In collaborating with iconic vocalists Matthew K. Heafy (Trivium), Josh Middleton (Sylosis) and Anthony Lucero (Cult Leader), Burner take a striking step forward to claim new territory while consolidating their extreme and unique sound into the heaviest and bleakest incarnation of their craft yet. Vocalist Harry Nott elaborates on the themes behind the new album: "If It All Returns To Nothing looked outwards to the world's chaos throughout history, No One Is Coming To Save Us instead looks inwards at its proposed cause; humanity's violent, animalistic nature, begging us for change. This is an album about human behaviour: that people create endless cycles of violence by repeating the mistakes of the past, forging a brutal history that we fail to learn from. But, at the same time, the album is about questioning whether we can ever get past those sins and repetitions. This is a record that is mournful as much as it is angry and engaged. It longs to bitterly recall the moments of greatness and sacrifice in our shared history that created the better world we currently destroy. It longs to look back at these moments for inspiration and optimism, at a time where it feels like hope is running thin. The album is also a struggle for hope, not just that humanity can overcome hatred and violence, but that we can look back on our greatest moments and take courage to build a better world. No One Is Coming To Save Us reflects this duality in its title: that no one will come to save us from the violence and tragedy we create as part of our humanity. But it also proposes that it's up to us to change - to overcome a violent human nature and usher in a better tomorrow."
Sie ist zurück und lässt sich nichts mehr gefallen! Brandneues Studioalbum von Miss Ludella Black! "Niemand hält mich zum Narren Das ist mein viertes Soloalbum. Wir hatten einen Riesenspaß beim Aufnehmen, wie ihr sicher merken könnt! Ich werde wieder von den fabelhaften Masonics begleitet, und die eigenen Songs stammen aus der Feder von Mickey Hampshire. Wir haben das Album mit der lokalen Legende Jim Riley in den Ranscombe Studios aufgenommen, nur einen Katzensprung von meinem Hausboot entfernt. Das Etta-James-Cover (ich weiß, wie kann ich es nur wagen!) spielen wir schon seit einer Weile live, ebenso wie "Why Don't You Smile Now", das auch auf dem Album Delmonas 5! zu finden ist. Das Gänsehaut erzeugende "You Waster You" lässt euch die Nackenhaare zu Berge stehen und ist auch ein Highlight meines Live-Sets. Meine persönlichen Favoriten sind "I Bear the Scars" und "I'll Get Over Losing You" beide ganz unterschiedlich, aber sehr typisch Ludella! Ich freue mich riesig, diese tolle LP wieder bei Damaged Goods Records zu veröffentlichen, und hoffe, ihr liebt sie alle genauso sehr wie ich!"" - MISS LUDELLA BLACK, Rochester, Kent (August 2026)
We are very proud and honoured to present our next release from one of the scene's most respected artists. Seba blesses Inperspective Records with 2 slices from his diverse repertoire and they do not disappoint.
'No One Dies' harks back to an earlier time in Seba's catalogue. A simple, effective amen rinse out with atmospherics that lend themselves to a dystopian sci-fi epic is truly sublime and has been smashing down dances across the planet.
'Island Dub', the more subtle of the 2 tracks is blissed out lo fi underground jungle of the highest order and something of a departure for both artist and label, however still maintaining the integral ethos of Inperspective Records.
theBasement Discos is back with another heavy wax instalment: a four-track journey split between groovy flavour and straight-up dancefloor heat.
On the A-side, Cabin Luv Affair brings a Latin-tinged bomb with "Toma Todo", followed by Bauhouse’s "Whole Lotta Groove", a dusty jam laced with rhythm and soul. Flip it and the B-side gets nastier: Romeo Louisa drops "Can’t Let You"; peak-time house pressure with attitude, while Gabi Fischer rounds it off with "Hit That", a raw jacker built to move feet and shake walls.
Reekee returns on Time To Play rec. after his first release “don’t look back” last year.
“No One” offers a laidback beat driven by the soulful and jazzy vocals of of Anna C.. A real Soulful house tribute!
On the other side the Italian talent Gary Superfly reinterprets the essential elements of the original track providing a Detroit inspired, dub instrumental version with a killer bass line and deep texture.
Reekee concludes the ep with his instrumental version.
In der schottischen Musikszene der frühen 2000er Jahre, aus der Camera Obscura, Arab Strap und Belle and Sebastian hervorgingen, waren Tacoma Radar die stillen Erfolgreichen. Ihr einziges Album, No One Waved Goodbye - eine faszinierende Sammlung leiser Melancholie - wird heute als Kultklassiker gefeiert. Dieses Deluxe-Doppelalbum erscheint zum ersten Mal neu und enthält No One Waved Goodbye, beide 7"-Singles sowie das bisher unveröffentlichte Live From the 13th Note.
In der schottischen Musikszene der frühen 2000er Jahre, aus der Camera Obscura, Arab Strap und Belle and Sebastian hervorgingen, waren Tacoma Radar die stillen Erfolgreichen. Ihr einziges Album, No One Waved Goodbye - eine faszinierende Sammlung leiser Melancholie - wird heute als Kultklassiker gefeiert. Dieses Deluxe-Doppelalbum erscheint zum ersten Mal neu und enthält No One Waved Goodbye, beide 7"-Singles sowie das bisher unveröffentlichte Live From the 13th Note.
No-One Driving is a collection of John Foxx singles and B-sides, all released 45 years ago in 1980 and now set for release on black vinyl. Includes the singles ‘Underpass’, ’No-One Driving’, ‘Burning Car’ and ‘Miles Away’, the latter hinting at a new direction after the minimalism of his 1980 album, Metamatic. Some of Foxx’s strongest work is on the B-sides with the likes of ‘Film One’ and ‘Mr. No’ being particular Aphex Twin favourites, while ’This City’ could easily have been a single in it’s own right. An alternative take on ‘20th Century’ became the theme for the Janet Street-Porter TV magazine show, 20th Century Box which was first broadcast by London Weekend Television in 1980, but this B-side remains the definitive, full fledged version. To complete the album are two tracks - ‘Cinemascope’ and ’To Be With You’ - which were later constructed by Foxx out of original cassette recordings, notes and lyrics from the Metamatic sessions and have never been released on vinyl before.
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Was würdest du tun, wenn du wüsstest, dass in 5 Monaten die Welt untergeht? Diese tiefgründige Frage steht im Mittelpunkt von Arjen Lucassens neuestem Werk "Songs No One Will Hear". Es ist eine klangliche Reise durch die letzten Tage der Mensch-heit, während ein Asteroid auf die Erde zurast, eine Mischung aus düsterem Humor, rohen Emotionen und der chaotischen, sur-realen Natur der Endzeit. Einige geraten in Panik, andere feiern Partys, wieder andere brechen zusammen - aber einige wenige finden inmitten des Chaos ihren Frieden."Es ist tragisch, es ist absurd, es ist der Soundtrack zur Apokalypse"."Songs No One Will Hear" ist ein eklektisches Meisterwerk, das aus einem breiten Spektrum von Stilen schöpft - Rock, Prog, Pop, Elektronik und Akustik - und sowohl von heiteren Momenten als auch von tiefer emotionaler Intensität durchdrungen ist. Es er-forscht das gesamte Spektrum menschlicher Emotionen, von Panik bis hin zu unerwarteter Gelassenheit, mit der für Arjen typi-schen Mischung aus Komplexität und Zugänglichkeit. Die Fans werden einen gitarrenbetonten, modernen, eher prog-orientierten Sound zu hören bekommen, der die Energie und das Gefühl seiner früheren Ayreon-Arbeiten heraufbeschwört, während er gleichzeitig eine straffe, konzeptorientierte Erzählung beibehält.Das Album enthält mehr Gitarrensoli, mehr weiblichen Gesang und eine bandähnlichere Atmosphäre als sein Vorgänger, was zu einem dynamischeren und unmittelbareren Sound führt. Es ist nicht nur eine Sammlung von Songs, sondern ein Konzeptalbum, das die letzten Tage vor dem Asteroideneinschlag beschreibt, voller Wendungen und einer unerbittlichen Energie, die den be-vorstehenden Untergang widerspiegelt.Arjen hat unermüdlich daran gearbeitet, alles selbst zu produzieren und einzuspielen, um die Vision dieser apokalyptischen Klangwelt von Anfang bis Ende einzufangen. Zu den Höhepunkten gehören der atemberaubende Gesang von Floor Jansen (auf "The Clock Ticks Down") und eine Vielzahl von Gastmusikern wie Robert Soeterboek, Marcela Bovio, Patty Gurdy an der Dreh-leier und Mike Mills, der einen schaurigen Moment der Geschichte erzählt."Songs No One Will Hear" ist eine atemberaubende Ergänzung zu Arjen Lucassens bereits legendärem Gesamtwerk.
