-shaking guise, the album further remains a cornerstone of American music history.

Writing about the work's 40th anniversary for Rolling Stone, James Hunter correctly observed: "From Elvis in Memphis represented the full-on immersion in the Memphis idea of Elvis Presley, the American singer second only to Frank Sinatra for the ability to conjure a particular sonic universe with his merest vocal utterance. And from the album's first song, in which a bluesy Elvis espies a woman 'Wearin' That Loved On Look,' to its last, in which a more straight-up-pop Elvis regrets the injustices of life 'In the Ghetto,' his fully engaged, newly energized voice finds its most logical album setting in years."

Incredibly, Presley and company completed more than two dozen cuts for From Elvis in Memphis. One, "Suspicious Minds," turned into the vocalist's final chart-topping single and lingers as one of his most beloved rock n' roll numbers. Even though it never formally appeared on the record, the non-album song is included here as a bonus track and attains newfound depth, energy, and swagger. Coupled with the other dozen tracks – including the sultry "Power of My Love," balladic take of Dallas Frazier's "True Love Travels on a Gravel Road," and driving cover of Hank Snow's I'm Moving On" – it makes for the finest Elvis listening experience available.

Marc Richter aka Black To Comm released his debut record 20 years ago. In 2023 he is still busy releasing music under various disguises and is currently signed to the Thrill Jockey label. To celebrate this anniversary his own Cellule 75 label is re-releasing some classic out-of-print vinyl albums that originally came out on the defunct Type and De Stijl labels. The LP will feature a full-colour printed inner sleeve exclusive to this edition.

In 2009 the Type Recordings label run by John Twells had just released seminal records by Grouper, Jóhann Jóhannsson and Yellow Swans when they signed Richter and put out his breakthrough Alphabet 1968 album. The LP sold out within two weeks, receiving a glowing full-page review in The Wire Magazine by the late Mark Fisher (later reprinted in his book Ghosts Of My Life), was selected for Boomkat's Top 10 releases of the year (alongside debut albums by Leyland Kirby, Demdike Stare and Oneohtrix Point Never) and was greeted with universal praise in the underground blog network as well as established magazines such as The New Yorker and Pitchfork.

The music itself played with the notion of nostalgia without being nostalgic itself. It's the sound of half-remembered dreams, a surreal distorted vision of the past, an aural polaroid of long forgotten musics, a ghostly voice from a non-existent era.

From the original Type one-sheet:
"The mission statement for Alphabet 1968 was to write an album of "songs" for want of a better word. Short tracks which represented genre points, the milestones which stuck in Richter's mind when he thought back to his favorite records. What we arrive at is a breathtaking 10-track album which, over the course of 45 minutes, explores world music, techno, noise, avant-garde, ambient music and even exotica. Each track is linked with a loose thread of radio static or environmental sound, dragging you through the album, as if tuning in to a stray broadcast or a particularly adventurous mix. Richter has pieced the album together from hours of recordings made at his studio with home made gamelan, small instruments and loops gathered from a collection of ancient vinyl and 78 records. The scope of the album is admirable, but ignoring this, it is simply a shockingly arresting collection of experimental oddities, with references ranging from Moondog to Basic Channel by way of Bernard Herrmann. It's not hard to fall in love with Alphabet 1968, far harder would be to place exactly where the record should fit into your collection."

Mark Fisher in The Wire:
"But what if we were to take Richter's provocation seriously - what would a song without a singer be like? What would it be like, that is to say, if objects themselves could sing? It’s a question that connects fairy tales with cybernetics, and listening to Alphabet 1968, I’m reminded of a filmic space in which magic and mechanism meet: JF Sebastian’s apartment in Blade Runner. The tracks on the LP are crafted with the same minute attention to detail that the genetic designer and toymaker brought to his miniature automata, with their bizarre mixture of the clockwork and the computerised, the antique and the ultramodern, the playful and the sinister. Richter’s musical pieces have been built from similarly heterogeneous materials - record crackle, shortwave radio, glockenspiels, all manner of samples, mostly of acoustic instruments. ….. JF Sebastian's apartment was itself an update of older spaces in which science and sorcery co-existed: the workshops of ETA Hoffmann's inventor-magicians, or of Pinocchio's creator, Geppetto. I think, too, of Auguste Villiers de l'Isle-Adam's astonishing 1886 tale The Future Eve in which Edison, using the expertise he has recently acquired from inventing the phonograph, sets himself the task of constructing an artificial woman. But if there are songs here, they are sung by the gramophone and other recording and playback machines. Richter so successfully effaces himself as author that it is as if he has snuck into a room and recorded the objects as they played (to) themselves. Rather than simply automating his music, as in the case of Pierre Bastien and his mechanical machines, Richter makes us feel that he has merely recorded the unlife of objects. ….. Indeed, the impression of things winding down is persistent on Alphabet 1968. Entropy has not been excluded from Richter's enchanted soundworld. It feels as if the magic is always about to wear off, that the enchanted objects will slip back into the inanimate again at any moment."

