quête:no nam

Of all the nicknames given to Elvis, only one of them really seems to reflect his importance in the history of rock: they called him The King.

Together with Chuck Berry, Elvis represented the young generation that vibrated to the music with new rhythms that appeared in the Fifties: Rock’n’Roll. Presley’s personality, not to mention his voice, charm, and a whole series of chart hits, guaranteed Elvis a special place in the hearts of his fans; and not only in his own lifetime, because the same is true some fifty years later.

The thirty titles included in this album are a brilliant demonstration of Elvis’ talents, and the music alone is enough to explain the cult following of his fans, who will worship him forever.

In Todmorden, the oddly-named market border town in West Yorkshire with a habit for embracing the weird and wonderful, a burst of sunshine is a precious thing. Through the thick of Winter, through every season in fact, the town’s folk are used to the wind and rain, fog and mist. As much a part of the town as the trademark deep valley it sits in, here the lay of the land invites the weather in, just as it does the many musicians, artists, and unique characters that have come to call the place home over the centuries.
Bridget Hayden is one such soul who found a home among these hills. The experimental musician, who invites the ghosts in for the classic folk songs that make up her stunning new album, knows only too well about such weather, how rare and treasured the breaks from it are. Her favourite thing to do in the valley, she says, is “to make the most of every tiny minute of sunshine.”
Such aspirations nearly derailed the recording of Cold Blows the Rain, her new eight-song collection released via the Todmorden- based label Basin Rock. Having hired the town’s Oddfellow’s Hall to record these new songs in the late summer of 2022, Hayden says the weather was so good she ended up basking in every second of it, only moving inside to begin recording when the sun was setting, working deep into the night to make up the time.
There’s a good chance, however, that it had to be this way. The songs that make up Cold Blows the Rain are not made for the sunlight. They come, instead, wrapped in mist and coated with drizzle, those elements shaping the album as much as the voice and the instruments held within, as real but ambiguous as the ghosts that linger in the shadows. The sound of the dark valley floor.
Mostly centred around meditative and experimental improvisation, Bridget’s work to-date has seen her spend more than two decades recording and performing on the underground music scene. She’s also toured internationally both as a solo artist and as part of bands such as Schisms and The Telescopes, while working on various side-projects with the likes of Folklore Tapes.
For all of this sonic exploration, so much of her work has been formed around elements of traditional folk aesthetics and, over time, she began to piece together a collection of reinterpreted traditional songs that she absorbed as a child from her mother: through The Dubliners and Muddy Waters, to Bessie Smith and The Leadbelly Songbook. Harvesting her love for Nina Simone, Karen Dalton, Margaret Barry, and more, Bridget takes these traditional songs and transforms them into something uniquely evocative
"It goes back to the womb,” Bridget says of that connection. “I would not call it a memory as it is so deep within my blood and bones. My mum was the source, she sang all the time, as part of life. So it was a very lulling and natural introduction. It seemed common to hear her singing – unbeknownst to her – in time with a raindrop dripping at the window,” Bridget continues. “I’ve always wanted to do a folk record as I love these songs so much. It comes much more naturally to me to sing other people’s words, especially when they’re as beautiful as these old verses.”
Underpinned by waves of analogue reverb, and led by Bridget’s stirring and weather-beaten voice, the songs on Cold Blows the Rain drift and crawl like low heavy clouds on flat-top hills, shaped by the land. The backdrop is equally as arresting, all subtle gloom cast in shadow, a gentle but pronounced swirling of textures, crafted from harmonium and violin courtesy of The Apparitions (Sam Mcloughlin and Dan Bridgewood-Hill).
“The weather speaks the most eloquently about human loss,” Bridget says, articulating such sentiments. “It’s good to feel enveloped by something so much vaster than ourselves. The rain and the tears all become one.”