It"s been six years since LA DISPUTE released their last album, Panorama. Since then, the Michigan post-hardcore band-made up of Jordan Dreyer on vocals, Brad Vander Lugt on drums, Chad Morgan-Sterenberg and Corey Stroffolino on guitar, and Adam Vass on bass-dealt with the stagnance of the pandemic, celebrated the ten-year anniversaries of Wildlife and Rooms Of The House, and began working on NO ONE WAS DRIVING THE CAR. The fifth studio LP is the first entirely produced by the group, and it came together in Grand Rapids and Detroit, the United Kingdom, Australia, and the Philippines: "I think the change in environment was really helpful to breathing new life into the process each time we came back to it," Dreyer says. Partly inspired by the 2017 psychological thriller First Reformed, NO ONE WAS DRIVING THE CAR reckons with malaise in the shadow of the looming apocalypse, which has noticeably been worsened by the advancement of tech. The title comes from a quote from a police officer Dreyer read in a news article about a lethal self-driving Tesla crash, an absurd event which raises questions about the amount of control we have in our own lives. In fourteen dynamic tracks, the band grapples with the existential topic and the human need to find comfort and a sense of security in an existence where we"re often thrust into chaos without permission.
"Super Killer Aptocalyptic Noise and ultra Desperate Drowning Garage Punk from Toulouse France , members of the Fatals, Blow up! Amphetamine penis etc.." Die Jungs aus Toulouse sind zurück auf der Bühne der Anti-Pop Szene und sprengen mit ihrem super killer apokalyptischen Noise und ultraver Desperate, Drowning Garagenpunk das Hirn weg. Mitglieder von The Fatals, Blow up! oder Amphetamine Penis, und so weiter... die französischen Gitarrenwand-Könige sind zurück und haben diese 11 Songs im legendären Swampland Studio aufgenommen (The Monsters, Bad Mojos, The Spits, Sloks, Oh Telephone, Nestter Donuts...) um ihr bereits viertes Album!! bei Voodoo Rhythm Records zu veröffentlichen (You Can't Save Me - 2015 Death of an Angel - 2017 Nervous Breakdown 2020). Wie üblich spielen sie mit dröhnenden Gitarrenwänden (Hawkwind, Jesus und Mary Jane) und flirten mit ihren Musikfreunden The Limiñanas (französische, verzweifelte, herzzerreißende, traurige Liebes Lieder) und ihrem ganz eigenen Garage-Punk aus Toulouse zu zelebrieren... das ist deine Chance, dieses Album zu erwerben, das nur auf Vinyl erschienen ist ... keine CD, kein Tape ... nur Vinyl!! Genre/Stil: Hard Rock/Psych-Rock/Garagerock - Klassisch schwarzes Vinyl mit Booklet & DLC
Submarine ist der Nachfolger des von Kritikern hochgelobten und für einen Grammy nominierten Debütalbums Cinema (2021), dessen Lead-Single „Hush“ auf Platz 1 der Billboard Adult Alternative Airplay-Charts landete. Die Band ist dafür bekannt, beeindruckende Visuals zu liefern, die ihre traumhaften Songs ergänzen, und schafft weiterhin ein einzigartiges und transformierendes Erlebnis für Fans und Publikum gleichermaßen.
Nach der erfolgreichen Vinyl-Wiederveröffentlichung von 'Songs To No One' im Rahmen des Record Store Day 2024, bringt Knitting Factory Records das Album von Jeff Buckley & Gary Lucas erneut auf opakblauen Denim-Vinyl (LP1) und opakweißen Vinyl (LP2) heraus. Dieses Album fängt Jeff Buckley ganz am Anfang seiner verheerend kurzen Karriere ein. Begleitet wird Jeff von seinem ursprünglichen Songwriting-Partner, dem Gitarrenvirtuosen Gary Lucas, und einer kleinen Besetzung von New Yorker Musikgrößen der 90er Jahre. Diese Aufnahmen bilden das intime Fundament von Jeffs unglaublichem Werk.
Raw, heavy, aggressive and at times genuinely creepy, Kent metallers Graphic Nature are one of the most energized and exciting new bands to emerge from the British metal scene in years. Taking their name from a track on Deftones’ Koi No Yokan album, in 2019 Graphic Nature announced themselves with the single Grit, and immediately began carving a name for themselves as a ferocious new force in British metal. With their first EP new skin, mixing moments of snarling nu-metal and the scalding fury of Slipknot’s debut album with instrumental passages that at times recall the genius of Nine Inch Nails’ Trent Reznor, they have found their sonic identity, the band released their first LP in 2023, produced by Sam Bloor. As the band continues to rise Things are only going to get bigger. Graphic Nature are here to stay!
A Bad Diana is a project from Diana Rogerson, someone I first became aware of aged 12 when I read about Nurse With Wound and their United Dairies label in Smash Hits magazine. I was confused, mystified and intrigued in equal measure, and a couple of years later as a result I bought my first Nurse With Wound album. This led to an interest in all things NWW related. I guess Diana could be described as the matriarch of the Nurse With Wound world but she also had her own very distinguished pre-history with Fistfuck, an early-80s extreme noise outfit. She then made two mid 80s cult classic albums as Chrystal Belle Scrodd, both far out there rollercoaster rides of audio wildness, highly recommended to anyone with wide open ears. She then moved to rural Ireland and raised a family. There was the odd collaboration and then in 2007 A Bad Diana’s “The Lights Are On But No-One’s Home” was released on CD. I feel this is her meisterwerk and it has become something of a cult favourite over the years. Now for the first time, almost two decades later it is available on vinyl on Optimo Music Archiv. Produced in association with Steven Stapleton and Colin Potter from Nurse With Wound and irr. app. (ext.)’s Matt Waldron this is some seriously beautiful and strange listening. Next level sound design means this is an incredible headphone record but it is also a deeply warm and engaging home listening gem. Beautiful, magical, ultra hypno, soulful reverberations with the deep emotion of Diana’s voice tones and bio-vibrations.
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Waxwork Records is proud to release NO ONE WILL SAVE YOU Original Motion Picture Soundtrack by Joseph Trapanese. From 20th Century Studios,
No One Will Save You is a captivating sci-fi psychological thriller introducing Brynn Adams (Kaitlyn Dever), a creative and talented young woman who’s been
alienated from her community. Lonely but ever hopeful, Brynn finds solace within the walls of the home where she grew up, until she’s awakened one night
by strange noises from decidedly unearthly intruders. What follows is an action-packed face-off between Brynn and a host of extraterrestrial beings
who threaten her future while forcing her to deal with her past.
Waxwork Records is proud to release NO ONE WILL SAVE YOU as a deluxe LP featuring 180 gram Blue & White swirl colored vinyl, heavyweight packaging, matte satin coating to finish.
Get On Down is proud to announce a vinyl reissue of one of the West Coast's most revered, yet underrated, hip-hop classics and quite possibly one of the best hip-hop albums of all time: The D.O.C.'s No One Can Do It Better. Produced entirely by Dr. Dre and out of print on vinyl in the U.S. for several years, this limited edition colored LP features original album artwork and thirteen tracks of rap heaven. When his debut album hit in mid-1989, The D.O.C. was in the vortex of the biggest hip-hop happening on the planet: the rise and rule of N.W.A. The group’s breakout album Straight Outta Compton had hit one year prior and had created both controversy and worldwide critical acclaim. As rap history buffs and industry insiders know, The D.O.C. was a crucial behind-the-scenes member of the N.W.A. inner circle - his most important role in the early days of the group was writing many of Eazy-E's rhymes, including his hit 1988 single “We Want Eazy.” He would go on to write for Efli4zaggin, The Chronic and Doggystyle. But The D.O.C. wasn’t in N.W.A. and never wanted to be - he was his own man, with his own vision. And after Compton proceeded to blow up the next crew album was No One Can Do It Better. Significantly, it was the first album where Dr. Dre showed his greatness as a solo producer for one MC. Boasting four singles - “The D.O.C. & The Doctor,” “Mind Blowin’,” the smash “It's Funky Enough” and “The Formula” - the album is flawless from beginning to end. Of particular note beyond the singles is “The Grand Finale,” which was the last time that Ice Cube, M.C. Ren and Eazy-E would rhyme on a track together. The D.O.C. showed on this amazing record that he was one of hip-hops most talented MCs. He nearly died in a horrific car crash as the album was catching fire in the late summer of 1989 which damaged his vocal cords, but he survived and continues to make new music and act as a sounding board for Dr. Dre to this day. More recently a documentary covering D.O.C.'s life titled The DOC debuted at the Tribeca Film Festival with fans eagerly awaiting a wider release. This album is a must have for any Hip-Hop fan
Seit 2005 schaffen es Local Natives sich immer wieder neu in die Indie-Herzen ihrer Fans zu spielen und liefern nun mit „Time Will Wait For No One“ den nächsten Soundtrack für einen ausgedehnten Roadtrip im Sommer.
