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Alter is proud to present the debut full length release from devotional music outfit Unstern, a collaborative effort between deep ambient artist Arzat Skia and prodigal pianist Leo Svirsky. Co-mixed by Swedish electronic music luminary Civilistjävel! and Arzat Skia and mastered to tape by Stefan Betke, the album features lush electronics, two pianos refracting across the stereo field, processed recordings from the Peruvian Amazon, bowed percussion by Greg Stuart, alongside strings and renaissance meantone organ recorded at Orgelpark in Amsterdam.

The results are an abundant audio illusion where what seemingly repeats slowly over time morphs in a manner where the destination escapes the departure point with extreme discretion, a reverent nod to Morton Feldman's compositional method of "Crippled Symmetry."

Throughout Es Geht Der Tag there is a muted, refined melancholy imbued with a constantly fluctuating pulse which generates a sense of temporal disorientation, leaving the listener lost in a strange yet not at all unfamiliar sonic labyrinth. It is a journey whereby a glorious subtle tension exists between the grandiose and the restrained.

This is environmental music, not in the sense of capturing nature itself, more with regards to an unfolding of audio elements which move in a manner in tune with the multitude of flows in the world.

Unstern’s Es Geht Der Tag is a deep mental journey, rich in subtle transcendental tendencies and psychic liberation.

'Tape 1' is a cut & paste collection of original productions & edits by London's Samson A.K that navigates the gamut of outsider sounds whilst somehow remaining coherent. Apart from the rawness of the music the common thread seems to be its slightly unhinged quality and its irreverent take on the dystopia of modern life.

There's plenty of nods to the sub cultures that have informed Samson A.K along the way but plenty besides, and as moody as it is in places, it's certainly not taking itself too seriously. The genre thing doesn't really work when here but if you like skewed electronics & beats, but also go for antisocial guitar music this will probably connect.

Mastering by Miles Whittaker / Design by Jon K

The Bluesville Series from Craft Recordings and Acoustic Sounds!
Inspired by the original Prestige label imprint established in 1959
Live Wire/Blues Power by Albert King
All-analogue mastering by Grammy-nominated engineer Matthew Lutthans
180-gram vinyl pressed at Quality Record Pressings
Obi strip with reflections written by Grammy-winning producer, writer, and musician Scott Billington
Highlighting trailblazing blues musicians from legendary labels

Live Wire/Blues Power is a live album from Albert King recorded in 1968 at the Fillmore Auditorium in San Francisco, California. Featuring originals and King's rendition of classics, the album demonstrates Albert King's blues prowess.

Featuring all-analogue mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios. Pressed on 180-gram vinyl at Quality Record Pressings, this album is released in partnership with Acoustic Sounds, and features a paper-wrapped tip-on jacket. According to Rolling Stone, this album is "Just the unadulterated pure and simple blues.

The Bluesville Series from Craft Recordings and Acoustic Sounds!
Inspired by the original Prestige label imprint established in 1959
Last Night Blues by Lightnin' Hopkins with Sonny Terry
All-analogue mastering by Grammy-nominated engineer Matthew Lutthans
180-gram vinyl pressed at Quality Record Pressings
Obi strip with reflections written by Grammy-winning producer, writer, and musician Scott Billington
Highlighting trailblazing blues musicians from legendary labels

Last Night Blues is Lightnin' Hopkins' 1961 album, featuring Sonny Terry.?The second of three album collaborations, Last Night Blues showcases Hopkins' and Terry's different yet complementary styles to create a well-rounded listening experience. AllMusic declared, "this dynamite disc represents what the blues should be: stripped-down, soulful, and full of truth."

Featuring all-analogue mastering by Grammy-nominated engineer Matthew Lutthans at The Mastering Lab at Blue Heaven Studios. Pressed on 180-gram vinyl at Quality Record Pressings, this album is released in partnership with Acoustic Sounds, and features a paper-wrapped tip-on jacket.

UNSURPASSED SPACIOUSNESS, IMAGING, AND TRANSPARENCY: MASTERED FROM THE ORIGINAL TAPES, MUSIC EMERGES WITH NEW DETAILS AND TONES
1/2" / 30 IPS analogue master - Plangent Processed - to DXD to analogue console to lathe

Love Over Gold is all about contrast, tension, and crafty composition. Dire Straits' fourth album finds the band continuing to evolve by welcoming increasingly bold arrangements and exploring moody variations. Parts edgy and sharp, and part seductive and relaxed, the five lengthy songs on Love Over Gold sprawl out like a long, winding road cutting through a pastoral landscape. The addition of a new rhythm guitarist, Hal Lindes, encourages deeper atmospheric interplay while the presence of engineer Neil Dorfsman – his first appearance in what would be a long string of collaborations with Mark Knopfler – ensures stunning sonic properties that now come to life like never before.

Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's 180g 45RPM 2LP version of Love Over Gold teems with superb balances, front-to-back soundstages, and crystalline purity. The dead-quiet surfaces and extra-wide grooves bring forward previously obscured details, extra information, and mastering-studio-quality transients. The distinctive textures of a host of instruments – marimbas, acoustic and electric guitars, vibes, synthesizers – further enhance the ambitiousness of the 1982 album.

On this audiophile pressing, everything Knopfler does seemingly turn to gold. Gearheads will hear the unique characteristics afforded by his use of a Mesa Boogie Mark II guitar amplifier (soon again employed on Brothers in Arms) and carefully chosen selection of Schecter Stratocasters, 1937 National steel guitar, and Ovation six- and twelve-string models. Reference-level separation and lifelike imaging place Knopfler and company in your room, while tube-like warmth, spaciousness, and airiness causes the music to breathe anew. This LP will be in your rotation for months.

It doesn't take long to realize Love Over Gold is like no other Dire Straits album – and a staunch proclamation of independence from a band that continued to take longer creative strides with each successive project. Fearlessly extending over metaphoric hills, valleys, and plains for nearly 14-and-a-half minutes, the opening "Telegraph Road" is a guitar hero's dream and exhilarating showcase for Lindes' give-and-take capabilities. In tandem with keyboardist Alan Clark, Lindes provides the ideal foil for not only Knopfler but the long-time rhythm section of bassist John Illsley and drummer Pick Withers.

Taking its time to arrive at destinations, the quintet paints evocative musical and lyrical portraits steeped in patience, drama, and, often times, sadness. Desolate emotions colour the sweeping "Telegraph Road" and barren "Private Investigations," which finds Knopfler in the role of a tired private eye contemplating the emptiness and scars of his profession. Vocally, the Dire Straits leader remains in top form throughout, his whiskey-coated rasp conveying romantic ache, ongoing frustration, and what Rolling Stone beautifully deemed "wracking schizophrenia between the heart and the heartless, the loving and the pain."

Called Dire Straits' prog-rock statement, Love Over Gold is a classic that defies labelling and avoids ageing.

Repress!