Another stylish release on RZ Muzik !They are from Francfort, they hide behind the name DadaBleep. Can you resist to "Nikeshirts" ~

As Jess Sylvester finished his Hardly Art debut as Marinero in the fall of 2020, he realized it was time for a change. Sylvester grew up in Marin County, on the doorstep of San Francisco. It was a nurturing community for a high-school punk with a pompadour and, later, for a sober songwriter with a proclivity for moody psychedelia. But he wanted to be challenged and inspired by a new setting and scenario around strangers who prompted him to approach his music in unexpected ways. So in September 2020, as the world continued to reel in lockdown, Sylvester headed several hours south to Los Angeles, a city that, despite the relative proximity, the film buff knew largely from classic and cult films situated there. When he arrived, he kept digging into that cinematic past-Robert Altman's The Long Goodbye, with John Williams' classic theme, or classic 90s movies about East LA, many featuring Edward James Olmos. They shaped his understanding of his new town just as it began to open. This is one pillar of the multivalent and endlessly lush La La La, Marinero's new album about sobriety, identity, and fantasy that is playfully named both for the city that helped shape it and the sophisticated pop it contains. Sylvester wrote about characters outside of himself, whether considering the heroine reckoning with her own version of keeping clean or the screenwriters whose work was deemed communist simply as a political convenience. He linked those songs with motivational anthems about self-acceptance and playful numbers about flirting through food, shaping a 12-song set rich with humor, empathy, and encouragement. Sure, La La La is a continuation of the slippery genre play Sylvester started with 2021's Hella Love, 2019's Trópico de Cáncer, or even before that. But it also feels like a fresh beginning for Marinero, as Sylvester realizes how boundless this project can be. He began to think about the music of his childhood, how his mother is from San Francisco with Mexican roots, and how he'd heard so much salsa growing up as an impetuous teenager. So he wrote "Taquero," a red-hot salsa tune that uses tacos and their trappings as a source of endless metaphors for come-ons. And then there was the Ray Barreto or Santana-inspired "Pocha Pachanga," with organ gliding and percussion pulsing beneath his yearning vocals, warped as if by desert winds. In Los Angeles, he found a wealth of players who spoke this music like language itself (including Chicano Batman's Eduardo Arenas), all ready to play with and push these familiar forms. Sylvester has also been sober for 21 years, since a cross-country sojourn to attend college in Boston ended in a chemical haze. Today, he sees friends facing the same decisions he made two decades ago, and he brings bits of that experience to bear in songs that feel like self-help anthems. Recorded with a musical hero (and labelmate) of his, Chris Cohen, "Sea Changes" feels like sunshine breaking through dark clouds, as Sylvester acknowledges the newfound confidence and clarity in a friend who has stepped away from destructive habits. In the past, Sylvester has been intractably linked to his identity as a Mexican-American, born to parents from Mexico and Irish- American descent who settled in San Francisco. That can be limiting, of course, tying him to notions of sound and style that aren't always correct. On La La La, he simultaneously steps into and out of those preconceptions, singing tracks above salsa in joyous Spanish or pondering the dynamics of the Hollywood Ten and blacklists above mysterious lap steel and teasing trumpet. His identity, then, should now be clear: He is a Californian, making music shaped by the diversity of encounters and experiences that are a central part of that state's fabric. Never before has he presented himself so fully and unabashedly on tape as with La La La, an album Sylvester built with new inspirations to deliver new charms.

Cold Blow proudly presents Bonus Beats: Rare & Unreleased Finnish Electro 1990–2002, a landmark compilation capturing Finland's underground electro scene from the late 1990s and early 2000s. This double-LP features 9 rare and 3 previously unreleased tracks from pioneering Finnish artists, showcasing a distinctly Nordic approach to the genre. With contributions from notable names such as Jori Hulkkonen, Mr. Velcro Fastener, Mono Junk, and the late Mika Vainio, this release highlights the experimental and DIY ethos that defined Finland's electronic music scene during this period.