In L.A. leben viele Menschen, die auf der Suche nach dem einen Trick sind, der ihnen hilft, sich zu verwirklichen, erfolgreich und glücklich zu werden. Es ist ein lohnendes, aber zum Scheitern verurteiltes
Unterfangen, und das Beste, worauf wir hoffen können, ist, in einem Moment präsent zu sein. Das Album der Local Natives kommt in einem Moment der persönlichen Metamorphose. Das frühere Selbst schmilzt dahin, einige werden Väter, andere durchleben Zeiten der Isolation, des Verlusts und der Identitätskrise.
Time Will Wait For No One ist ein Mantra der Beruhigung als Antwort auf unerbittliche Veränderungen.
Seit 2005 schaffen es Local Natives sich immer wieder neu in die Indie-Herzen ihrer Fans zu spielen und liefern nun mit „Time Will Wait For No One“ den nächsten Soundtrack für einen ausgedehnten Roadtrip im Sommer.
In L.A. leben viele Menschen, die auf der Suche nach dem einen Trick sind, der ihnen hilft, sich zu verwirklichen, erfolgreich und glücklich zu werden. Es ist ein lohnendes, aber zum Scheitern verurteiltes
Unterfangen, und das Beste, worauf wir hoffen können, ist, in einem Moment präsent zu sein. Das Album der Local Natives kommt in einem Moment der persönlichen Metamorphose. Das frühere Selbst schmilzt dahin, einige werden Väter, andere durchleben Zeiten der Isolation, des Verlusts und der Identitätskrise.
Time Will Wait For No One ist ein Mantra der Beruhigung als Antwort auf unerbittliche Veränderungen.
The fourth release in Fu Manchu's 30th Anniversary vinyl reissue series, No One Rides For Free, is a new vinyl specific remaster of the band's debut album. These songs are the only recordings of the band's line-up of Scott Hill (vocals/guitar), Mark Abshire (bass), Eddie Glass (guitar) and Ruben Romano (drums). The 8 song collection was recorded on April 16 and 17, 1993 at Sandbox Studios in LA, produced by the band along with Brant Bjork. This reissue was remastered by Carl Saff for optimum fidelity. This limited edition 2,000 unit LP run is pressed on red vinyl with white splatter and the newly designed gatefold package includes never before seen photos of the band and flyers from the shows of the era. The limited edition 1,000 unit CD run also features the updated art and a digital specific remaster.
Following on from the success of 2018’s epic triple album The Saving Of Cadan, Cornwall’s space/psych/folk-rock/post-punk cross-pollinators HANTERHIR are back with a new studio album. After more than a decade, …Cadan finally found the band breaking out of their Redruth bolthole, playing a major headline show at London’s Kernow In The City festival in March 2020, just before lockdown. As with many others, this enforced break from gigging encouraged the band to get creative and the new album was soon progressing…Its Cornish title Nyns Eus Denvydth Bys Trest roughly translates as ‘There is no-one to trust’ – “Writing and recording the album was done over the backdrop of Brexit, a falling apart relationship and then Covid lockdowns,” explains singer, guitarist, and songwriter Ben Harris. “With all the wacky things that have come out of people’s mouths over the past few years I think the title pretty much sums everything up.” A massive labour of love for Ben, …Cadan was a sprawling concept based on Cornish legend, which required him to write within a theme. The creation of this album has therefore been a breath of fresh air, a more organic experience allowing him to write from a more personal and immediate perspective. Displaying elements of Hawkwind’s sturm und drang spacerock and Psychedelic Furs’ sax-driven post-punk squall, opener ‘Always On’ finds the septet celebrating themselves: “We play so many gigs with so many other bands and one thing that strikes me about us is that we're always ready, we don't spend hours soundchecking, just point us in the direction of a stage and we'll play there. “‘Honeybees’ is us singing to the people that it's possibly time to stop voting for the same political parties and following the same failed systems,” he continues. “As far as I can see nothing's got better over the past year, or ten years or whatever, things just get slowly worse and people accept it. ”The song ‘Yeah’, which fuses Steeleye Span folk-rock melody and Sonic Youth chaos with spiralling psych guitar, has backing vocals which translate as “I am the same as you”, which Ben thinks is very important: “We're all the same and no-one is more important that anyone else”. Recorded at MHRCC, The Chapel and VIP Lounge by Peasy and Dare Mason; produced by Peasy and mastered by Anders Petersen at Ghost Sounds, Stockholm.
Long out of print and highly anticipated repress of the Andrew Weatherall ‘anti-produced’ long player. The Twilight Sad’s third full-length, No One Can Ever Know, marked a sonic shift for the band
'No One Can Ever Know' was released across all formats on 6th February 2012 and was the follow-up to 2009's acclaimed break-through 'Forget The Night Ahead'. Already flagged by the widely leaked 'Kill It In The Morning' and forthcoming first single proper, 'Sick', 'No One Can Ever Know' marked a sonic shift for The Twilight Sad. Freshly inspired by a listening diet of Caberet Voltaire, Liars, Magazine, Autechre, Banshees, Fad Gadget, PiL and Can, a synth-heavy sound characterizes 'No One Can Ever Know', a record thematically akin to 'Holy Bible' era Manics, 'Violator'-era Depeche Mode and 'The Downward Spiral' -era Nine Inch Nails.
"We wanted to be a lot more spontaneous, get outside our comfort zone - not to fall back into repeating what we've done previously", explains guitarist Andy MacFarlane. "So we moved to London for a month to record at The Pool and got Andrew Weatherall involved to bounce ideas off and to generally reassure us of the direction we were already progressing in - toward a sparser sound, with a colder, slightly militant feel."
Under the guidance of Weatherall the band experimented with vintage analogue synths - borrowed from Ben Hillier - to work on the core sounds they wanted, finding inspiration too in the distinctive production style of innovators like Martin Hannett and Conny Plank. For the first time the drums were also recorded separately utilising a lot of synthetic effects which allowed for the easy manipulation of the sounds and samples later in the process. Stylistically, the guitars tend to refract John McGeogh (Magazine/ Banshees) or Keith Levene (PiL) rather than the 'wall of sound' approach that defined The Twilight Sad's previous recordings.
Lyrically 'No One Can Ever Know' finds singer James Graham on typically ominous form, delivering lightning bolts of malevolent threat. "I'll find you - don't worry" he promises on forthcoming single, 'Another Bed' - The Twilight Sad's most radical and anthemic moment yet, it's driving disco motorik and glacial keys pushing a dizzy emotional uplift.
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The first ever vinyl LP compilation of songs by the great Eddie and Ernie! The duo produced tons of great singles throughout the 60's and early 70's. This LP features a couple dance numbers, but mostly slow dramatic soul ballads reminiscent of the best moments of more well known acts like Sam and Dave and Otis Redding. Some pretty eerie soaring vocals and existential lyrics of the highest order. Under appreciated in their time, Eddie and Ernie are two of soul musics greatest talents! Old school "tip on" record cover and classy black inner sleeve. One time limited pressing.
Next up on the ever-eclectic XVI Records, a shadowy figure steps into the spotlight: enter the mysterious Captain Over, whose dark yet soulful bruk-infused tracks soundtrack the next stage of their voyage towards the sun. For his debut outing, Captain Over calls on the abstract vocal stylings of the legendary Trim (Roll Deep, 1800 Dinosaur) on opening track 'SICK'.
Showcasing why he's one of the most iconic and forward-thinking MC's to grace the mic, Trim's dulcet tones twist through a jungle of shuffled beats and subterranean sub-bass, an eerie child-like melody drifting overhead.
Clack Clack and No One Ever Really Flies inhabit a more dancefloor friendly space, their unique syncopation, fierce instrumentation and relentless energy open up the dancefloor for some real get loose moments.
On the remix, they hand the controls over to XVI homestay Books (following on from the success of his previous 'Feel It In My Bones' and 'High Praise Edits Vol 1' releases which won praise from the likes of The Black Madonna, Moodymann, Gilles Peterson and Seven Davis Jr) Books expertly crafts a cosmic footwork jam, full of his trademark soulful chords and eerie midnight saxophone licks.
As he prepares to launch his forthcoming EP 'No-One Every Really Flies' into the cosmos ; Captain Over is beginning to cement his place as one to watch in the UK underground - a sequel EP featuring grime upstart Nico Lindsay is scheduled for release later in the year, with several more collaborative works in progress.