Already familiar to fans of Freestyle Records acts Frootful and Lack
Of Afro after supplying her memorable voice to tracks by both, as well as working with masters of the mellow; The Ambassadors Of Sorrow, Angeline Morrison's ability to craft subtle, yet very catchy melodies infused with folk, bossa nova, R&B and jazz rhythms and textures ensures her music sounds fresh, engaging and highly original.

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Condition is the 2019 debut, full-length album from Natty Reeves. 11 tracks painting internal monologues and complex feelings across mesmerising groove-driven melodies and brightly coloured guitar soundscapes.

“I wanted to create an honest musical reflection of my past year. Condition is an attempt to balance my perfectionist approach and the imperfections in day-to-day life. The album was made in my bedroom with some help from close friends.”

All music throughout is written, performed, mixed and mastered by Natty, with the exception of Living Lonely & Living Lonely (Reprise) in which he brought in his good friend and long-time collaborator, Simon Jefferis. As well as being an expression of himself as a musician, it was also an opportunity for Natty to show off his artistic side with a paintbrush – Using paintings he has created himself as the artworks throughout.

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Natty Reeves is a multi-instrumentalist, producer and singer-songwriter currently residing in Brighton, UK. Taking inspiration from the likes of Chet Baker, Blake Mills and Antonio Carlos Jobim, Natty produces music riddled with charm and honesty that blurs the lines between Soul, Jazz and Hip-Hop. Drawing from real-life events and human interactions, Natty's song-writing is simple but potent, often cutting straight to the core of an emotion with a single turn of phrase.

1STEP Process 180g 45rpm 2-LP, Pressed on VR900-Supreme Vinyl!
The ultimate edition of Frank Sinatra’s famed 1950 concept album
Cut Using Original Analogue Mix-down Masters by Chris Bellman and Andreas Meyer! Strictly Limited To 5,000 Numbered Pressings!
Two 45-rpm 1STEP LPs pressed by RTI on VR900 Supreme Vinyl
New lacquers cut after each run of 500 pressings
Distinctive Impex 1STEP packaging featuring a gorgeous tip-in 36-page booklet with exclusive photography and period graphics, an expanded historical essay by Charles L. Granata

A heavy-stock two-sleeve Monster Pack jacket by Stoughton Printing and a luxe colour-matched slip case


We are beyond thrilled to announce the release of a very special limited edition of Frank Sinatra’s historic Sing and Dance with Frank Sinatra on Impex 1STEP! Our all-analogue 2-LP set adds further narrative substance and sonic greatness to The Voice’s first big-band jazz long-play vinyl “concept” album! Our 33.3 release was a landmark reissue, but this is a whole other level!

Like all Impex 1STEPs, this audiophile recording is pressed at 45-RPM on high-definition, VR-900 Supreme vinyl for incredible clarity, immediacy and a tonal depth that virtually mirrors the original monophonic master tape. Additionally, the tapes and discs we mastered from have rarely been used by other labels, delivering the original recording sessions closer than releases whose tapes have gone through mastering chains over and over. Silent, flat surfaces provide for near-perfect audio playback without distracting non-fill issues.

Exclusive to the Impex 1STEP edition are two previously unreleased bonus recordings and an extended version of the “It All Depends On You” Session + Take, where Sinatra capably arranges the musicians in real time!

The luxurious 1STEP packaging includes a gorgeous 36-page full-colour booklet with expanded historical liner notes, unique photos and graphics, and a deluxe slipcase. It provides an excellent listening experience and a “coffee table book” for your living room or den!

An All-Time Jazz Audiophile Masterpiece - Now on UHQR!
200-gram 45 RPM 2LP release limited to 5,000 copies
Mastered by Kevin Gray at Cohearent Audio from the original analogue tapes
Set includes 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal
Pressed on Clarity Vinyl at Quality Record Pressings
Purest possible pressing and most visually stunning presentation and packaging!
One of the most classic jazz albums and live recordings, a regular on most best-of jazz lists!

The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz For Debby was originally released in 1962 as a companion to Sunday At The Village Vanguard. It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans' unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality.

The title track, "Waltz for Debby," serves as the centrepiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans' masterful piano playing.

Throughout the album, Evans and his trio venture into other classic jazz standards, including "My Foolish Heart," "Detour Ahead," and "Milestones." With each performance, they delve deep into the heart of the music, exploring its nuances and improvising with a profound sense of lyricism. Evans' introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection.

The beauty of "Waltz for Debby" lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience's presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album.

Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz For Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue.

Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paid to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process.

Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records.

Waltz for Debby stands as a testament to Bill Evans' genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for its timeless beauty and the lasting impact it has had on the genre.

After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970. Label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result. It was the group's swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purist's Velvet Underground album. Still, AllMusic gives the album 5 Stars and Pitchfork calls it a "perfect rock 'n' roll record — 40 minutes long, five songs to a side, and not a single wasted note." Loaded is the sort of proper album that feels like a greatest hits collection, with each track thoroughly inhabiting and mastering a dominant rock archetype. Although the songs "Sweet Jane" and "Rock & Roll" distinguished the band as a "seminal proto-punk" act, "The trifecta of 'Who Loves the Sun,' 'Sweet Jane' and 'Rock & Roll' is among the best three-song openings on any rock and roll record," wrote Paste contributor Jeff Gonick Analogue Productions has given Loaded the deserving full reissue treatment: Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Metronomy haben heute ein neues Kapitel ihres langen und bunten musikalischen Lebens aufgeschlagen. Es ist erneut ein kollaboratives Kapitel, es ist die kommende „Posse EP Volume 2“, die am 12. Juli 2024 bei ihrem neuen Label, Ninja Tune, erscheint. Auf den fünf Tracks schlüpft Bandgründer und -leader, Joe Mount, in die Rolle des Produzenten und erschafft musikalische Welten, in denen neue Sänger:innen und Künstler:innen ihre Stimme zu Mounts feierlichen Instrumentals veredeln können.

Auf der „Posse EP Volume 2“ arbeitet Mount mit Miki, Faux Real, Nourished By Time, Lynks, SPIDER, Master Peace und TaliaBle zusammen. Die Geschichte der „Posse“ EPs begann im September 2021, als Mount den ersten Teil veröffentlichte, eine fünf Tracks umfassende Kollaboration mit einer Reihe neuer Freund:innen, darunter DJ und MC Pinty, der bereits bei Rhythm Section veröffentlicht hatte, und Biig Piig. Im darauffolgenden Jahr veröffentlichte er das bislang letzte Metronomy-Album, „Small World“, das die Party fortsetzte, indem er Künstler:innen von Nadeem Din-Gabisi bis Katy J. Pearson für eine spezielle Remix-Edition einlud.

Format: - Schwarzes Standardvinyl (140g) mit Artwork von James Vinciguerra inklusive Downloadcode.