Carefully curated by Erkko Lehtinen, a key figure in Finland's electro scene as a DJ and promoter, the compilation explores a broad sonic palette, spanning early techno influences, robotic allure, and dark, bass-heavy tracks. Standout contributions include Decepticons and Dr. Robotnik's unreleased dark electro cuts, with the latter veering into minimal wave territory. Feng Shui feat. Monsieur delivers a striking collaboration that fuses a trance-like lead with raw, industrial beats, uniting members of Huoratron, Nu Science, Polytron, and Op:l Bastards. Keeping alive the legacy of Perttu Häkkinen (aka Randy Barracuda), this release wouldn't be complete without Imatran Voima's bass-driven anthem from their debut EP. Also featured are Spektor's retro synth experiments, Tero's Commodore 64-based creations, Brothomstates' (later a Warp signee) futuristic soundscapes, and a rare cover of Kraftwerk's The Model by the anonymous duo Markus & Kristian. Erkko's extensive liner notes provide additional insight into this culturally and musically significant era. Available in double-LP, this collection is a must-have for electronic music aficionados and vinyl collectors.










j 10: Feng Shui - Hao Hao (I`m Back) feat. Monsieur

Watch out! You are holding the 125th (one-hundred-and-twenty fifth!) album on Tramp Records in your hands! We are honored to celebrate this impressive anniversary with the tenth volume in the Praise Poems series. This time, too, we go on a journey to discover previously unheard regions of jazz, folk and AOR from the 1970s and 80s.

Praise Poems Vol.10 presents sixteen (almost) forgotten rare groove gems, all released between the years 1970 and 1984. One of the many highlights is the opening track: "Fields of Laughter" by Color Me Blu - originally released on an acetate only of which two copies exist worldwide. But there is much, much more to discover. This brandnew volume features a wide range of genres, from AOR (Whiz Kids, Ross Miller, and another previously unreleased track by Harve & Charee) to Latin-Rock a'la Santana (Color Me Blue, Tribal Sinfonia, and Apple) to Soul-Jazz (Ernie Lewis Trio, Joe Bozzi Quintet or Dutch saxophonist Frits Kaatee). Right at the end, one track in particular stands out: the wonderful "It's Good Not To Forget" by George Melvin and his quintet - a fabulously dreamy, thoughtful instrumental piece in the style of Ramsey Lewis with catchy tune potential.

Not many compilation series make it to a tenth edition. And if they do, then you often notice that the quality of the songs goes in the opposite direction to the increasing number of series: namely decreasing. Not so with Praise Poems Vol. 10, which the creators prove in an impressive new way. They have found tracks that were originally either a) pressed by the musicians themselves in very small editions or b) released by small, regional labels. It is understandable that neither the musicians nor these small labels had the necessary knowledge or budget to market their albums or singles professionally. The majority of the bands therefore did not manage to reach a large audience - although they certainly had the potential for the big stage.

"Praise Poems 10 - A journey into soulful jazz and funk from the 1970s" makes these almost 50-year-old treasures accessible to a new audience. We hope that you enjoy discovering your personal favorite song(s) and we are already looking forward to many more releases!

Erstmalige Wiederveröffentlichung seit 1981! Noel Phillips, der bis dato ausschließlich in Sammlerkreisen einen Namen hat, war seinerzeit 17 Jahre alt, als er für den Produzenten Prince Jammy dieses Juwel des Roots Reggae eingesungen hat, das es ab sofort zu entdecken gilt. Mit den Musikern Bass: Robbie Shakespeare, Drums: Sly Dunbar, Guitar: Boo Peep, Dougie, Horns: Deadly Headley, Bobby, Organ: Ansel, Winston Wright, Percussion: Scully, Sticky, Piano: Gladdy. Als CD exklusiv in der Box "Rootsman Vibration At King Jammy's" (VPGSCD7000) - Tipp!

Volume 1 of this expertly curated project of 90s Italian House - put together by Don Carlos.

If Paradise was half as nice… by Fabio De Luca.