* Strictly limited-edition 12” vinyl in full colour sleeve
* Lemon D is an iconic name in the world of Jungle and Drum & Bass. He's been at the forefront of the scene since the 90s, producing pioneering tracks that blended breakbeats, hip-hop, and soul into a unique sound that was all his own. Releasing on some the most influential labels in the genre, including V, Metalheadz, Prototype Recordings, and of course his own imprint Valve.
* First releasing on V with the sonic depth charge that is 'I Can't Stop' in 1995, Lemon D has been part of the family since the start and with the release of this Legends 12", his second in the series, that partnership is still going strong! This new release features two previously unreleased tracks from the 90s, which have been carefully sourced and remastered from DAT by head honcho Bryan Gee for the ultimate listening experience. First up is 'Cold Chillin'' from circa 1996, and on the flip 'Get Loaded' from circa 1998/99
* The 'Legends' series is all about celebrating the classic sound that defined Jungle and D&B, and Lemon D is a key part of that. With his innovative productions and undeniable talent, Lemon D has helped shape the sound of a generation. These two tracks are a testament to Lemon D's incredible legacy in the Jungle and D&B world, and still sound as fresh
* We're celebrating 30 Years in the game this year and Lemon D has been a part of the family from the start, with tracks like 'Unexplored Terrain', 'Grimey', and '40Hz' amongst many others that are widely considered as timeless classics that have made a lasting impact on the genre.
* This vinyl release is a must-have for anyone who loves Jungle and Drum & Bass. The 'Legends' series is all about showcasing previously unreleased gems from the archives and taking fans on a journey through the history of the genre. So, don't miss out on this limited edition release and add a piece of Jungle and Drum & Bass history to your collection today!

This visionary record, a precursor to the math music of the new millennium, skilfully blends stripped- down, repetitive guitars with angular, minimalist drum patterns. The original 1999 recording was helmed by Bob Weston (he of Shellac fame) Also of note is that Lynx included in its ranks guitarist Dave Konopka who went on to be a founding member of the group Battles.

This deluxe edition is augmented by a second vinyl entitled Human Speech, an EP featuring three unreleased tracks recorded in 2021 but composed more than 20 years ago. The entire collection, LP and 12" is released by Computer Students" in their Expanded Reissues series. It includes a massive double-sided poster and is housed in a sleek, tactile aluminium packaging.

After their their 1982 masterpiece Under the Big Black Sun, X offered their follow-up More Fun In The New World only a year later. The album was once again produced by Ray Manzarek.

X achieved new rough and rocking heights with the vicious "Devil Doll," "I Must Not Think Bad Thoughts", and "Make the Music Go Bang", while returning once again to their retro '50s roots with "Poor Girl".

More Fun In The New World is available as a limited edition of 1500 individually numbered copies on translucent blue coloured vinyl and includes an insert.