Amazing compilation of Litto Nebbia's recordings from 1971-1988, a magical and prolific time in the career of the Argentine artist and in the history of his record label, Discos Melopea, including different sounds, from jazz to Brazilian rhythms or experimental textures. Hip-hop artists and producers such as The Alchemist, Jay Electronica and DJs such as Gilles Peterson have openly declared their admiration for Nebbia, generating great interest in his records among collectors around the world. This double-LP compilation, first one ever released in Europe, comprises twenty one recordings taken from some of his best-known albums and also rarities, tracks previously unavailable on vinyl and songs taken from his most obscure albums, the vast majority never reissued on vinyl before. This compilation, the first to be released in Europe, is a subjective look into his fascinating work. It has no historical biographical pretensions or completist aspirations. The selection includes forays into different sounds, from jazz to Brazilian rhythms or experimental textures, which show the rich variety present in Litto Nebbia's vast discography. This collection of songs extends throughout the period 1971-1988, a magical and prolific time in the career of Litto Nebbia and in the history of his record label, Discos Melopea. It comprises twenty one recordings taken from some of his best-known albums, "Bazar de los milagros", "Canciones para cada uno", "Toda canción será plegaria" and also rarities, tracks previously unavailable on vinyl and songs taken from his most obscure albums, the vast majority never reissued on vinyl before.

Black Bile compiles some of Umberto"s most resplendent, sanguine music to date The solo work of LA composer Matt Hill draws heavily from the world of cinema, spinning immersive narratives and rich atmospheres using sound alone. Hill, an active composer for film and television, recently scored the 2022 Jerry Pyle film Loveseat (soundtrack was released in 2023). Other recent scores include the 2020 thriller Archenemy, from the producers of cult classic Mandy. Inspired by the ancient Greek theory of the "four humors," an early medical theory linking the inner workings of the human body to the elements. "Black bile" specifically links the feelings of melancholy with autumn. Hill"s celestial compositions are an autumnal soundtrack conveying beauty, yearning, reflection and comfort. Many of the album"s phrases are constructed from just two notes or sounds, arranged by Hill into complex patterns that undulate with an organic pulse. The spare melodic structure holds a myriad of small and beautiful details. The songs began with Hill improvising on the piano, to find the notes and patterns that created the musical and emotional structure from which he could expand with textural detail. Hill then would often remove the initial structure leaving a sparer and more skeletal one which he could again expand upon to create a full piece. The careful attention to each detail gives his minimal compositions emotional heft. The album masterfully stakes Umberto"s claim among other avant-ambient boundary pushers such as Lawrence English or Laurel Halo.

A formidable power trio, hailing in parts from the icy Swedish northlands and the glacial expanse of the Swiss Alps, named after the three Norse goddesses of fate who wove the very tapestry of fate underneath the mythical World Tree, Norna aren't messing around. Their debut album, 2021's `Star is way way is Eye' was saturated filth; uncompromising, unrelenting ugliness. This though, their eponymous sophomore offering, digs its claws deeper into the dirt. Sharpened, hungry and desperate, born of the moment and yet years in the making; `Norna' liberates a primal rage that has been suppressed for far too long. Rather than defining their music around needlessly complex riffs or trapping themselves in established song structures, the band instead built colossal walls of crushing guitar noise before carving away at the chaos to form the bones of each piece. The results are hypnotic, looping dirges; apocalyptic mantras that take on their own shapes and stories, coming to life with each excruciating reprise_ Sculpted the same way as their debut album, with ideas and hooks hewn from a mass of noise held quite literally in the clouds (Dropbox being the band's platform of choice), Norna this time entered the process with a vision; a final, horrific form in mind. As such, the eponymous record pushes their boundaries even further beyond the extreme, with even the briefest moments of calm quickly curdled by the band's use of insidious ambient synthesisers, manipulated samples and even more distortion. Despite only forming in 2020, the three pillars of Norna bring decades of heaviness with them. Consisting of Swedish post-hardcore pioneer Tomas Liljedahl (Breach, The Old Wind) and Swiss stalwarts Christophe Macquat and Marc Theurillat (both of instrumental juggernaut Olten), Norna came together as a perfect storm of abrasive influences, harnessed by friend and producer Magnus Lindberg (Cult of Luna), to create something new, limitless and terrifying.

A formidable power trio, hailing in parts from the icy Swedish northlands and the glacial expanse of the Swiss Alps, named after the three Norse goddesses of fate who wove the very tapestry of fate underneath the mythical World Tree, Norna aren't messing around. Their debut album, 2021's `Star is way way is Eye' was saturated filth; uncompromising, unrelenting ugliness. This though, their eponymous sophomore offering, digs its claws deeper into the dirt. Sharpened, hungry and desperate, born of the moment and yet years in the making; `Norna' liberates a primal rage that has been suppressed for far too long. Rather than defining their music around needlessly complex riffs or trapping themselves in established song structures, the band instead built colossal walls of crushing guitar noise before carving away at the chaos to form the bones of each piece. The results are hypnotic, looping dirges; apocalyptic mantras that take on their own shapes and stories, coming to life with each excruciating reprise_ Sculpted the same way as their debut album, with ideas and hooks hewn from a mass of noise held quite literally in the clouds (Dropbox being the band's platform of choice), Norna this time entered the process with a vision; a final, horrific form in mind. As such, the eponymous record pushes their boundaries even further beyond the extreme, with even the briefest moments of calm quickly curdled by the band's use of insidious ambient synthesisers, manipulated samples and even more distortion. Despite only forming in 2020, the three pillars of Norna bring decades of heaviness with them. Consisting of Swedish post-hardcore pioneer Tomas Liljedahl (Breach, The Old Wind) and Swiss stalwarts Christophe Macquat and Marc Theurillat (both of instrumental juggernaut Olten), Norna came together as a perfect storm of abrasive influences, harnessed by friend and producer Magnus Lindberg (Cult of Luna), to create something new, limitless and terrifying.

THE SINISTER DEBUT ALBUM OF PURE NORWEGIAN BLACK METAL
FEELING,FEATURING MEMBERS OF AURA NOIR, OBLITERATION &
CONDOR."Underground metal the way it should sound returns to
Kolbotn!" - Fenriz (Darkthrone)From the depths of Norway looms a new
rising beast of hate & misanthropy in the form of Avmakt
Featuring the duo of Kristian Valbo & Christoffer Brathen - known for their work
with such acts as Aura Noir, Obliteration & Condor - their debut album, 'The
Satanic Inversion of....', is a grim & revelatory offering. Primitive in a way that
captures the early magic of Kolbotn's metal kings, Darkthrone, as well as the stark
chaos of early-era Bathory along with their very own distinguishable stamp on the
genre, 'The Satanic Inversion of....' is a masterclass of real Black Metal feeling,
wrapped up in a hypnotic frenzy of ice-cold riffing.
Though both members had played in bands covering different genres since their
early teenage years, Black Metal had always been one of the most important as a
vehicle for an honesty & fierceness that resonated deeply within the duo, without
the need for extravagant clothing or pretentious concepts. And so Avmakt itself
was born as the vessel for channelling this stripped-down raw feeling.
Formed in 2020 & with their one & only demo release gaining traction in the
underground, the Norwegians quickly came to the attention of Darkthrone's Fenriz
& Peaceville Records & Avmakt was swiftly included on Peaceville's Black Metal
Compilation, 'Dark Side Of The Sacred Star' which launched at the end of 2022.
Avmakt itself means "powerlessness", the sense of being overwhelmed & not
able to have any influence - without choice, voice, or hope. And so, it is from far
down in this psychological abyss that Avmakt's ideas & expressions manifest
with the completion of their debut studio release; 6 sprawling epic tracks
recorded with the assistance of Arild Torp, also of Obliteration & encapsulating
such themes as emptiness, desolation & alienation in a powerful display of
sinister, uninhibited Black Metal.