Googling “paradise house”, the first results to pop up are an endless list of European b&b’s with whitewashed lime façades, all of them promising “…an unmatched travel experience a few steps from the sea”. Next, a little further down, are the institutional websites of a few select semi-luxury retirement homes (no photos shown, but lots of stock images of smiling nurses with reassuring looks). To find the “paradise house” we’re after, we have to scroll even further down. Much further down.

It feels like yesterday, and at the same time it seems like a million years ago. The Eighties had just ended, and it was still unclear what to expect from the Nineties. Mobile phones that were not the size of a briefcase and did not cost as much as a car? A frightening economic crisis? The guitar-rock revival?! Certainly, the best place to observe that moment of transition was the dancefloor. Truly epochal transformations were happening there. From America, within a short distance one from the other, two revolutionary new musical styles had arrived: the first one sounded a bit like an “on a budget” version of the best Seventies disco-music – Philly sound made with a set of piano-bar keyboards! – the other was even more sparse, futuristic and extraterrestrial. It was a music with a quite distinct “physical” component, which at the same time, to be fully grasped, seemed to call for the knotty theories of certain French post-modern philosophers: Gilles Deleuze, Félix Guattari, Paul Virilio... Both those genres – we would learn shortly after – were born in the black communities of Chicago and Detroit, although listening to those vinyl 12” (often wrapped in generic white covers, and with little indication in the label) you could not easily guess whether behind them there was a black boy from somewhere in the Usa, or a girl from Berlin, or a pale kid from a Cornish coastal town.

Quickly, similar sounds began to show up from all corners of Europe. A thousand variations of the same intuition: leaner, less lean, happier, slightly less intoxicated, more broken, slower, faster, much faster... Boom! From the dancefloors – the London ones at least, whose chronicles we eagerly read every month in the pages of The Face and i-D – came tales of a new generation of clubbers who had completely stopped “dressing up” to go dancing; of hot tempered hooligans bursting into tears and hugging everyone under the strobe lights as the notes of Strings of Life rose up through the fumes of dry ice (certain “smiling” pills were also involved, sure). At this point, however, we must move on to Switzerland.

In Switzerland, in the quiet and diligent town of Lugano, between the 1980s and 1990s there was a club called “Morandi”. Its hot night was on Wednesdays, when the audience also came from Milan, Como, Varese and Zurich. Legend goes that, one night, none less than Prince and Sheila E were spotted hiding among the sofas, on a day-off of the Italian dates of the Nude Tour… The Wednesday resident and superstar was an Italian dj with an exotic name: Don Carlos. The soundtrack he devised was a mixture of Chicago, Detroit, the most progressive R&B and certain forgotten classics of old disco music: practically, what the Paradise Garage in New York might have sounded like had it not closed in 1987. In between, Don Carlos also managed to squeeze in some tracks he had worked on in his studio on Lago Maggiore. One in particular: a track that was rather slow compared to the BPM in fashion at the time, but which was a perfect bridge between house and R&B. The title was Alone: Don Carlos would explain years later that it had to be intended both in the English meaning of “by itself” and like the Italian word meaning “halo”. That wasn’t the only double entendre about the song, anyway. Its own very deep nature was, indeed, double. On the one hand, Alone was built around an angelic keyboard pattern and a romantic piano riff that took you straight to heaven; on the other, it showcased enough electronic squelches (plus a sax part that sounded like it had been dissolved by acid rain) to pigeonhole the tune into the “junk modernity” section, aka the hallmark of all the most innovative sounds of the time: music that sounded like it was hand-crafted from the scraps of glittering overground pop.

No one knows who was the first to call it “paradise house”, nor when it happened. Alternative definitions on the same topic one happened to hear included “ambient house”, “dream house”, “Mediterranean progressive”… but of course none were as good (and alluring) as “paradise house”. What is certain is that such inclination for sounds that were in equal measure angelic and neurotic, romantic and unaffective, quickly became the trademark of the second generation of Italian house. Music that seemed shyly equidistant from all the rhythmic and electronic revolutions that had happened up to that moment (“Music perfectly adept at going nowhere slowly” as noted by English journalist Craig McLean in a legendary field report for Blah Blah Blah magazine). Music that to a inattentive ear might have sounded as anonymous as a snapshot of a random group of passers-by at 10AM in the centre of any major city, but perfectly described the (slow) awakening in the real world after the universal love binge of the so-called Second Summer of Love.