In August 2020, following some typical delays at the plant, Fourth Dimension Records released the limited edition 2LP (and now sold out) set of Kleistwahr's This World Is Not My Home and Over Your Heads Forever albums, originally released by the same label in 2014 and 2016 respectively. Packaged together in a single sleeve with printed inners reproducing all the artwork found on the original CDs, the 2LP was always designed to represent the first volume in a series of them. This next volume gathers everything on the next two albums, Down But Defiant Yet and Acceptance is Not Respect, both also initially released on CD in, respectively, 2017 and 2018, and presented in the exact same way. 2017's long sold out at source album, Down But Defiant Yet, collects four lengthy cuts which catch Gary Mundy (also known for Ramleh, Breathless and Broken Flag Records) furrowing his distinct and recognisable take on a kinda contemporary psychedelia with dystopian leanings. Each piece nods towards the fug generated by certain ‘krautrock’ groups whilst retaining threads of those uncompromising power-noise surges he built his reputation on, this is music guaranteed to take you to new spaces before forcing you to nervously look over your shoulder. 2018's Acceptance is Not Respect collects two lengthy pieces themselves broken down into seven parts often tempered to the point restraint assumes new, often disturbed (and disturbing) psychedelic or even filmic, properties, this music arrives like a spitting and foaming scream into the insanity of the void and the myriad challenges and questions it inexorably keeps hurling at us. Whereas Ramleh captures the sound of at least two people dealing as best they know how with the constantly rising rivers of shit around us, Kleistwahr is akin to one man having scaled a great height poking out of an infinite chasm and wondering why he bothered. This is uneasy listening sometimes renderedvirtually elegiac by dint of a prowess rarely found in such realms. Of this, Gary himself quite prophetically, in light of how events have shaped the world since said, “I was trying to make the music more spiritual sounding this time as the album is about belief. The first half is about personal and political belief and the second half about religious belief. I was wondering about whether in the 21st Century, you can seriously get anyone to completely change their beliefs and [am] asking is there anything you believe that you would be willing to die for, and the difference between the way that most beliefs have been accepted/tolerated and [are] supposedly respected in recent times in [the UK]. Now our society is starting to break down, it becomes clear that that acceptance tends not to actually be the same thing as respect at all.”

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

Twenty-five years later, Little Plastic Castle feels like a greatest hits collection. Her highest charting release on Billboard (peaking at #22) and containing her third Grammy nomination for Best Rock Performance - Female (“Glass House”), Ani DiFranco’s ninth studio album shows the Little Folksinger grappling with her independent career bubbling up into the mainstream — dissection of her fashion choices, a new expanded listenership encroaching on the die-hards, examination of what it means to sell out — encapsulated in singalongs so indelible that they’re staples of her live set decades later. This 25th Anniversary Edition sees a new remaster by Heba Kadry, the addition of three bonus tracks mixed by Tchad Blake, and a new CD package and first-time release on vinyl (2 LP). To make Little Plastic Castle, Ani returned to one of her favorite places to record in that era—the live-in studio the Congress House in Austin, Texas. In this relaxed setting she commented, "This album seemed to happen more organically than earlier studio releases." Ani is joined by drummer Andy Stochansky and bassist Jason Mercer who played with her on her 1997 tours, as well as bassist Sara Lee who toured with Ani in 1996. LPC also prominently features outside musicians including drummer Jerry Marotta (Peter Gabriel, Indigo Girls), a horn section composed of three Austin session musicians who add flavor to "Little Plastic Castle" and "Deep Dish," and trumpeter Jon Hassell (Brian Eno, Talking Heads) providing the sustained subtle solo on the 14-minute final track "Pulse." The three bonus tracks are recordings of Ani playing with the rhythm section of Sara Lee and Jerry Marotta, a trio that never reassembled after their single day of tracking. Though Ani described it as “the most light-hearted album I’ve made in a long time,” this record covers a wide range of topics — the impermanence of existence ("Fuel"), mutual respect ("Pixie"), forgiveness ("As Is"), drugs (“Two Little Girls”) — and emotions.

World-renowned saxophonist Chris Potter releases a brand new recording of music live from the legendary New York venue: the Village Vanguard. Capturing moments from Chris’ annual residency (recorded 2022), the new album features an all-star band comprising Craig Taborn, Scott Colley and Marcus Gilmore. Reimagined folk tunes (Nozani Na, Olha Maria), powerful spirituals (Got the Keys to the Kingdom) and uncommon jazz standards (Blood Count, Klactoveedsedstene) make the final cut from the multi-night residency. Expect high energy, intensity, technical brilliance, effervescent joy and a snapshot of one of the world’s greatest saxophonists in his element.