THE PINEAPPLE THIEF'S FIFTH ALBUM 'LITTLE MAN' REMASTERED &
REISSUED WITH 3 BONUS TRACKS.A vein of melancholy runs throughout
The Pineapple Thief's fifth studio album 'Little Man'
nspired by the theme of loss, 'Little Man' was the first Pineapple Thief album to
ruly establish the band on the musical map, earning them the support of the
Kscope label & endorsements from prog figurehead Steven Wilson (Porcupine
Tree) to boot. Now remastered by revered mastering engineer Steve Kitch, this
vinyl edition of 'Little Man' delivers an immersive & definitive, listening experience.
An astounding emotional, atmospheric and satisfying piece of art." 5/5 Sputnik
Music
The Pineapple Thief were formed in 1999 by founder & chief songwriter Bruce
Soord & have since released a total of 16 studio albums, 6 EP's & several live &
compilation albums. The lineup now includes Gavin Harrison of Porcupine Tree/
King Crimson following his permanent joining for 2018's 'Dissolution'. In February
2024, The Pineapple Thief released the critically acclaimed 'It Leads To This'
which reached #2 in the UK Independent Albums Chart.
This edition of 'Little Man' is presented as a CD digipack with 4- page printed
booklet & includes 'Dead In The Water', 'God Bless The Child' & live favourite
Snowdrops', plus 3 acoustic bonus tracks.

repress !

“Tubby did three original dub albums, ‘Dub From The Roots’. ‘The Roots of Dub’ and the third is ‘Brass Rockers’ with Tommy McCook ‘pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named ‘Shalom Dub’ you can call Tubby’s too because he mixed the versions as they were off forty fives’’
Bunny ‘Striker‘ Lee

King Tubby and Producer Bunny ‘Striker’ Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a ‘serious joke’ ( more of which later...) they went on to release the first pressings of this new musical genre namely ‘Dub Music’. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard... the Remix / Version cuts to an existing vocal tune.

Osbourne ‘King Tubby’ Ruddock was born in Kingston, Jamaica on 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the U.S.A... When he had qualified Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm & Blues at local weddings and birthday parties. His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a home made mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Tubby and Striker were at Treasure Isle Studio’s one day while Ruddy from Spanish Town was working with the engineer Byron Smith....

“Tubby and myself was talking when Ruddy was cutting some dub but Smithy (engineer) made a mistake through we were talking and forgot to put in the voice. It was two track recording in those days. Ruddy said ‘No Man! Make it stay! and so they cut the rhythm. When I went over to Ruddy’s that Saturday night a dance was in progress and when they played the vocal to the tune... then he said we’re going to play ‘Part Two’. They never called it ‘Version’..and then he played the rhythm track. The song was a catchy song and everybody started to sing along and the deejay started to toast so everything went down well. On Monday morning I went up and I said ‘Tubbs the mistake we made was a serious joke.It mash up Spanish Town! The people went wild. So you have to start to do that now ‘cause when the man put on the ‘Part Two’ everyone start singing this song. It played about twenty times. I said you try Tubbs!’...Well the next Saturday night now when Tubby strung up down the farm U Roy said he’s going to play ‘Part Two’ but Tubby did it different now. He started with the voice then dropped it out and let the rhythm run and then he brought in the voice in the middle and from there Tubby started to get really popular.’’
Bunny ‘Striker’ Lee

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Strikers rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD Editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

The clans of Activision, FromSoftware, and Laced Records have come together to release the majestic music of Sekiro: Shadows Die Twice on deluxe quadruple vinyl.

Set in a fictionalised 16th Century Japan, players take on the role of the shinobi Wolf in trying to protect the young Divine Heir Kuro from the remnants of the Ashina clan. Progression requires a mastery of stealth combat and extreme precision while battling some of From’s most iconic boss encounters to date. No one forgets the first time they bested Genichiro atop Ashina Castle...

The vinyl sets feature 50 tracks by lead composer Yuka Kitamura (Bloodborne, Dark Souls III) and co-composer Noriyuki "α" Asakura (Tenchu series.) The dramatic score features traditional Japanese instruments, orchestral and choral elements, and outlandish, mysterious sounds that transport listeners to a war-ravaged Japan during an alternative history Sengoku period.

2024 Repress

The follow up to the highly acclaimed reissue of the first volume Ethiopian Hit Parade. This 2nd volume features 'Ethiopian Hits' from 1972 to 1975. The track layout is Identical reissue to the original vinyl

"After releasing around fifty 45 rpm singles and his first 33 rpm album (Ethiopian Modern Instrumental Hits AELP 10, re-released by Heavenly Sweetness HS092VL), Amha Esthèté set about compiling his best 45s on a series of now legendary albums (the originals are impossible to find) in 1972. The first four volumes of Ethiopian Hit Parade were released in September and October 1972, with the fifth volume appearing in January 1973. You are the proud owner of Volume 2.

It is worth reminding ourselves that when Amha Esthèté set up his Amha Records label in 1968-69, it was in defiance of a state monopoly designed to regulate the imports and production of records by an imperial decree of July 1948. This extravagant state privilege had produced only 78s of traditional music , which though thrilling, excluded anything at all modern. To the best of our knowledge, only sixty-seven of these prehistoric discs were pressed in Great Britain between 1955 and 1961 and released by His Master’s Voice. They were supposed to be part of celebrations of Emperor Haile Selassie’s silver jubilee . . . even though 33s and 45s had existed since 1948 and 1949 respectively! Such incompetence and servility, combined with a rejection of an effervescent contemporary music scene, were symptomatic of the decadence surrounding the end of an era.

An audacious, funky outlaw, a music lover and an entrepreneur in tune with the baby-boomer generation, young Amha Esthèté (he was only twenty-four when he launched his label) will be remembered as the instigator of a peaceful revolution thick with soul and rock’n’roll.

After the acclaimed reissue of the first volume Ethiopian Hit Parade. Here is the second volume that include all the greatest Ethiopian Hits from 1972 to 1975. Identical reissue to the original vinyl which is extremely rare and expensive.

The opening track of the compilation is the song Tezeta Slow and Fast by GETACHEW KASSA were featured on the album Ethiopiques, Vol. 10: Ethiopian Blues & Ballads. and originally released on 1972. The other tracks on this second volume celebrate such pioneers of modern Ethiopian groove as Abayneh Degene, Tèshomè Meteku, Menelik Wossenachew Mulatu Astatqe and Muluken Melesse, alongside “tradi-modern” singers representing Amhara and Oromo culture, so rich and so long marginalized."