For a brief but unforgettable season, in Italy “paradise house” was the official soundtrack of interminable weekends spent inside the car, darting from one club to another, cutting the peninsula from North to centre, from East to West coast in pursuit of the latest after-hours disco, trading kilometres per hour with beats per minute: practically, a new New Year’s Eve every Friday and Saturday night. This too was no small transformation, as well as a shock for an adult Italy that was encountering for the first time – thanks to its sons and daughters – the wild side of industrial modernity. The clubbers of the so-called “fuoriorario” scene were the balls gone mad in the pinball machine most feared by newspapers, magazines and TV pundits. What they did each and every weekend, apart from going crazy to the sound of the current white labels, was linking distant geographical points and non-places (thank you Marc Augé!) – old dance halls, farmhouses and business centres – transformed for one night into house music heaven. As Marco D’Eramo wrote in his 1995 essay on Chicago, Il maiale e il grattacielo: “Four-wheeled capitalism distorts our age-old image of the city, it allows the suburbs to be connected to each other, whereas before they were connected only by the centre (…) It makes possible a metropolitan area without a metropolis, without a city centre, without downtown. The periphery is no longer a periphery of any centre, but is self-centred”.

“Paradise house” perfectly understood all of this and turned it into a sort of cyber-blues that didn’t even need words, and unexpectedly brought back a drop of melancholic (post?)-humanity within a world that by then – as we would wholly realise in the decades to come – was fully inhuman and heartless. A world where we were all alone, and surrounded by a sinister yellowish halo, like a neon at the end of its life cycle. But, for one night at least, happy.

Mit "Nobody Loves You More" veröffentlicht Kim Deal am 22.11.24 auf 4AD ihr erstes Soloalbum. Die elf Songs umfassende Sammlung ist das erste Album der in Dayton, Ohio lebenden Künstlerin unter ihrem eigenen Namen. "Nobody Loves You More" ist Kim Deals Debütalbum, obwohl es nicht das erste Mal ist, dass sie einen Alleingang unternimmt - 2013 veröffentlichte sie im Eigenverlag eine fünfteilige Reihe von zehn Songs, die limitiert als 7" erschienen. Im Einklang mit Deals akribischer Herangehensweise an ihre Kunst, wurde das Album über mehrere Jahre hinweg verfeinert. Die ältesten Songs, "Are You Mine?" und "Wish I Was", wurden 2011 geschrieben und aufgenommen, kurz nachdem Deal von der "Lost Cities Tour" der Pixies zurückkam und nach Los Angeles umzog (frühe Versionen dieser Songs waren in der besagten Vinyl-Serie enthalten). Die letzten Aufnahmen für "Nobody Loves You More" fanden im November 2022 mit dem legendären Tontechniker und engen Freund Steve Albini statt, der den letzten Track "A Good Time Pushed" in seinem Electrical Audio Studio in Chicago einspielte. Auf dem Weg dorthin hat sie eine Vielzahl von Mitstreitern aus der Vergangenheit und Gegenwart hinzugezogen, von den Breeders (Mando Lopez, Zwillingsschwester Kelley Deal, Jim Macpherson, Britt Walford) oder auch Raymond McGinley (Teenage Fanclub), Jack Lawrence (Raconteurs) sowie Fay Milton und Ayse Hassan von den Savages. "Nobody Loves You More" wurde von Marta Salogni gemischt und von Heba Kadry gemastert. Zu jedem Song gibt es eine persönliche Geschichte. Sie handeln von den Winterferien mit ihren Eltern auf den Florida Keys ("Summerland"), einem Hochzeitsband-Cover von "Margaritaville" ("Coast") oder auch der Demenz ihrer Mutter ("Are You Mine?"). Die Platte zelebriert Deals unvergleichliche Kunstfertigkeit, die nicht nur auf die Höhepunkte ihrer Karriere mit gefeierten Bands der Alternative-Landschaft (Pixies, The Amps, The Breeders) verweist, sondern auch auf ihr unverrückbares kulturelles Gewicht, das über Generationen hinweg Musiker und Musikerinnen wie Kurt Cobain und Olivia Rodrigo beeinflusst hat.