100-150 TRANSPARENT ORANGE / BLACK VINYL EDITIONS Sunfruits are pleased to announce their forthcoming debut album, One Degree. In high anticipation ever since the Melbourne/Naarm band released their Certified Organic EP in 2020, the album sees their most mature and conceptual songwriting to date. As heard in recent singles ‘End Of The World’, ‘Believe It All’ and ‘Made To Love’, the album showcases Sunfruits’ knack for writing memorable pop songs and their desire to use their music for good. The album is filled with anthemic choruses, melodic psychedelia, harmonious ballads and danceable indie pop, interplaying with potent lyrical messages of hope and despair. Through the album’s 11 tracks the band explore environmental collapse, resilience, self-reflection, love and relationships, all textured with a coming-of-age feel. On their debut album One Degree, the band presents new-age, anthemic psychedelia and indie-pop, similar to MGMT and Pond. The album’s memorable guitar hooks and garage-rock grit nods to artists such as Ty Segall and 70s glam-rocker, T. Rex, while the album’s softer moments echo the cinematic folk of Weyes Blood. Sunfruits take this eclectic mix of influences and create something uniquely their own, branded by euphonious four part vocals that have become a big part of their new sound. One Degree lets the listener sit with their feelings and encourages them to experience the rawness of human existence — highs, lows and the in-betweens. Touring UK/EU in September, including a date at the Manchester Psych Fest.

Craft Recordings kündigt die Veröffentlichung von Go West! The Contemporary Records Albums an, eine neue 3-LP, die Sonny Rollins’ Schaffen für Lester Koenigs angesehenes Jazz-Label in Los Angeles erkundet.

Neu geschnitten von den analogen Originalbändern durch den GRAMMY®-gekrönten Tontechniker (und ehemaligen Contemporary Records Studio-Mitarbeiter) Bernie Grundman.

Bernie Grundman (ehemaliger Studioangestellter bei Contemporary Records) aus den analogen Originalbändern herausgeschnitten, präsentiert das 20-Track-Set zwei klassische Alben aus dem Katalog des legendären Saxophonisten: Way Out West (aufgenommen im März 1957) und Sonny Rollins and the Contemporary Leaders (Oktober 1958). Sechs alternative Aufnahmen, die aus beiden Alben stammen, bieten zusätzlichen Kontext. Ursprünglich 1986 auf dem lange vergriffenen Kompilationsalbum Contemporary Alternate Takes
veröffentlicht, ermöglichen diese Tracks den Zuhörern zu hören, wie Rollins und seine Mitmusiker ikonische Aufnahmen wie ”Way Out West” und ”Come, Gone” entwickeln.

Die 3-LP-Edition (gepresst auf 180-Gramm-Vinyl) erscheint am 23. Juni

To mark its ten year anniversary, Mexican Summer presents a new, limited edition pressing of No Joy’s classic album Wait to Pleasure expanded with two new tracks from the beloved band's original line up. Wait To Pleasure is the product of the Montreal noise-pop band’s first foray in a fullyfurnished studio environment. Here the band has flourished, delivering their finest set to date, rooted heavily in shoegaze ripcurls and devastating melody, finishing sentences whispered long ago with depth, variance and force. Singer-guitarists Jasamine White-Gluz and Laura Lloyd and drummer Garland Hastings knock down the fence between nostalgiaand modernity, chaos and control, in a perfectly- realized effort made to bridge their uncompromised musical pasts with the alarmist tendencies of the present. Wait To Pleasure found No Joy set loose in Mexican Summer’s studio, Gary’s Electric, for two weeks in 2012, with producer Jorge Elbrecht at the helm. “Our earlier records are purely guitar-based, rock band lineups,” Laura adds, “and with Wait To Pleasure we seized the opportunity to change things up a bit.”

Lean In is the exquisite new studio album from GRAMMY-nominated singer Gretchen Parlato and globetrotting guitarist Lionel Loueke - an album that has been twenty years in the making. Meeting in New York City in the early 2000s the pair discovered that they shared an intimate musical bond, a beautiful seed which flowered in performances but was not expressed in the studio, until now! Individually they are internationally renowned, performing with the best of the best and developing a formidable reputation as prolific, creative and world-class Artists. Together they surpass the sum of their parts and form a partnership that is inspired and inspiring. Together Gretchen and Lionel invite you to lean in and join them in the celebration of their musical conjunction.