"Waxwork Records is excited to present FRIDAY THE 13TH PART VIII: JASON TAKES MANHATTAN Original Motion Picture Score by Fred Mollin. Released in 1989, Friday the 13th Part VIII: Jason Takes Manhattan is an American slasher-horror film written and directed by Rob Hedden and stars Kane Hodder as Jason Voorhees. The eighth installment of the series follows Jason as he stalks a group of high school graduates on a ship en route to New York City.

The film’s musical score was composed by Fred Mollin, who worked with longtime Friday the 13th composer Harry Manfredini on the previous installment, Friday the 13th Part VII: The New Blood.

Jason Takes Manhattan was the first film in the series not to feature Manfredini credited on the score. Navigating away from traditionally used strings and horns, Mollin’s score to Jason Takes Manhattan is electronic based and utilizes digital keyboards and synthesizers popular of the time.

Waxwork Records is thrilled to release the complete score for the very first time on vinyl. Sourced from the original master tapes from Paramount’s vaults, the score has been restored and remastered. The 2xLP album package features 180 gram colored vinyl, an interactive die-cut old style tip-on gatefold jackets with matte satin coating, printed inner sleeves, and new artwork by Anthony Petrie."

Released in 1956 as the debut album by the Miles Davis Quintet, “Miles” features a combination of pop and jazz standards. Originally released on Prestige Records, the album features an all-star cast of players with John Coltrane (tenor sax), Red Garland (piano), Paul Chambers (bass) and Philly Joe Jones (drums). This new edition of the album is released as part of the OJC Series and is pressed on 180-gram vinyl at RTI with (AAA) lacquers cut from the original master tapes by Kevin Gray at Cohearent Audio. It is presented in a Tip-On Jacket.

Waxwork Records is thrilled to announce the soundtrack release of the 1987 horror cult-classic, EVIL DEAD 2.

Directed by Sam Raimi and featuring Bruce Camp- bell reprising his role as Ash Williams, EVIL DEAD 2 is known not only as the quintessential entry of the EVIL DEAD TRILOGY, but also of 1980’s cult-classic horror cinema as a whole. EVIL DEAD 2 remains the outstanding follow up to 1981’s THE EVIL DEAD, picking up where the first film leaves off, with even more blood, possession, dismemberments, and with generous elements of slapstick comedy.

The music by composer Joseph Loduca (The Evil Dead, Army Of Darkness, Ash Vs. Evil Dead) is the sophisticated follow up to the first film’s outstanding soundtrack, engrossing the listener in classic orchestral horror, electronic cues, and haunting lullaby compositions.

Waxwork Records is proud to present the deluxe, re- mastered-for-vinyl edition of the soundtrack to one of the most beloved films in the history of horror cinema.

"WINDSWEPT is yet another creative vehicle for the esteemed Roman Saenko, known worldwide for his pioneering work in Drudkh, Precambrian and Hate Forest among others. While most of his musical creations stem from black metal, thankfully, WINDSWEPT is consistent in this regard and unapologetically restrictive, retaining Saenko's characteristically hypnotic riffing coasting atop a wintry atmosphere.

Now, after a couple albums with Season of Mist, WINDSWEPT join forces with PRIMITIVE REACTION, who released the debut album of his PRECAMBRIAN project in 2020, with the brand-new mini-album "Der eine, wahre König". Uniquely, this four-song / 28-minute recording features two equally esteemed vocalists - Winterherr of Paysage D' Hiver, and Meilenwald of Ruins of Beverast - with both men splitting duties evenly.

Indeed, with such a structure, "Der eine, wahre König" is a portrait of evenness: unwavering, unflinching, immovable, engrossing. Movement manifests in subtlety, as is Saenko's stock in trade; further and deeper listens reveal a wealth of nuance even if it's not always apparent. All four tracks comprising the record feature all-German lyrics, evoking a different-yet-related sense of austerity from the mainman's proudly Ukrainian ruminations, and both vocalists rise to the challenge of pushing their respective throats to the limit whilst remaining rooted to WINDSWEPT's core consistency. That "Der eine, wahre König" attacks from the very first second and successively expands, concluding with the near-11-minute "Jedes Todes Lohn", and retains its a stute balance of urgency and epicness speaks to Saenko's never-faltering mastery.

After releasing their debut album in 2022 that showcased their signature mix of psychedelic and funk, Neighbourly is returning with two EPs that explore new sonic territory. The first, “Outside 311” draws inspiration from bands like Wet Leg and Parquet Courts with more post-punk and garage rock styles. The second “Alla Discoteca” takes a sharp turn and draws inspiration from bands like Altin Gun, Nu Genea, Masayoshi Takanaka and Khruangbin, with more dancey, disco styles and all Italian lyrics. Both EPs offer the listener a sonic adventure, full of twists and turns but with the classic Neighbourly psychedelic, funky charm.

Enumclaw aus Tacoma, WA, angeführt von Sänger/Songwriter Aramis Johnson, ist eine Bewegung von Menschen für Menschen. Mit ihrer neuen, zweiten LP „Home in Another Life“ ist Enumclaw mehr als nur eine Rockband. Stattdessen sind sie eine Gemeinschaft von Kreativen, Videofilmern, Fotografen, Schriftstellern, Kritikern und Skatern. Sie sind für die punkigen Kids in den Skateparks in jeder Stadt, für die Kids, die die Hähnchenstreifen im Supermarkt essen, ohne zu bezahlen, für die Kids, die vielleicht nicht in den Theatern und Amphitheatern anzutreffen sind, aber auf jeden Fall im Punk-Treffpunkt die Sau rauslassen. „Home in Another Life“ packt ein ganzes Leben voller Emotionen in seine elf Songs - Johnson gibt gleich beim Opener „I'm Scared I'll End Up All Alone“ den persönlichen Ton an, einem schwankenden, aber heftigen Auftaktsong, der sich an Bands wie Dinosaur Jr und Archers of Loaf orientiert, aber einen modernen Touch hat. Singles wie „Change“ und „Not Just Yet“ zeigen, dass sich die Fähigkeit der Band, Hooks zu schreiben, seit ihrem Debüt „Save the Baby“ aus dem Jahr 2022 komplett verbessert hat. „Would you want me to change?“ schreit Aramis über einem krachenden Riff von Gitarrist Nathan Cornell, während das aggressive Schlagzeug- und Bass-Duo Ladaniel Gibson und Eli Edwards bei „Not Just Yet“ zum Headbanging-Tempo des Songs beiträgt. Nach einem hektischen Tourneeplan mit Bands wie Nothing, Illuminati Hotties und Toro Y Moi gibt es bei Enumclaw keine Anzeichen für eine Verlangsamung ihres Non-Stop-Tempos. Von Anfang an waren sie stolz darauf, eine Band der Arbeiterklasse zu sein, die so viel wie möglich unterwegs ist und CDs an Merch-Tischen brennt, wenn es nötig ist. „Home in Another Life“ fängt diese Energie ein - es ist ein Soundtrack, den man verdammt laut aus dem Fenster einer Mittelklasse-Limousine oder durch die Wände des Wohnhauses des Nachbarn schmettern kann. Es ist ein Album, das darauf abzielt, sich mit dir zu verbinden - das ist die einzige Art und Weise, wie Enumclaw funktionieren.