Young Croatian cellists Luka Sulic and Stjepan Hauser, together known as 2CELLOS, have achieved sensational success by taking the cello to a new level. Their playing style has broken down the boundaries between different genres of music, from classical and film music to Pop and Rock. 2CELLOS have no limits when it comes to performing live and are equally as impressive when playing Bach and Vivaldi as they are when rocking out AC/DC. Their debut album is a thrilling collection of chart-topping rock and pop songs performed in their signature style.

2CELLOS rose to fame in 2011 when their version of Michael Jackson’s “Smooth Criminal” took the world by storm. The YouTube video became a massive viral sensation leading to a record deal with Sony Masterworks and an invitation to join Sir Elton John on his worldwide tour. The song charted at No. 10 on the Billboard Hot 100 Digital Songs Chart and landed the 2CELLOS’ debut album in the Top 100.

In addition to many sold out solo tours (US, Japan, Europe) and collaborations with the Red Hot Chili Peppers, Queens of the Stone Age and George Michael, the duo have also appeared on major TV shows such as The Tonight Show with Jay Leno, The Ellen DeGeneres Show, The Bachelor and many others. Together with the Chinese classical superstar pianist Lang Lang, they appeared at the CCTV New Year’s Gala for more than 1 billion viewers.

2CELLOS features the duo’s renditions of popular songs such as “Use Somebody”, “Smooth Criminal”, “Fragile”, “Hurt”, “Smells Like Teen Spirit” and more. It is released as a 10th anniversary edition of 1500 numbered copies on white coloured vinyl. It is housed in a heavyweight jacket with soft touch laminate and includes an insert.

Nara Leão’s Dez Anos Depois, released in 1971, is a stunning double album that revisits her musical journey and celebrates her contributions to Brazilian music.

Known as the “Muse of Bossa Nova,” Leão recorded this reflective and intimate collection of reinterpreted classics in both Paris and Rio de Janeiro.

The recordings also include the involvement of Tuca, renowned for her work on Françoise Hardy’s La Question, whose contributions enrich the album with her distinctive guitar playing and musical sensitivity.

Dez Anos Depois captures the essence of Brazil’s rich musical heritage while highlighting Leão’s versatility and artistry.

This album serves as both a tribute to her earlier works and a timeless introduction to her legacy, making it essential listening for fans of bossa nova and Brazilian music. Dez Anos Depois is available on black vinyl

Stock Found !

Member from the Monom, Robbert kept the label alive by changing his name into Sensory Overload since 2000 (SO08). On in this record he showed up some of his best Electro tracks. 1 Techno and 2 Breakz. Notice the second one (B1) is a live exerpt that we'll try to get on a complete version as a CD soon...

Collector, seeker and storyteller Charles Bals brings his curatorial finesse to Hamburg"s Bureau B with "Ambientale", a journey into otherworldly sounds from the years 1983 - 2000.

Drifting effortlessly between digital exoticism, mellow fusion, new age groove and library electronics, the pieces range from largely obscure to utterly un-google-able, and coalesce into a stunning soundtrack to tranquil seas, desert sand and starlit skies.

Cinematic & enigmatic, "Ambientale" is a stranger you"ve only just met but can"t stop thinking about.