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As the dust begins to settle on one of his most significant and pivotal bodies of work to date - the critically acclaimed techno-focused 'Grow' released by Craig Richards on The Nothing Special - Calibre returns to his own label Signature for another fathomless LP exploration. Laced and spaced with the precision balance of sounds, speeds and styles he's known for, and predominantly characterised by his own lyrics and vocal textures, 'Deep' once again reminds us of Calibre's singular status as an artist whose creations transcend time, tempo and territory. Ranging from one of his most in-demand dubs 'No One Gets You' to poignant yearning introspection of tracks such as 'Better Than Me' and the rolling, jazzy broken beat summer serenade 'Lit', 'Deep' is yet another accomplished, alluring and truly unique pieces of work from one of electronic music's most consistent and prolific artists.
Age Of Paranoia, the latest chapter in the band's lineage, was recorded by Igor Wouters at ARC Studios in Amsterdam, and includes several special guest guitar solos by J. Mascis (Dinosaur Jr., Witch) and Bubba Dupree (Void, Soundgarden, Dave Grohl's Probot, Brant Bjork).
Age Of Paranoia offers sixteen volatile tracks, packed into a succinct, white-knuckled twenty-eight minutes. The album surges with rapid-fire punk angst, replete with ripping rock leads and raised-fist, group-chanting anthems.
To complete the recording, the cover artwork is created by Marald (Baroness, Kylesa, High On Fire). See cover artwork, track listing and live dates below.
'One of the best and most important hardcore bands today" - PROFANE EXISTENCE
''Excellent and addictive, gathering the best of punk and metal: one part hardcore punk, another Motörhead'' - METAL ADVISOR
'the supreme thrash band in all of current rock 'n' roll'' - MAXIMUM ROCKNROLL
The Acid Series celebrates over 10 years of No Way Back, with music that directly references that experience. This is the third volume in the series, to be followed by BMG & Derek Plaslaiko, and there will be four more after this pair, with records by Tin Man & Ectomorph, Dona, Romans, and Pervocet (Patrick Russell & Jasen Loveland) yet to come. They all arrive in a unique sleeve especially created for this series, inspired by the decorations of NWB. Jordan Zawideh's music perfectly reflects his personal migration from Detroit to Chicago. It somehow combines the raw elegance of a Larry Heard demo (listen to the demos of "A Path" or "Acid Dreams" and cry) with Detroit Techno and an unconscious take on the sonic exploration of Drexciya, showcased in songs like "Magellanic Cloud" and "Trails of Sophia". In Jordan's sound, the raw power of the cassette era of Chicago House combines with a Detroit Acid Dream. His debut record was on K Starke Records in 2014, and while he was working at the store,
the concept for "No One (Jacks The Box)" came together. Kevin Starke proposed a concept for a collaboration, using an old Chicago radio ad, so Jordan borrowed a 303 & 707 from Kevin and some gear from Beau Wanzer, but Kevin never made the session. Ultimately we had master editor Gay Marvine edit this instant lost classic. Jordan has also released on the Nation box set, and is part of the No Way Back family. Jordan lives like a monk, in total dedication to learning his machines and advancing his craft. He is also an accomplished DJ. BMG on his edit of "Magellanic Cloud" - this is my fantasy version of this jam, its so lost in it, like a cool mature Chicago take on Gerald's jam for the Silicon Ghetto series on Accelerate, or Mika Vainio's "Spirality".
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Fatal mental original style in da hosue of the teknosucks familly ! Full control on the sound... A cool 190 BPM Mentalcore nederlandish famious tricks for the finish ! Must have !! A superb release once again ! Masterpiece !
Love story...
Middle M side starts with a banging 200 BPM industrial hardcore full of breakcore temptation... second tune "calm down" to 180 bpm, a noise-acid mining deeper and deeper..
The flip, the Husband side then, from SOAM, also starts with a 200 BPM dark industrial hardcore, bassy and dancefloor to death... my fave tune is the last one, "I'mDown" : a regular 220 BPM clear attack in a old school motion, very 90's, the moste SODOm's spirit tune of this gentle EP
A mythical and misplaced masterpiece of lost soft rock and acidic folk funk by a one-hit wonderer lost in the wilderness for four decades. From the producer of Margo Guryan, writer behind Wool, Gerry Mulligan collaborator, Tarantino soundtracker and Wendy & Bonnie confidant, Paint A Lady now emerges from folkloric obscurity, to bring a wash of soft psychedelic colour to your vinyl collection and quench the repeat requests of a thirsty new found audience waiting for the rain.
Within certain record collecting circles, especially those who gather under the umbrella that covers fragile niches like 'acid folk' and 'soft rock', it's difficult to imagine a time when the legendary Susan Christie album didn't exist. When Finders Keepers Records first shared the unheard 60's songs like Paint A Lady, For The Love Of A Soldier and Echoes In Your Mind with a wide-eyed audience thirsty for organic soul and festival friendly acoustic funk, Susan's new found fan base instantly felt like they had known these songs all of their lives, and with a single needle drop we saw the birth of what could rightfully be described as an 'instant classic'. Which is why it's hard to believe that the music on this lost 60s acetate was only pressed 12 years ago. As our lucky seventh release in an international discography that now surpasses the 100 mark (and one of a small clutch of English language recordings on the label) Paint A Lady has slowly become one of our most requested re-releases, and with this 2018 edition it is technically accurate to say that this pressing is the first-ever reissue of this elusive and essential LP.
The oft over used term mythical applies to this album on many levels. Perhaps it's the woozy nostalgia found within the pop craft of Paint A Lady that has led to false rumours that original 1960's copies used to exist on the collectors market, or the bizarre claim that songs like the head-nodding title track, and the acid-drenched sound effects on Yesterday Where's My Mind were just a product of a contemporary studio band trying to create a fake folk funk red herring. As a result Susan Christie and her producer and husband of 40 years, John Hill have happily taken the repeat phrase 'unbelievable' as a compliment to their songwriting skills and foresight. In all fairness, with a decade to ponder, the original 1969 song titles alone do seem custom-built for the nostalgia market... No One Can Hear You Cry might lament the unrequited yearning for a record deal which never quite followed Susan's won one-hit wonder novelty hit I Love Onions; similarly When Love Comes might allude to the subsequent 35 year wait for the right label to eventually come along. Echoes In Your Mind and the aforementioned Yesterday... could easily allude to the haunting melodies that sat in the can on John Hill's studio shelf while his projects for Margo Guryan, Wool and Pacific Gas & Electric sat proudly in record racks before benefitting successful French cover versions or making their way on to Quentin Tarantino soundtracks. The track Paint A lady itself, complete with it's future-proofed sample-worthy rhythm section, seems like the perfect title for a mock rock pseudo psych contender - at which point you eventually step back and see the bigger picture. These guys were simply one drop too far ahead of their time; a family force of experimental pop perfection that late 60's America simply wasn't ready for. It is just over 12 years since champion record rustler Keith D'Arcy (who you'll meet on the inside sleeve) stumbled upon one of the original acetates that led to the final release of Paint A Lady, and it's almost a longer 50 years since Susan and John added their final touches to these recordings which tragically went into hibernation for over four decades.
Whether this album has been on your wish-list for what seems like a lifetime, or you are taking a plunge into this deep puddle for the first time, when the needle drops on the first track you'll find that Susan Christie, John Hill and Finders Keepers have been saving up for a very rainy day.
As she continues to make UK chart history with her 7th #1 single 'I'll Be There', Jess Glynne announces her glittering new album 'Always In Between'.
It's been 3 years since the release of Jess Glynne's momentous debut album 'I Cry When I Laugh'. Selling over 2 million copies worldwide and including a mass of smash hit singles including 'Hold My Hand', 'Take My Home' and 'Don't Be So Hard On Yourself', it consolidated Jess as one of the most important British popstars and a formidable songwriter.
Celebrated for her intimate yet universally appealing themes, Jess has connected with millions of people across the globe - demonstrating her peerless ability to tell the truths young women want to hear; about the loves that build them up and let them down; the aspirations and dreams that might turn sour but you'll smile through them anyway. These themes are passionately continued in 'Always In Between'.
'Always In Between' finds Jess on a breath-taking journey of self-acceptance as she comes to terms with her new-found fame, heartbreak and the well-known pressure of writing a second album. The result is a triumph that captures the heart of what being a 28-year old woman in 2018 can feel like - trying to balance real life with everything that you want it to be. With a tone of joyful harmony and acceptance set by 'I'll Be There' already, Thursday (co-written with Ed Sheeran), explores our many insecurities and the idea that sometimes stripping everything back can make you feel most yourself, while 'All I Am' attempts to answer the niggling voice inside so many people's head asking if they are enough. There's no doubt that 'Always In Between' will capture many under its spell as Jess Glynne once again reaches out her hand, and offers love and friendship and unity to all that can hear her.