Enumclaw aus Tacoma, WA, angeführt von Sänger/Songwriter Aramis Johnson, ist eine Bewegung von Menschen für Menschen. Mit ihrer neuen, zweiten LP „Home in Another Life“ ist Enumclaw mehr als nur eine Rockband. Stattdessen sind sie eine Gemeinschaft von Kreativen, Videofilmern, Fotografen, Schriftstellern, Kritikern und Skatern. Sie sind für die punkigen Kids in den Skateparks in jeder Stadt, für die Kids, die die Hähnchenstreifen im Supermarkt essen, ohne zu bezahlen, für die Kids, die vielleicht nicht in den Theatern und Amphitheatern anzutreffen sind, aber auf jeden Fall im Punk-Treffpunkt die Sau rauslassen. „Home in Another Life“ packt ein ganzes Leben voller Emotionen in seine elf Songs - Johnson gibt gleich beim Opener „I'm Scared I'll End Up All Alone“ den persönlichen Ton an, einem schwankenden, aber heftigen Auftaktsong, der sich an Bands wie Dinosaur Jr und Archers of Loaf orientiert, aber einen modernen Touch hat. Singles wie „Change“ und „Not Just Yet“ zeigen, dass sich die Fähigkeit der Band, Hooks zu schreiben, seit ihrem Debüt „Save the Baby“ aus dem Jahr 2022 komplett verbessert hat. „Would you want me to change?“ schreit Aramis über einem krachenden Riff von Gitarrist Nathan Cornell, während das aggressive Schlagzeug- und Bass-Duo Ladaniel Gibson und Eli Edwards bei „Not Just Yet“ zum Headbanging-Tempo des Songs beiträgt. Nach einem hektischen Tourneeplan mit Bands wie Nothing, Illuminati Hotties und Toro Y Moi gibt es bei Enumclaw keine Anzeichen für eine Verlangsamung ihres Non-Stop-Tempos. Von Anfang an waren sie stolz darauf, eine Band der Arbeiterklasse zu sein, die so viel wie möglich unterwegs ist und CDs an Merch-Tischen brennt, wenn es nötig ist. „Home in Another Life“ fängt diese Energie ein - es ist ein Soundtrack, den man verdammt laut aus dem Fenster einer Mittelklasse-Limousine oder durch die Wände des Wohnhauses des Nachbarn schmettern kann. Es ist ein Album, das darauf abzielt, sich mit dir zu verbinden - das ist die einzige Art und Weise, wie Enumclaw funktionieren.

Experience the soulful and funky gospel sounds of the Howard Lemon Singers with the reissue of their 1977 album, Seasons, originally released by TK Records' Gospel sub-label Gospel Roots. Now reissued on vinyl for the first time through Regrooved Records, this album masterfully blends traditional gospel with modern soul elements, showcasing the Howard Lemon Singers at their most dynamic and inspirational.

Featuring rich vocal harmonies and uplifting messages, Seasons invites listeners on a spiritual journey through life's varying stages, emphasizing renewal, celebration, and introspection. Among the standout tracks is "You Are Somebody," a powerful anthem that resonates deeply with its message of affirmation and empowerment. The vinyl reissue preserves the original essence of the album, enhancing the audio quality to highlight the depth and warmth of the studio recordings.

Perfect for both avid gospel enthusiasts and newcomers, this reissue of Seasons by The Howard Lemon Singers is not just a record—it's a celebration of faith, resilience, and the human spirit. Add this pivotal piece of gospel heritage to your collection and let the timeless beauty of their music inspire you throughout the seasons of your life.

The way you're saying it, "prolific" isn't the right word for The Bug Club. You've got to say it with the trademark Welsh lilt and pay due homage to this inimitable band's origins in the renowned hit factory of Caldicot, South Wales. Do that, and you're about right with how to summarize a group who've released ten singles, two albums, two EPs, three things nobody knew how to describe, and an album under a different band's name, all since 2021, and while playing 200+ gigs a year. Initially comprising the songwriting core of Sam Willmett (vocals/guitar) and Tilly Harris (vocals/bass) with Dan Matthew (drums), The Bug Club started plying their trade in 2016. They were signed by UK label Bingo Records in Autumn of 2020. BBC 6 Music's Marc Riley was an early champion, hammering the single, booking the band in for a session as soon as it was allowed, and rightfully praising songwriters capable of singing the whole alphabet in a two-minute song and making it work. Third LP On The Intricate Inner Workings Of The System - their first for Sub Pop - sees the band serve up a beefy slab of their speciality Modern-Lovers-meets-Nuggets garage rock. There's B-52's call-and-response fun mixed with AC/DC power chord grunt. Leaning towards fast-paced punk, opening double salvo "War Movies" and "Quality Pints" sets out the stall: duel vocal piss-taking, surreal takes on everyday topics that go full circle and become profound, riffs all day long and then all the next day too. "Quality Pints" deals with the pressing concerns of any conscientious touring outfit, taking to heart the rule of the three R's as penned by renowned fellow pints fan Mark E. Smith of The Fall. Repetition, repetition, repetition. If it's that important, which it is, it's worth saying again. "War Movies" dresses distorted chugging with a comprehensive 'best of' list for the genre, with Sam Willmett offering a solo casually chucked out in a way that will make your dad promptly give up any resurgent guitar playing ambitions. And "A Bit Like James Bond" tackles the UK's sleaziest undercover export at the same time as the embarrassing ego problem that besets much of its population - but it's only heavy(ish) in the fun, loads-of-riffs sense. So, that's what they've been finishing up during their massive month-long break from gigs. In a bid to avoid being branded layabouts, The Bug Club will support their upcoming Sub Pop release with a springtime tour of the UK and Europe beginning May 10, before heading out to the US in September.

Steve Moore returns to the library music fold and it's a total doozy: Cursed Objects is truly sensational prog-synth-wave. Featuring epic electronic explorations with chamber music and symphonic flourishes, it's our favourite thing Steve has ever done. In keeping with the horror heat of the music contained within, this vinyl release is frighteningly limited, with just 500 pressed for the world.

New York-based multi-instrumentalist/producer/film composer Steve Moore is probably best known for his synthesizer and bass guitar work as Zombi, together with Anthony Paterra. But he is also part of Miracle and Titan as well as being a prolific solo artist releasing music as Gianni Rossi, Lovelock and under his own name. Steve’s music has found a home across hallowed labels like Future Times, Mexican Summer, LIES, Static Caravan, Kompakt, Death Waltz, Ghost Box and, of course, Be With Records.