Roma techno legend Marco Passarani dusts off his Studiomaster moniker to present a selection of vibey dancefloor burners on 12” vinyl brimming with energy and packed with 303 squelch, thumping drums, moody synths and perfectly-placed vocal cuts. Marco took the Studiomaster name from his Studiomaster P7 console, which he runs his in-the-box mixes through, to bring extra dirt and character to his tracks. The Studiomaster alias first appeared on the Passarani Bandcamp page just as summer began in 2023. The newly built B.K.S. studio space was running smoothly, and the machines have been buzzing ever since, as Marco fires off vital, futuristic, acid-drenched club tracks, under pseudonyms like Passarani 2099, Analog Fingerprints, and Kids of Rotten Future. In contrast to an internet full of streaming files and AI generated artworks, the Studiomaster brand brings the look and feel of rare 12” white label promos, minimal on design and information.
The tracks here are collected on vinyl for the first time, “They represent proper studio jam sessions,” says Marco “meant to be performed in the club. There are no songs here, just pure dance floor tools!” And it’s to those in the club that this release is dedicated: to those still dreaming about the future while dancing in the dark.

Debut studio album by the Irish singer and rapper. Biig Piig is London-based songwriter Jess Smyth, who, since 2017, has made smouldering hip-hop and neo-soul jams with homespun production. Biig Piig is a genuinely unique modern era pop star. Having come of age through musical experimentation, self-exploration and collaboration she started 2023 with the release of her critically acclaimed debut mixtape ‘Bubblegum’ and continues with the release of her upcoming debut studio album, 11:11. Radiating creative might throughout her releases, Biig Piig has seamlessly woven through various genres and languages to deliver stories and songs that speak effortlessly of youth culture. Her unpredictable and excellent discography encompasses tracks with NiNE8, Meronomy, Emotional Oranges, Lava La Rue and her musical versatility, from nonchalant rap to melancholic lament and melody, has garnered attention from Billie Eilish, Bella Hadid, Lil Nas X and the late Virgil Abloh to name a few. Biig Piig has built a nascent global audience for her instantly identifiable sound via world- wide tour dates and promo across platforms such as Triple J, Studio Brussels, 3FM, DLF, Radio 4, KCRW and more. She splits her time between the US and UK having established a support network of creatives and inventive energy that keeps things feeling fresh and fluid. A standard Black, x11 trk LP Vinyl & CD. The Retail exclusive format is a Transparent/Clear LP Vinyl. Extensive promo & marketing activity.

Back from the Grave by Grave is an essential reissue for any collector of classic death metal. Originally released in 2002, this album marks a powerful comeback for Grave, reaffirming their place as pioneers in the Swedish death metal scene. Known for their uncompromising sound, Grave delivers relentless riffs, crushing rhythms, and dark atmospheres that embody the essence of the genre. Led by founding member Ola Lindgren, the band showcases an unwavering commitment to their brutal roots while exploring new dimensions in death metal. This exclusive vinyl reissue is crafted for optimal sound quality, capturing every raw, crushing detail that has made Grave a respected name worldwide. "Back from the Grave" offers an immersive experience into themes of mortality, darkness, and resilience—a must-have for dedicated fans and new listeners alike.

On February 7, 2025, Signature Sounds will re-issue Crooked Still's acclaimed album, Shaken By A Low Sound on remastered, deluxe colored vinyl. Two tracks, “Little Sadie” and “Ecstasy” were prominently featured on the Playstation video game, The Last of Us which became the Emmy-nominated show (2023) on HBO. Originally released digitally and on CD in 2006, Shaken By A Low Sound cemented Crooked Still's reputation as one of the premiere alternative bluegrass groups of the mid-aughts, shattering preconceptions of how traditional music was played. Shaken By a Low Sound received rave reviews from publications like Interview Magazine, No Depression, and USA Today proclaiming, “Aoife O’Donovan. Remember that name, because with a sultry voice that makes her sound like a bluesier Alison Krauss, she’s about to become the newest darling of the Americana set... Shaken is stirring.”

Repress!