Hound Gawd! Records Veröffentlicht Am 31. August 2018 Mit bring On The Mesmeric Condition Das Erste Album Seit 8 Jahren Der Garagen Rock Legenden the Morlocks International Auf Vinyl, Als Cd Und In Digitaler Form.
In Der Großen Zeit Der Sixties-rivivals Zu Beginn Der 80er Jahre, Als An Der Us-westküste Junge Bands Auftauchten, Die Räudigen Garagenrock Und Psychedelischen Pop Ebenso Neu Wie Kraftvoll Interpretierten, Zählten Die Morlocks Zu Den Protagonisten Der Garagen-punk-szene. Produziert Wurde Das Neue Album Von Jim Diamond Und Featuret Mitglieder Von Gravedigger V, Link Wray, Fuzztones U.a..
Winter thaw marks the return to Furanum of Uncto, the Silesian dyad Domink Muller and Rafal Furst, with their first full release of collaborative material since 2013's seminal FU009. Like its predecessor, Unctuous offers four cuts of viscerally engineered and rhythmically exacting dystopias, each ably situated within a striking 'synth-etic' narrative. It is this latter aspect of each arrangement that perhaps most noticeably demonstrates the pair's singular and evolving approach to composition, born out in the calculated emphasis on hardware-based expressionism.
The opening title track stands as a testament to the above: while deceptively sparse at the outset, its ponderous advance, both heavyset and indomitable as it gathers pace, is framed in the midst of an unfolding panorama of stark analog wails. Further interspersed with resonant timbres more akin to the vocalizations of some hell-beast luring its prey, the eponymous behemoth ingratiates its listener, beckoning submission to its will with the promise of exhilaratory assimilation. Such a hive-mind state attained, exhilaration does follow, yet so does a concomitant loss of agency, leaving one thoroughly subjugated and enslaved to its cadence. Perhaps as a manifestation of dramatic resistance to such a fate, 'Trust No One' daringly defies the impositions of its predecessor. Instead, it animates and emboldens the beholder through its rhythm, ineluctably driven by a sense of accelerating linear intensity. Thus arriving at a climactic percussive build whose isochronal blows shatter any remnants of doubt, angst transforms into raw conviction as one is propelled into a delirious realm of solipsistic certitude.
Situated amidst the foreboding sound of blade clashing with blade, 'Cold Knife', on the other hand, is driven by an entirely disparate off-beat progression. As its anticipatory rhythmic thrusts cut through an advancing fog of shivering drones with frigid precision, one seemingly undergoes a cyclical plunge into a state not unlike one marked by the visceral dopaminergic rush of contact with extreme cold. Finally, 'Metzgers Tochter' ('Butcher's Daughter') closes the EP with a ruthless exploration of the contrast between the gruesome and the feminine. In a similar way to the opener, the track's meter is staggered and undulating, yet also steadily punctuated with breathing room between its crushing blasts. Such scenery thus serves as a canvas for the expression of the titular character's 'beauty and the beast': a paradoxical synthesis of attraction and aural brutality, held in tension by the unceasing throbbing of the composition's beats.
Mastered & cut by CGB at Berlin's Dubplates & Mastering,
Seb Zito has been one of the main movers for Fuse London since the labels inception and his 'Good To Me EP' continues the producer/djs accent. 'Take No One' kicks things off, its 90s tech-house influence being worn on it's sleeve with it's no nonsense b-line driven groove. 'So Good To Me' delves somewhat deeper, pads and synth work offering up warmth for a blissful 4am ride. 'Hit' ends things with an altogether quirkier affair.
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Repressed !
In the outskirts of Zagreb they already know what's up, but now that young SZCH has stepped up to deliver the virgin Infinite Pleasure release, the whole world is about to get down to his vibe. Combining the smoothness of some of the most epic boogie tracks the 80's had to offer with the gritty punch of his machines, he conjured up four high energy dancefloor napalm club tracks ready to rock all dancefloors in the universe.
Manchester based producer Sameed delivers us a very nice EP for the Skylax n°141. After his first weapon "Spend EP" on the swedish label Local Talk, he confirms here his taste for house music with "Ma'Thang". This new release is perfect to bring a dark and sensual amosphere to a warm up set.The first side begins with "Bad You", a perfect mix between a deep bassline, a mysterious background and soulfull vocals. The only element that kept you stuck on the floor is the raw clap. "No one else" is more focused on the beat and the repetition of the funky voice sample through the patterns. By using flanger effects, Sameed gives even more energy to this track, moving away from the keyboard softness. The third one, "Blue", could be the expression of what you hear while dreaming. We find again a mystic musical background but it is added to a very light melody, the sound of the sea and what seems to be whoops of joy."Hustle", the first track of the second side, is definitely darker and more nostalgic. Remebering us some Rick Wade sounds, the melody seems to confuse itself but keeps a clever coherence. The hi-hats manage to provide the sensation of speed and continuity all along the musical trip. "Watching U", is really about rythm and bass : the raw beat and heavy bassline deliver to this title all its identity. The jazzy notes and asexual vocals fit very well with this body oriented track. "Grg-Jam" is certainly the most particular element of this EP. Even if we can find the same kind of melodies as in the other titles, the beat is really different, remembering drum'n bass but in a very soft way. During this imaginative jam session, Sameed alternates the textures of the hats, bringing a frenetic rhythm to the conclusion of Ma'Thang.Sameed proves us that he is definitely a safe bet of the "Madchester" house scene. To be continued.
* Jon Gurd's Birth Right EP is the first material from the Portsmouth based Techno producer in more than 2
years since his ventures on Octopus recordings, 8 Sided Dice and Quartz. The EP therefore indicates an
audible step change not just in the approach to production but also in the mindset and emotive feeling
behind each texture and layer. Having emerged unscathed from a traumatic family related drama Jon
communicates a tortuous and re-evaluated life message across all 3 tracks, and is dedicated to his brother
with a hidden meaning conveying, Tomorrow Is - Promised - To No One'.
* Dissecting the EP further the educated are blessed with field recordings, analogue rumbling and modular
synthesis exiting from almost 24 months of lab driven experimentation. No real process has been applied or
extant formulae followed and the EP's resounding success is that this now exudes what Jon feels' innately
rather than what the industry wants, therefore the journey, endless noise making and experimentation gives
a balanced and exciting offering. Jon comments seriously my process for producing this has been all over
the place, literally stumbling on shit, slipping over my own creative vomit, workflow went out the studio
window on day one'.
* Having spent two years asking himself why he makes music, I think on first listen of Birth Right EP we will all begin to empathise why. Remixes kindly provided by Messrs Dave Clarke and Ancestral Voices (new project from Liam Blackburn formerly Indigo / Akkord).
* A long time-friend and recording partner of Alan Fitzpatrick, as well as one third of Mister Woo with Dave from Reset Robot, Jon Gurd is best known for his work on the likes of Octopus Recordings, 8 Sided Dice and Quartz. Abundant with field recordings, analogue rumbling and modular synthesis, his latest signing to Derelicht is a result of almost 24 months of lab driven experimentation, and marks an auspicious return from a musical hiatus that stemmed from a personal tragedy. From the off, 'Tomorrow Is' is a driving piece of techno complete with sinister undertones and menacing atmospherics, meanwhile 'Promised' focuses on a low-slung groove as tantalising synths operate on top. The last original, 'To No One', then exhibits a deeper vibe with ebbing pads and spectral chords. Dave Clarke's decadent rendition of 'Promised' ups the tempo whilst demonstrating commanding kicks, until Ancestral Voices, the new project from Liam Blackburn (Indigo / Akkord), strips back the beats of 'To No One' for a subdued subterranean workout.
* Press / Promotion: 3 x Co-ordinated PR Campaigns (In House campaign by Derelicht, Dispersion PR and EPM Music, 100 vinyl hand-distributed to leading editors, artists and tastemakers. Key editorials through Resident Advisor, Inverted Audio, Ran$om Note, Beat Vision, Slate The Disco, Magnetic Magazine, DJ Mag, Noise Porn, Mind Grub Audio, Portals, Elevated Culture. 1 x videos produced to support Dave Clarke remix
Tiefschwarz - 'Just Beautiful!'
Alan Fitzpatrick - Yeah massively into this, will play a lot. Thanks for sending.
Dustin Zahn - Feeling the original of "To No One." the chord/pads are hitting the right spot for me this morning! The remix is also a nice take on the original
Baikal - to no one and Derelicht are dope
Kirk Degiorgio - Dave's mix for me!
Bas Mooy - yep! A1 for me mate!