Steve released Cursed Objects for fresh library label Fold. Run by ex-KPM head Paul Sandell, it's a library with values we can all get behind. It's the first production music platform working exclusively with independent labels, publishers and artists to create a truly authentic artist-led sound, at production music rates. Here's what Steve had to say: "I had worked with Paul before, at KPM. After he left, he mentioned that he had started a new library - Fold - and I was very interested in being a part. And I happened to be working on a bunch of music at the time that I thought could fit." So here we are!

The LP opens by letting in "The Uninvited One". Calm and relaxed arpeggiated synths build around sweeping strings and plucked harp to create a mystical and hopeful feel. The title track sees dark synths merge and swell with a piano, string and harp melody that is dark, mysterious and brooding. "Evolutionary Steps" is an electro synthwave track that builds with epic strings and beats, offering an expansive and dreamy approach with a mystical and driving rhythm. Next up, "The Icarus Feather" is daring, pulsing and cinematic synthwave that builds with arpeggiated synths to a hopeful end. "Daily Affirmations" offers calm and meditative ambient synths with plucked harp and strings for a reflective, peaceful, daydreamy feel.

“Mesmer's Bauble” ushers in side two, its dark synth backing builds with plucked harp and strings building with a sense of unknown and dread; it's introspective and heartfelt. "Quiet Springs" is all mystical synths, harps and strings, building to an epic panoramic scope with a hopeful and poignant atmosphere. "Festival Of Samhain" presents a dark and brooding piano melody which builds with synths and strings to create a slow and desolate feel. "The Icarus Feather (Revisited)" is epic building synthwave with arpeggiated synths and strings and a driving rhythm - the beat builds with the strings entering a forceful and marching mood. To close, "Shard Of Medusa" rides a serious and dark piano melody and, in concert with harp and strings, it creates a suspenseful and solemn atmosphere.

Steve recorded Cursed Objects, as always, at his home studio in Albany, NY. For synths, he mostly used his trusty Prophet 6, as well as his Moog Minitaur and lots of Korg Polysix too. But he also utilised a lot of virtual instruments - he doesn't have the budget for a full string section, or a harpist, alas.

The album’s cover was designed by Chris Stevenson. The artwork is a nod to first wave cyberpunk and in particular Neal Stephenson’s Snow Crash and the idea of mind viruses and cursed data. Mastering for this vinyl edition was overseen by Be With regular Simon Francis, and it was cut by the esteemed Cicely Balston at AIR Studios to be pressed in the Netherlands by Record Industry. Far from being cursed, this is another future classic library LP.

Mit über 65 Millionen verkauften Tonträgern seit dem Debüt-Album im Jahr 1980 gehören Def Leppard zu den erfolgreichsten Rock Acts weltweit.
Unzählige Hits, ausverkaufte Welt-Tourneen und massenhafte Award-Auszeichnungen unterstreichen dies. Def Leppard sind die Rock-Götter. Diese
Live-LP enthält das legendäre Sheffield-Konzert vom 14.November 1996; mitgeschnitten durch WCM-Radio und wurde nun für eine Tonträgerver-
öffentlichung freigegeben. Rock On!

Multi-Blues Music Award-Winner Albert Castiglia Assembles All-Star Cast of Righteous Souls on His New Gulf Coast Record Album including Joe Bonamassa, Josh Smith, Danielle Nicole, Christone "Kingfish" Ingram, Popa Chubby, Ally Venable, Kevin Burt, Monster Mike Welch, Gary Hoey, Rick Estrin, Jimmy Carpenter and Alabama Mike.

"During last year's "Blood Brothers" tour, Mike Zito informed me that it was time for me to do another solo album. At that moment, I felt I was ill prepared for the task. I had been constantly touring with Mike for the last two years, doing very little writing so I didn't have a lot of original material. My last two studio albums were quite thematic. With 'Masterpiece' the album centered around the discovery of my daughter. 'I Got Love' was fueled by my life during the pandemic of 2020. What would be the thing that fuels the next one? It concerned me because if I'm not living the songs, it'll never work. It had to mean something to me. Mike suggested we make it an album with guests, my friends so to speak. I was concerned my friends wouldn't have time to devote to the project. I was wrong, so wrong. Joe Bonamassa, Josh Smith, Kevin Burt, Gary Hoey, Ally Venable, Popa Chubby, Rick Estrin, Kid & Lisa Andersen, Alabama Mike, Jimmy Carpenter, Kingfish Ingram, Danielle Nicole, Monster Mike Welch, Jerry Jemmott, D-Mar Martin, Jon Otis, Jim Pugh and others stepped up for me. My daughter, Rayne even participated which was the cherry on top. Suddenly, the theme became clear. It's about friends and family. It's about 'Righteous Souls'." - Albert Castiglia

THE LIGHT IS LEAVING US ALL is one of the C93 albums that haunts me the most. I was OverMoon and Blessed to work on it with the Astonishing Aeonic Beautiful Talents of Reinier Van Houdt, Alasdair Roberts, Ossian Brown, Rita Knuistingh Neven, Andrew Liles, Aloma Ruiz Boada, Michael York, Davide Pepe, Ania Goszczyńska, and Giulio Di Mauro. Once again, the Voice in the Mask of one of my favourite authors, and longest colleagues, Thomas Ligotti, also joined C93.

The album’s title was given to me in a dream, in which I saw The Souls of humans pouring out of their eyes, and returning to God—The Light Had Left Them Quite!

On THE LIGHT IS LEAVING US ALL, I brought together my studies of specific Akkadian and Biblical Hebrew texts that I was translating with my friends and teachers Professor Martin Worthington, Ola Wikander, and Professor Seth Sanders, and also Channelled my fascinations with The Red Barn Murder of 1827 and “The Witchcraft Murders” of “Bella” in Hagley Wood in c.1941 and Charles Walton in Lower Quinton in 1945.

All this time, the birds were sweetly singing, the kettle was on, the milkmaid was singing, and the policeman was dead—all this while the birds were softly singing, and The Light Was Leaving Us All.

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

SWASTIKAS FOR NODDY is possibly, probably, maybe, or not, a seminal and sidereal masterpiece, the inspiration for 93,000 Masks On Nothings, none of which were Groovy. For me, well, it was my first Hallucinatory PickNick, and the skies turned Pixie Red for it.

I was given the album’s title during an Acid Trip: seeing Noddy Crucified In The Sky, I asked God what the most inappropriate BirthDay present for Noddy might be. God answered me from the Acid Whirlwind: “Swastikas!”

I recorded her in a run-down basement studio in West London, whilst I was simultaneously recording IMPERIUM. On playing the finished album to certain well-chosen friends, I was told by them that I had “destroyed Current 93”, and that it sounded like “demented children on drugs singing Simon & Garfunkel in a playground”. I then knew the album sounded exactly as I had dreamed it to sound, and as God had intended it to sound. Had I ditched the earlier darkness, and skipped into flowered fields? Great Black Time had already told me “NO!—GO!”

Remastered by The Bricoleur at Bladud Flies!, and with the original artwork refreshed and reborn by Rob Hopeye, this 12” vinyl picture-disc comes in a full-colour die-cut sleeve, which is printed on both the outside and inside.