The sixteenth edition of Defected’s vinyl series continues to commit the label’s biggest digital releases to wax, delivering some of the best house music previously unavailable on vinyl. EP16 brings together four recent releases from Defected’s catalogue of world-class house. First up on the A-side is Claptone & Rune’s ‘Calabria’, a highly anticipated release from summer 2022 thanks to its warm familiarity, big rubbery bassline and brassy saxophone hook that captivated dancefloors instantly. Similarly, Jack Back’s ‘Feeling’ has a hint of noughties nostalgia, released in March of 2022 ready to sweep dancefloors with a rave-ready bass and electrifying vocal. The B-side opens with Ibiza stalwart Marco Faraone’s 2021 release ‘My Name’, featuring intoxicating vocals from Lolita Leopard; dripping with attitude. Closing out this club-focused collection is Payfone’s distinct ‘Day & Night’, featuring an orchestral approach to composition and a deep house groove that bursts in with ease.

Mr Bongo is proud to present an official reissue of Zé Rodrix E A Agência De Mágicos ‘O Esquadrão Da Morte’. Written, arranged and composed by the genius of Zé Rodrix and performed by his band 'Agência de Mágicos’, this Brazilian library funk beauty is the soundtrack to Carlos Imperial's 1975 film of the same title. Echoing European soundtrack maestros such as Roy Budd and Ennio Morricone, but with a Brazilian swagger, Zé Rodrix's score is a sublime gem that needs rediscovery.

Rich in 70's soundtrack cool, the score is packed with orchestrated jazz, chase scene-funk, breaks, psychedelic freakouts and plenty of drama. The loose and quirky break-beat jazz-funk of 'Assalto' feels almost tailor-made for today's hip-hop production aesthetic. The opening drum break of 'Esconderijo' is a sampler’s dream and has already been reinterpreted by the Turkish Rapper Anıl Piyancı, as well as Brazil's DJ Caique.

Carlos Imperial was a jack of all trades. As a songwriter and music producer, he created a highly impressive back catalogue. It includes working with or writing songs for Tim Maia, Elza Soares, Brigitte Bardot, and Wilson Simonal. He also co-wrote the rare cult Brazilian 7" compacto 'Lindo Sonho Delirante (L. S. D') by Fábio. Carlos Imperial wrote liner notes and was an actor, filmmaker, television presenter, and media figure. His film 'O Esquadrão da Morte' is a violent heist movie starring Beto Bandeira, Claire Chevalier, and Baby Conceicao; in the vein of exploitation films and gritty, raw B-Movie cinema of the day. Both the film and album share striking, macabre artwork by artist Benicio.

The instrumentalist, arranger, and singer-songwriter Zé Rodrix has a musical achievements list that is also one to admire. He’s worked with the cream of Brazilian music, having written songs covered by the greats, including Quarteto Em Cy, Ronald Mesquita, Elis Regina, Karma, and Célia, to name just a few. His written arrangements have graced the music of Luli Lucinha E O Bando and Helio Matheus. He was a member of the iconic group Som Imaginário and played piano and synthesizer on Secos & Molhado's classic 1973 album.

We are super pleased to make this dusty treasure available again. It is a wonderful soundtrack score that more than holds its own with its European and American counterparts of the era.

Smart dresser and dedicated beard groomer Manuold - real name Emmanuele Macagnone - has notched up some excellent releases since making his bow in 2017, including admired EPs on House Puff and Madhouse Records. Here he brings his classy brand of deep house to GLDOM for the first time. With its squelchy synth-bass, loose-limbed garage-house drums, gospel vocal samples and warm pads, opener 'Jersey' sounds like a long-lost Kerri Chandler gem. He continues the retro-futurist theme on the low-slung and jazzy 'Hot & Crunchy', before doffing a cap to deep house/tech-house fusion on the Tenaglia-influenced 'Zanzibar'. Over on the flip, 'Night Long' is a chunky slab of 21st century New Jersey deep house with an Italian twist, while 'In The Clouds' sees him successfully lean into his Italo-house influences while retaining a dreamy and chunky deep house flex.