Ben Sims - a1 is the cut for me, heavy and heady but still has the groove
Benjamin Damage - Thanks for sending this, top work!
Bryan Chapman - really feeling this EP, fav is the Ancestral Voices remix, that downbeat vibe
Bryan Zentz - Wonderful, moody, and emotive...LOVE it
Carlo Lio - Actually feeling all of them. Something for every time of the night. Can see myself playing a few of these for sure
Lo Shea - Tomorrow is sick! Dave Clarke's remix is dope too.
Building on her first LP April Song Sara Mitra draws folk blues and psychadelic influences into her second LP. Recorded and produced by Ben lamdin / Nostalgia 77. The LP was previewed by Gilles Peterson on BBC 6 Music & Sara conducted an interview feature with Jamie Cullum on BBC Radio 2
Press quotes include the following:
Her skill as a songwriter and honesty as a performer shine through" Mercury Prize Recommends
Especially talented" The Daily Telegraph
Fresh sounding and free from cliche..., Sara is left to her own special devices and nails a good melody everytime." Blues and Soul Magazine
Mitra has a really fresh-sounding voice: a great night" The Sunday Times
I love her voice, I love her Englishness." Gilles Peterson
True house music on The A side with Self Enemy and huge house beat also on the A2 with DJ Aakmael. SEEKER'S BAND with remixes by JACK THE BOX & CORES FOR SPIN !
Self Enemy aka as Parisian Professor Inc & Detroiter Kris Wadsworth play it slow here. Picking on some classic sample, highly tweaked synth and dj friendly structure. Second opus of this raw collaboration.
Dj Aakmael picks another Billie's song, This time it's heavy orchestra chords on a hard kick singing the blues on the house core.
On the B Side, the SEEKER'S BAND aka Miguel Benavides composes with at Vocals: Mathieu Boko, Percussion: Eric Konnert (plays with St Germain, Martha Galarraga..), Bass: Francois Barbe, Tenor & Soprano Sax: Stephane Becarie, Keys: M Benavides and produced by Professor Inc & Miguel Benavides ; inspired by the first house school, jazz accents, afrocuban classic percussion, a tasty radio version right here !
It comes with a remix by the Berliners Tyree Cooper & Bobby Star aka JACK THE BOX. Dj friendly and deeply rooted with one of the pioneers perpetuating the style.
To conclude this ep, a special short dub version by CORES FOR SPIN
LL delivers four mid-80s Minneapolis groove reworks, rebuilt for today’s dancefloors. Deep, warm, and unapologetically underground. Pressed loud for maximum impact. Strictly limited. No digital. For the real ones.
The strongest Japanese cover of Earth, Wind & Fire and KC & The Sunshine Band's signature song is now available on 7" for the first time!
Side A, "Seppun No Theme," is an up-tempo dance tune full of love for Earth, Wind & Fire's well-known classic "September," while side B is a funky cover of a dance classic, KC & The Sunshine Band's "That's the Way (I Like It)." The B-side features "One-box No Owner," a funky cover of the dance classic KC & The Sunshine Band's "That's the Way (I Like It)" that addresses the woes of one-box car owners. The gap between the high quality sound and the surrealistic, empty-headed lyrics is intoxicating, making this a super-powerful double-sider!
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A dancehall anthem is being released on an official 7-inch vinyl for the very first time. It has been 15 years since Serani's 'No Games' was originally released. The song quickly became a part of pop culture, thanks in part to artists like Sean Paul, who helped pave the way for dancehall’s crossover success. To date, it has garnered over 166 million streams on Spotify, along with 50 million views on the video on YouTube and remains a popular sing-along track at parties. This special 7-inch vinyl will be produced in ruby red to commemorate the anniversary year.
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'No Man is an Island' is the SEMINAL debut album by reggae legend Dennis Brown which launched his career. Recorded at Studio One around 1969-70 (when he was just 12 years old!) and released in 1972.
Featuring classic tunes with backing from the in-house players of The Sound Dimension, Soul Vendors and Soul Defenders from
The album features classic tunes including 'Created by the Father', 'Make it Easy on Yourself' and many others.
With or without a drink in hand, moderate temperature, no need to jump into the wet. One night AT the pool, not inside. Palm trees or succulents - not far from here, the vegetation has adapted to the situation. A soft rustling: Possibly crickets, probably also the wind. No traffic and certainly no civilization, which right now would probably only disturb with its long agenda of responsibilities. HYPNOSIS AND MUD - Healing hypnosis, healing mud. The half-frustrating, half-liberating feeling of saturated soil between the toes. A state of inner peace. Instead of a voice, you hear primitivist percussive explorations. A groping and grasping of the bare feet, with delicate toes. Abstraction is followed by the concrete: a walk through the ORCHIDEENGARTEN RUSE, an orchid garden close to the Bulgarian town and not far from the Romanian border. Digitally, but not unreal. Perhaps even better than reality - anyone can do that. The (unofficial) soundtrack to this would not only make the Canadian composer Mort Garson happy. A lady‘s shoe kindly looks at us. If you turn around, you arrive on the other side: A LINE HAS TWO SIDES. Conundrum-like images, dissolved one-dimensionality. Candid narrative ambiance. A clarinet calls to duty. Civilization and traffic after all? SUNBEAMS ON YOUR CAR. Urgency, a clamor of voices - both in their best form. Yet again – the clarinet, the blunt reality: ONE NIGHT AT THE POOL. We are still standing here, we probably never left. A three-part journey – with delicate transitions. Three destinations: Now forever united. Dissonant and yet pensive. In the far distance the advertisement for the collected works of Meredith Monk. Hair erect, the little skin nerves contract, goosebumps - at last!
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It was already a reference among the diggers’ community, and one day, our friend from
Chouf made us listen to the record before Dizonord. We found Uli, one of the musicians, who still
had a fair number of copies of this 1990 LP, a tricky year for vinyl. This record is a mix between
jazz, funk and ambient but with a very special pop touch to it.
This 4th full-length album by the legendary Congolese collective marks a new milestone in their already rich history, as the band have incorporated their own approach to electronic music into their new compositions. The album was produced by guitarist Mopero Mupemba, who also wrote about half of the songs. Mopero also took care of the often intricate programming, which is perfectly adapted to Kasai Allstars' peculiar rhythmic patterns drawn from traditional trance and ritual music. The album features Kasai Allstars mainstays such as vocalist Muambuyi (whose voice and personality inspired the making of multi-awarded feature film Félicité), vocalist and electric likembe player Kabongo, powerful singer Mi Amor, and instrumentalists Tandjolo and Bayila. Wonderful young vocalist Bijou makes a notable first appearance on several tracks. As is well-known by now, Kasai Allstars was born from the reunion of five bands, all from the Kasai region, but originating from five different ethnic groups whose diverse musical traditions were thought to be incompatible until these musicians decided to pool their resources and work together, an inspiring example of collaboration transcending ethnic and language barriers. Ever since the debut release in 2008, Kasai Allstars' music struck the imagination of music lovers and artists worldwide. They're particularly admired by avant-indie rock, electronic & hip hop musicians and media, who consider it as a kind of "primal rock", an accidental blend of trance and avant-garde. They're admired by artists such as Saul Williams, Questlove and Björk, have engaged in live collaborations with Deerhoof, Juana Molina and Konono Nd1, and have had their tracks remixed by the likes of Animal Collective, Deerhoof, Aksak Maboul, Jolie Holland, Shackleton and more.
Be No Rain, the moniker of South London’s Sam Frankl is a project that was born out of a studio decked out with disco balls, fairy lights and fake ivy; a perfect aesthetic to the sound that followed.“It felt like there needed to be a character that could be as flamboyant as I wanted to be and remove the constraints that being human leaves you with” Frankl explains “It was incredibly liberating”.It’s about being trapped into that infinity loop of emotions, like a cartoon character wandering through a world he never quite understood”.The debut album from Frankl comes on the back of a collaboration with Armin Van Buuren on single Hollow. All album’s come signed by Frankl.
Soul Jazz Records' are releasing their long-out-of-print album 'Hustle! Reggae Disco' in a new expanded 2017 edition which now features five extra tracks. This ground-breaking album features non-stop killer reggae versions of original funk and soul classics in a disco style. Reggae disco updates of seminal classics by Anita Ward ('Ring
My Bell'), Chaka Khan ('I'm Every Woman'), Michael Jackson 'Don't Stop 'til You Get Enough,' Sugarhill Gang ('Rappers Delight' here performed by Derrick Laro and Trinity for producer Joe Gibbs) and more, all showing the hidden but inseparable link between the dance floors of New York, Kingston and London.
New bonus tracks to this collection include Derrick Harriott's funky take on Eddie Drennon's 'Do It Nice and Easy', the classic disco reggae of Risco Connection's take on McFadden and Whitehead's 'Ain't No Stopping Us Now' and the London rare groove lovers rock take on Barbara Acklin's soul classic 'Am I The Same Girl'.