ORANGE Vinyl

In celebration of the 30th anniversary of Bettie Serveert"s debut, Matador Records has announced a limited transparent orange LP + 7" of "Palomine." Heralded in its original four-star review by Rolling Stone as "untamed and free as pop gets," the "90s classic will see its first pressing by Matador since the album"s original release in 1993. The LP package will be accompanied by a 3 Track three "Brain-Tag" 7" with newly remastered versions of the "Kid"s All Right," "Palomine," and "Tomboy" music videos on YouTube. "Palomine" is featured as the first installment of Matador"s Revisionist History catalog series in 2023.

* Dreadland is an instrumental Roots Reggae album and is the culmination of two years work, where the tracks evolved and were then adapted and re-engineered to utilise a new/revised Alien Dread studio set-up in late 2020.

The album eventually came together in Summer 2021. Alvin Davis is a talented multi-instrumentalist; specialising chiefIy in saxophone, Trumpet, Trombone, Flute etc;. He has worked with Alien Dread for many years and has contributed to virtually all projects.

All of the pieces were inspired by traditional Jamaican Roots Reggae and skillfully produced by Andrew Passey (Alien Dread) with assistance from ISR (long time co-producer). The other players involved are Asha B, who has worked with AD for several years ref Congos and percussion and Steven "Marley" Wright, who supplied rhythm and lead guitar.


* Cassette – Special limited edition. *10 Selected tracks from the CD release (IRONCD 029).
* All rhythms by: Alien Dread, feat Asha B, Steven ‘Marley’ Wright.
* Recorded at AD Studio.
* Tracks mastered by Alien Dread/Isr at AD Studio.
* Produced by: Alien Dread.
* Promotional Video on You Tube:

Remotely Together introduces new works by claire rousay & Morita Vargas, Maria Chavez & Valentina Magaletti, and KMRU, all commissioned through remote residencies for Rewire’s 2021 - online edition. In the midst of COVID-19 lockdowns, Rewire initiated these collaborations between disparate artists from all over the world, connecting them remotely to explore new creative practices both online and in isolation. The audiovisual results of these residencies were presented during the online edition of the 2021 festival. Newly edited versions of a selection of these performances have now been compiled for this release.

Featuring an enthralling mix of ambient, noise, field recording, and experimental sound art, the scene of Remotely Together is set by the crunching sounds of footsteps over a grassy environment on atmospheric opener Humo De Margatina Dulce, a collaborative song between North American percussionist and improviser claire rousay and Argentinian vocalist Morita Vargas. rousay’s textural mix of field recordings, everyday sounds, and deep electronics coalesce with Vargas’s ethereal vocals, paving the way for compelling music that gradually draws its listeners deeper into its mysterious soundworld.

Meanwhile, New York–based turntablist Maria Chavez and celebrated Italian percussionist Valentina Magaletti collaborate on Particle, featuring hypnotic textures and dreamlike percussion that seems to sonically propel itself forward, slowly expanding into a rich and layered work of stretched-out free jazz.

During his online residency, Kenyan sound artist KMRU teamed up with Dutch filmmaker Donna Verheijden. MicroVerse showcases his evocative mixing of field recordings, entrancing noise, and improvisation, resulting in a piece where the seemingly gentle sounds of the natural world begin to blend in with the artificial muck of droning noise.

Peruvian-born and Amsterdam-based graphic designer Jonathan Castro Alejos has designed the artwork of Remotely Together. It was thought of as a sculptural documentation of the unnoticed urban gestures between Amsterdam and Lima during the pandemic – further reinforcing the relationship between isolation and interconnectivity explored during the remote residencies of Rewire.

In Stereo is the debut studio album by hip hop group Bomfunk MC's, released in 1999. The album reached No. 1 on that year's Finnish albums chart and remained in that chart for 69 consecutive weeks.

In the group's home country, Finland, the album received an Emma Award for Best New Band, Best Debut Album, Best Song ("Freestyler"), and Best Producer (JS16). In Stereo was certified double Platinum in 1999, with over 130 thousand copies sold; it is currently the 25th best-selling album of all time in Finland.