This is one of the first 4 reissues of the entire back catalogue of C93 on picture-disc and standard vinyl, in the lead-up to the publication of my autobiography at the end of 2025, whilst I also work on many other recording, publishing, and painting projects, and Watch And Pray! Each release in the picture-disc vinyl reissues series is limited to 1,000 copies, and the titles will not be repressed as picture-discs once they have sold out.

Human Worth are proud to present the killer second album ‘Celestial Devastation’ from UK supergroup COWER, featuring members of The Ghost of a Thousand, Petbrick, USA Nails, Yards, The Eurosuite and JAAW, with a portion of proceeds donated to charity. Featuring the musical might of Tom Lacey (Yards, The Ghost of a Thousand), Wayne Adams (Petbrick, JAAW, Big Lad) and Gareth Thomas (USA Nails, The Eurosuite) Cower is a collaborative project of 3 friends celebrating a lifetime of music exploration together. Each bringing their own distinct flavour to this new record, which pushes the boundaries even more than their acclaimed debut ‘BOYS’, exploring further into the realms on gothic darkness, but still with a real kick, highlighting the trio’s noise roots.

Recorded, mixed and mastered at Bear Bites Horse Studio by Wayne Adams, ‘Celestial Devastation’ explores the idea of technology becoming the guiding light in our lives, for better or worse. In the words of the band’s lyricist Tom Lacey “We give up a lot of decision making to the algorithm more and more, so these songs are an attempt to make sense of that. I think that kind of power speaks to certain type of men, they seem to want to try and harness it, make others see it’s value, so this record speaks a lot to tech bros and the weird cult of silicon valley.” Human Worth have pressed up a limited run of ‘Celestial Eco Mix’ vinyl, housed in a gorgeous package designed by Thomas Lacey using MidSommar AI – linking perfectly with the album’s themes. Featuring a super high gloss cover, with additional photographic inserts illustrated by Daniel Holloway. 10% of all proceeds will be donated to Hackney Foodbank, supporting people in crisis or trapped in poverty with compassion and dignity.

Human Worth are proud to present the killer debut EP 'God Pile' from Leeds duo Grub Nap, featuring members of Thank, Dvne and Cattle, with a portion of proceeds donated to charity. Grub Nap are a 50/50, double headed, four legged, semi haggered, party at the front business at the back mash up of Dan Barter (Dvne, Joe Pesci) and Steve Myles (Thank, Cattle, Groak, Khuda). They first played together in a hardcore band in their late teens and have teamed back up to churn out sludgecore for folks with short attention spans and no interest in wizards or flag waving. A reunited earful, a midlife distraction, a questionable whiff from the back of the fridge. Crawl on in, the water’s foul. 'God Pile' is a golden brown, 15 minute, crumbly, introspective riff lattice. Snappy(ish) songs about greed, crippling anxiety, suburban nuclear mishaps and flagellant rozzers – 6 knuckle dragging clods of down tuned insolent rage. So pummelling is their racket, that they caught the ears of "supergroup" Empire State Bastard (featuring members of Biffy Clyro, Oceansize and Slayer) who invited the duo on the debut UK tour. Human Worth have pressed up a limited edition of black vinyl, with a stunning etching on side B featuring the art of Steve Myles, with 10% of all proceeds donated to Leeds Mind – promoting positive mental health and wellbeing and providing help and support to those who need it most.

Mystery colored vinyl (a unique and kooky mix-up from an exotic palette) and limited edition of 600 copies only!

From the mystical realms of a secluded ancient island, rising from the icy spray of the forbidden northern waters, comes the haunting, savage beat of a mysterious and primitive ritual. In this forgotten place, awash with wonder and enigma, echoing with the booming of sharkskin drums and bone rattles, the rock speaks with the voice of the gods. Weaving strange and terrifying tales, and tales of beauty and joy, Pagan Rites is a breathtakingly exotic tone poem that will make any Tiki bar come alive. Ixtahuele - the modern masters of exotica - legendary debut album finally back in print! The aim of the group is to provide the perfect soundtrack to bring your mind's eye on a time-traveling, round-the-world trip; taking you to faraway exotic islands, lost lands, and ancient cities - bringing back the Ottoman Empire, Port Royal, or even the mythical continent of Mu. Ixtahuele try to push the limits of where they can take you while still staying true to the genre; because after all the true armchair traveler can't make the Hawaiian Village the destination for every trip, but must also go to the Amazon, Micronesia, the Middle East, the Caribbean, and Indochina. All aboard!

Ontario-based metalcore heavyweights, Counterparts, are back with the release of their new live album, Live In Toronto, out via Pure Noise Records. The band released the colossal A Eulogy For Those Still Here in 2022 (drawing praise from the likes of Stereogum, Revolver Magazine, BrooklynVegan, Exclaim, and more), and have been touring nearly nonstop ever since. Now Live In Toronto captures Counterparts at the peak of their powers in that live element. "We hit record and played a show," laughs vocalist Brendan Murphy. "When we did this, it was our biggest headline show to date and that combined with the fact that it was so close to home, we wanted to document it in a cool way. Kyle killed the mix too. Probably the best we’ve ever sounded.”

Wir sagten Tschüss zu Rendez Vous im Januar 2020 nach einer ausverkauften Show im La Cigale in Paris. Wir sagen Hallo zu RDV im Februar 2024 mit Sheer, der ersten Single aus Downcast, ihrem neuen Album, das Ende August 2024 erscheint. Zurück zum Schreiben in einem Kontext, der noch giftiger ist als der von Superior State, ihrem ersten Album, das 2018 erschien und sie an die Spitze einer gewissen Szene katapultierte, die behauptete, ebenso viel New Wave wie Industrial zu sein. Nach einer Tournee mit über 100 Konzerten in 14 Ländern, darunter Auftritte bei großen europäischen Festivals wie Sziget, Fusion, Dour und Paléo, hat die Band ihre Arbeit an der Transkription der Gewalt in der Welt radikalisiert, indem sie ihre synthetischen Fallen abstreift, um nur einen Anzug von Gitarren auf einem Stahlskelett zu behalten. Befreit von den Codes des Post-Punk, überzogen mit Glitches und digitaler Verzerrung, klingt Sheer wie ein Kampf auf Leben und Tod zwischen Mensch und Maschine, zwischen zwei verfeindeten Brüdern, die sich ebenso gerne umarmen wie erwürgen würden.

Incognito virtuoso Lambert, known for his playful personality, bold vision, stunning neo-classical compositions, and of course his ever-present horned Sardinian mask, is back with brand-new album Actually Good. Initially intended as the score for a gritty crime drama and debut film entitled ‘The Stranger’, which, due to reasons that will become clear with time, was swiftly curtailed, the now retitled soundtrack, Actually Good, is not only ready for release, but so is a remarkable mini-documentary about the making of this crime catastrophe. Featuring rolling piano arpeggios, sedate strings and staccato synths, Actually Good combines tension and elegance in equal measures for a truly cinematic experience.