'Hustle! Reggae Disco' has been one of Soul Jazz Records' best-selling releases since its first release 15 years ago (and subsequently featured heavily in the early Grand Theft Auto games!). This new edition comes complete fully re-mastered and with all original titles plus new tracks. This new expanded edition now comes a triple album (+ download code), CD and digital album.
'The effect of American R&B and soul music on Jamaican reggae is well documented, but the story doesn't stop there, for disco (and more so now for rap and hip-hop) have also been subsumed into the reggae mix, and while one might suspect that the resulting hybrid would die of its own implausibility, the feral mix of disco with reggae rhythms is so darn infectious that it hardly matters. Once you take your brain out of the frame and just let your feet go, this collection is a dancer's delight all done up in full-blown disco style, but with huge dub-style rhythm tracks ... if you're looking for an impossibly infectious dance collection, this is
it.' All Music
With immaculate vocal turns and sleek production, Views is Drake's tour through the city that made him. A meticulous contrast to the off-the-cuff brilliance of recent mixtapes, he taunts adversaries with speaker-rattling anthems ('Hype,' 'Still Here'), revisits his humble beginnings ('Weston Road Flows'), and rekindles the seductive chemistry with Rihanna ('Too Good'). Those extremes—the Caribbean warmth of 'One Dance' and the icy lament of 'Fire & Desire,' the unflinching vulnerability and unapologetic self-assurance—make Views a riveting victory lap from Toronto's game-changing MC.
GYPT001-MC, The cassette version of Shawty Pimp's classic memphis liquor store tape "...Still Comin' Real" from back in 1995. Very short run, limited edition. Available very soon from your usual sources.
Remastered versions as they appear on the debut vinyl issue, GYPT001.
California and New York aren't the only US cities to have pioneered underground hip-hop over the years. Back in the nineties, southern states such as Memphis, Tennessee were also hotbeds for the fast evolving musical phenomenon. As we push on into the second millenium; from the swathes of short-run, tape-only releases that came out in the 1990's, some are at last being cut to vinyl. Shawty Pimp and the Big Pimpin' Productions crew were brought to international ears in 2014 when his album 'Comin' Real Wit It' was pressed to vinyl and sold out in the blink of an eye. Gyptology Records (a new Europe-based Hip-Hop and Egyptian Archaology styled re-issue label) now present a vinyl pressing of the 1995 sequel; 'Still Comin' Real'. Here are eleven original, raw rap cuts, remastered and restored with love. Available June 2018 for the first time in the format that never goes out of style. Vinyl only for now and in one short-run only, no represses. Produced with the full consent and participation of the artists.
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Lascelles Perkins was one of the first stars of the Jamaican music scene. Studio One's leading balladeer and one of the most underrated singers from that time. Lascelles Perkins sang sentimental ballads and he scored massive local hits for Coxsone Dodd's Studio One label. Songs like 'Lonely Moments' and 'Together Forever' other big hits followed 'The Mighty Organ' song as a duet with Hortense Ellis, Alton Ellis' sister, 'Destiny' and a whole catalogue of standards or foreign songs as they were called. Lascelles could sing any song, make it seem effortless and at the same time address it in his own unique style.
Lascelles Perkins was present at the birth of Studio One, at the initial sessions carried out in 1959 alongside the other big singers of the day, Alton Ellis and Basil Gabbidone. The session took place at Federal Studios and as was the method of recording at the time, the studio would have one mic hanging down in the middle of the room. The singer would be nearest to the mic and the musicians, depending on how loud their instrument was, would place themselves accordingly in the room. Everything was one take or you would have to record the whole song again. The singers and the musicians would have to be at the top of their game and would be paid for each side they cut. Doing things over would mean less songs finished, time and money was tight but this discipline made the great records we know today.
We have captured Mr Perkins on some lost tapes from producer Bunny Lee's archive that capture Lascelles singing some of the big Studio One hits of the day.
'Rain from the Skies', 'Stick By Me', 2Love me Forever' and 'No Man is an Island'. Alongside other great tunes from the time like 'Dancing Mood', 'Pledging My Love', 'Take My Hand', 'Never Never' and 'Dinner For One'. Let's hope this set gets Lascelles Perkins back on the musical map and listened to by a whole new audience. Top tunes performed in a style that seems effortless yet is only possible if one has the taken tot pull it off and Mr Perkins has it in bundles. Hope you enjoy the set.......
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Pat Kelly out of all the Jamaican singers was influenced most by the voice of American soul singer Sam Cooke.As were indeed many of the singers from that time,few however could carry out this daunting task as well as Pat Kelly.
His delivery was perfect and so was his ability to carry any song that came his way.
Pat Kelly (born 1949,Kingston,Jamaica) began his singing career in 1967 when he replaced Slim Smith as lead singer of The Techniques,his voice working so well with the impeccable harmonies of Winston Riley and Bruce Ruffin.
Their first hit for the mighty Duke Reid stable was a version of Curtis Mayfield's tune 'You'll Want Me Back' retitled 'You Don't Care' which held the Number 1 slot in Jamaica for the six weeks.
For this release we have focused on material that Mr.Kelly had recorded with legendary Jamaican prodcer Bunny'Striker'Lee.
A match made in heaven and one that produced some of their finest work.
Tracks such as 'One In a Million','One Man Stand','Man Of My Word','I Started a Joke'.. .
So sit back and you better get ready for an albums worth of great songs sung and delivered as only the great Pat Kelly could...
Respect Jah Floyd........
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Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London
This 'live' nightclub date with a jazz trio, revealed to be a faked on the Columbia compilations that have since come out, is nonetheless a great LP, maybe the best single Columbia LP from Aretha. John Hammond discovered her and just wanted great music, but the label couldn't decide if she was a show tune singer, jazz or r&b and never figured out she was all of the above and deserved her own category. This is the most jazzy Aretha ever and if she'd wanted to concentrate on this one area of her talent, she would still be ruling it. Worth the buy just for the track 'Without The One You Love'. J. Ellis
In the late '70s, The Avengers established themselves as one of the US's preeminent punk bands. Fusing incisive guitar hooks, explosive rhythms and adolescent venom, the group forged some of the most in-your-face songs of the era. Their live shows were legendary, playing up and down the West Coast and even blowing Sex Pistols off the stage at the latter's final performance.
As Byron Coley writes in the liner notes, "Of the best bands of San Francisco's first wave in 1977, The Avengers were by far the coolest and youngest sounding. They roared without irony, as though this were indeed Year Zero (and, for a moment, it was) with history being overwritten by the new. The honesty of their belief was carried by their sound. And it was convincing!"
Originally released in 1983, four years after the band's dissolution, The Avengers' self-titled LP is often referred to as "The Pink Album" for its magenta-hued cover design. Frontwoman Penelope Houston's iconic voice and razor-sharp lyrics resonate on anthems "We Are The One" and "The American In Me," while penetrating ballads like "Corpus Christi" reveal a truly out-of-body euphony.
The Pink Album remains The Avengers' definitive statement - collecting their classic Dangerhouse EP, sessions recorded with the Pistols' Steve Jones and a half-dozen revelatory demos. While much has been written about The Avengers in the past three decades, rock critic Greil Marcus puts it succinctly, "The word I always come back to is mystical, and that remains almost theirs alone."
During the recording of this album, band leader Duane Allman was tragically killed in a motorcycle accident. Still reeling from their loss, the band nonetheless managed to complete this classic album with Dickey Betts on guitar. In tribute to Duane, however, they chose to bring the album to a close with a 34-minute jam taken from the Fillmore East sessions, which showcased what an amazing guitar player and force to be reckoned with Duane really was. Includes 3 bonus tracks and a replica of the original insert." The 4th Allman Brothers album, originally released in 1972. 180 gram virgin vinyl, deluxe gatefold sleeve.
Disco Club is a groundbreaking 1978 EP of experimental electronic
disco created by Fèvre and his collaborator under their tongue-in-cheek aliases Joachim Sherylee and Junior Claristidge. The Aphex Twin-backed Rephlex label notably reworked a handful of Disco Club tracks in 2004, however this is the first ever reissue of the EP in its complete, originally intended sequence. So synonymous is Fèvre's career with this release, he continues to perform internationally as Black Devil Disco Club today. An impossibly rare piece, this edition has been treated to a remaster from the original tapes by Fèvre himself.
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The first album of Web Web is very uncut, raw, live and direct. Oracle is the first output of a German Supergroup. Check the musician credits below and you'll get the score. The initial idea was to record a spiritual-jazz type of album, with all its imperfection as far as intonation, sound, influences of tunes... just like from their big jazz-heroes in the 70ies (e.g. Strata East, Black Jazz).