The album contains the hit singles "Uprocking Beats", "B-Boys & Flygirls" and "Freestyler", of which the latter became a chart-topping hit worldwide during the first half of 2000, reaching No. 1 in eleven countries.
In Stereo is available as a limited edition of 1000 individually numbered copies on translucent red & blue marbled vinyl, housed in a gatefold sleeve.

Music follows strange paths, goes where it wants, always. This is how music created for use only as a background for adult films in the 70s today sounds so current, sophisticated, groovy and cool.

In this new chapter of Sexopolis "Beyond The Valley Of The Beats" ( Pornobeats ), we will in fact find songs "for adult listeners" who have made non-trivial musical research their final destination. 23 soul, funk, jazz, lounge and more songs that are not so easy to label with a musical genre, believe me.

18 of the songs in this selection have never been made on phonographic support before, a real "first time" that you can discover with all the taste, curiosity and kindness due, please.

The fourth chapter of the Sexopolis series is certainly the most alternative and ambitious, the result of an accurate and difficult musical research that will satisfy listeners at all times. The turquoise double vinyl is as always a limited edition. Then, all that remains is to add it to your collection and ... make your own mental private film.

Enjoy!

'Insight Into Mind And Space' is the latest full length project from techno producer and label owner 30drop. It's a 10 track collection compiled out tracks previously released on Jeff Mills' Axis imprint in digital formats. The original albums 'Soroban' and 'Photosynthetic Zone Manifesto' have been released in the years 2020 and 2021 and will now be available on vinyl in a limited edition for the first time. The compiled album includes pieces that, like the mind, evolve as a consequence of each other in an orderly way. Starting with the early origins represented by the track 'Dunkelblau' with which the album begins, going through 'Accepting The Future', which represent the complexity reached by the human brain. 'Insight Into Mind And Space' portrays those hypothetical and alternative molecular combinations in the form of songs. Exposed to different chemical elements, gravitational and environmental conditions, dormant genes and signaling pathways are activated and uncannily combined. And just like the molecular events, sounds are combined in different ways, whether simple or complex, to create songs that provide an artistic vision to that scientific concept that opens a hypothesis to other types of intelligence that are far from human and that could exist in the vast out there. About 30drop. In his formative years, the artist responsible for 30drop discovered new synthetic and electronic sounds that would later influence his work. From the year 1996, his activity as a DJ powered his link with music, focused on Detroit Techno and Techno sounds that held the transgressive references of Birmingham, UK. These impressions saw 30drop magnetize toward an industrial, experimental, noise-based sound, particularly in the mid-2000s. After a creative pause, 2014 brought his new project, '30drop', at this time his label 30D Records of which he is the Manager and joint A&R with Angel Molina, was also born. The conceptual part of this project has been done in collaboration and with the supervision of Meritxell Rosell, PhD in biochemistry and molecular biology.

NOW Music is proud to present the next instalment in our ongoing ‘Yearbook’ series, NOW – Yearbook 1978; 85 tracks from a magical year in Pop! The 85 track special edition CD is housed in ‘hard-back-book’ packaging, including a 28-page booklet featuring a summary of the year, a track-by-track guide, a quiz, and original singles artwork. NOW – Yearbook 1978; 46 tracks on a 3LP set pressed on translucent pink vinyl - from a magical year in Pop!

- Celebrating 20 years since the release of ‘Neon Nights’
- ‘Neon Nights’ saw Dannii Minogue enter her imperial pop phase, with four consecutive UK Top Ten singles and UK Club Number ones
- The album entered the UK Top 10 and reached Gold Sales
- This picture disc features the Official Bootleg Edition track listing, with 2 key mash-up versions following the trends of the day. The CD+DVD with bonus track, music videos & BBC performances
- Begin to Spin Me Round mashes Dannii’s I Begin To Wonder with Dead or Alive’s Number One hit You Spin Me Round (Like A Record)
- Don’t Wanna Lose This Groove mashes Dannii’s Don’t Wanna Lose This Feeling with Madonna’s Into The Groove, her first formally approved sample usage
- Features new mash-up artwork by Argentinian graphic artist and collagist Molokid