Web Web's idea was to record a jazz jam session while to found and proclaim being a fictive band, a formation, which did not exist, while telling people, it would be a secret jam session recording of the Seventies. The prompt problem they were facing: Oh, we never would be able to play concerts, doing interviews, or placing photos on sleeves or post likeness images online. So they decided to reveal their real identities:
Web Web are: Roberto Di Gioia (Piano, Synth, Percussion), Tony Lakatos (Tenor- and Sopranosaxophone), Christian von Kaphengst (Upright Bass) and Peter Gall (Drums).
Roberto Di Gioia (Mastermind of Web Web): - The four of us set up very close in a big room, so we could hear and feel each other the best way. The music became more intensive, improvisations became more dynamic and it was impulsive .
The album Oracle' was recorded on one day, only first takes were used!
We want to keep the burning spirit and the loose vibe we had during the recording session. And we play concerts the wild and free way we recorded this album. Web Web will be on tour 2018, but playing a few concerts in 2017.
Furthermore, one main decision to blab their real identities was: The second Web Web album is recorded in June (with guests like the famous and unique Gembri-player and multiinstrumentalist and singer Majid Bekkas from Morocco).
Both albums were engineered, recorded and mixed by Jan Krause (Beanfield, Poets Of Rhythm).
Roberto Di Gioia: - Tony was tuning his Soprano too high, and his (overdubbed) tenor way too flat!
My synthesizers were somewhere in between...HA! We exactly had the sound we had in our minds, we had it exactly there were we wanted it: a bit of Sun Ra here, a bit of Horace Tapscott there. On some tunes Tony's soprano just sounds like a trumpet, since due to his weird tuning the soprano develops different frequencies in relation to other instruments.
Oracle' is the first live jazz release on Compost. Produced by Roberto Di Gioia and Michael Reinboth.
Roberto Di Gioia has been working with numerous jazz-legends, such as Woody Shaw, Art Farmer, James Moody, Johnny Griffin, Charlie Rouse, Clifford Jordan, Clark Terry, Roy Ayers, Gregory Porter and many more.
From 1990 to 2008: member Klaus Doldingers Passport. As a pianist he made recordings with Udo Lindenberg (MTV-Unplugged, 2011), Charlie Watts ( Music Of The Rolling Stones , 2005), Console ( Reset The Preset , 2003), The Notwist ( Shrink 1998, Neon Golden , 2002). Since 2007 he is working together with Samon Kawamura and Max Herre as KAHEDI: Max Herre ( Hallo Welt , 2012), Joy Denalane ( Gleisdreieck , 2017), u.v.m...His own group MARSMOBIL (produced by Peter Kruder) will release his fourth studioalbum in winter 2017.
Tony Lakatos originates from the world famous Lakatos-familiy from Budapest, Hungary. His father was a famous violinist, as well as his younger brother Roby. He started playing saxophone when he was 15 years old. Tony studied at the Bela-Bartok-Conservatory in Budapest, and made his degree in 1979. Since then he played on over 350 jazz albums (!!), to name a few: Al Foster, Kirk Lightsey, Randy Brecker, George Mraz, David Witham, Terri Lyne Carrington, Anthony Jackson. Tony was a member of Jasper Van´t Hofs PILI PILI. Since 1993 he is working with the HR Radio-Bigband as a soloist.
Christian von Kaphengst learned the piano at the Peter-Cornelius-Conservatory in Mainz when he was 6 years old. From 1988 to 1995 he studied upright-bass at the - Musikhochschule in Cologne. He was touring with his own Jazzquartett - Cafe du Sport to Pakistan, India, Turkey and West-Africa. Since 1999 he regularly plays with Patti Austin and The New York Voices in Europe. Von Kaphengst played with the greatest musicians, such as Randy Brecker, Nat Adderley, Roy Hargrove, Joe Sample, Charlie Mariano, Katja Ebstein, Xavier Naidoo, Roachford, Yvonne Catterfeld.
Peter Gall won some important German awards already when he was a youngster, like - Jugend Jazzt . He was touring with the famous - Bundesjazzorchester conducted by German jazz legend Peter Herbholzheimer. He studied at the Berlin University Of Fine Arts and at the Jazz Institute Berlin with John Hollenbeck. Gall made a masterclass at the Manhattan School Of Music with John Riley. He has been working with Seamus Blake, Ben Street, Gabriel Rios, Jasmin Tabatabai, Thomas Quasthoff, Peter Fessler.
Studio One legend releases a brand new album backed by Dutch masters THE HIGH NOTES. 17 ska/reggae hits including "OIL IN MY LAMP", "DANCING MOOD", "YOU'RE NO GOOD", "LOVE & AFFECTION", "MY JAMAICAN GIRL", "ON THE BEACH", "GIRL I GOT A DATE", "TURN YOUR LAMP DOWN LOW" & more.
King Tubby's Hometown Hi-Fi was one the great Sound Systems in Jamaica. It also proved a fantastic outlet for the Dub Plate Specials cut at Tubby's studio, providing exclusive cuts to be played out and to intice the dance's audience. The tracks at the time were mainly cut over producer Bunny 'Striker' Lee rhythms, that Bunny stored at Tubby's studio which was in fact his home, 18 Drumilly Avenue,Kingston, Jamaica.The versions were given exclusive plays at Tubby's sound
before some finding their way on to vinyl, as the b-side version cut to it's a-side vocal, proving so popular that the records were often brought for its version side over its vocal counterpart. 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 n the High Holborn Street area of downtown Kingston. He studied electronics at Kingston's
Source: Declaration of Rights / Johnny Clarke
Source: Top Ranking / Johnny Clarke
Source: The Stal-O-Watt / Cornell Campbell
Source: Power Of Love / Ronnie Davis
Source: African People / Johnny Clarke
Source: Pumps And Pride / Leroy Smart
Source: Girl I Love You / Johnny Clarke
Source: King Of The Arena / Johnny Clarke
Source: Stealing Stealing / Johnny Clarke
Source: Satta Dread Wayne Jarrett
Source: Crazy Baldhead / Johnny Clarke
Source: Dread A Dread / Johnny Clarke
Source: No Love / Leroy Smart
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A Wide ranging, eclectic and progressive musical outlook has always been the Lack of Afro approach. His latest material follows suit as he harnesses disparate musical styles ranging from funk, soul and hip-hop to create a contemporary yet vintage musical escapade of superb songs.
On his 4th studio album for Freestyle Records, the influences, sounds and musical textures are more eclectic than ever. Below, Adam talks us through some of the his favourite moments on 'Music For Adverts'.
First out of the box is the steaming funk killer Freedom: This time around I knew I didn't want an intro or a skit to start the album - I needed a strong, heavy opener - I had the melody for the chorus floating around in my head. It was then just a case of working with Jack Tyson - Charles on the rest of it and getting the vibe that the song required.
Long time Lack Of Afro collaborator Herbal T features on Brown Sugar: I had an idea of doing a disco track with an emcee on it, which you don't really hear often. This is actually the first time I've sung on a Lack of Afro track, adding my backing vocal warblings on the choruses! Special shout to George Cooper for the howlin' Hammond solo at the end too.
Of the gritty instrumental No Guts, No Glory Adam explains: I wanted to include 3 instrumentals as I always have a soft spot for them & it's what people know me for. The 'choir' was recorded by layering up my own voice in different octaves, nothing is auto-tuned, its all real. The studio allows me to do stuff like that but I could never sing live - I'll leave that to the proper vocalists.
'Proper vocalist' Jack Tyson - Charles again features on The Gypsy, which as Adam explains uses the classic song format to great effect: One of my favourite LOA tunes to date, Its in keeping with the album mission statement of wanting to write 'proper songs' instead of just grooves.
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On the 11th May 2018 USM will release a vinyl (180 gram) and CD reissue of the Jay-Z's In My Lifetime, Vol. 1' and Vol. 2...Hard Knock Life' on 2LP.
- In My Lifetime, Vol. 1 is the second studio album by American rapper Jay-Z, released on November 4, 1997, by Roc-A-Fella Records and Def Jam Recordings. The majority of the production is handled by Puff Daddy's production team The Hitmen from the Bad Boy label, giving the album a generally glossier sound than its predecessor.
- Vol. 2... Hard Knock Life is the third studio album by American rapper Jay-Z. It went on to become his most commercially successful album, selling over 5 million copies in the United States. Vol. 2... became Jay-Z's first album to debut at #1 on the Billboard 200. The album won Grammy Award for Best Rap Album at the 41st Annual Grammy Awards.
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Last delivered 14 months ago available to reorder, subject to availability
**LP FORMAT IS VERY LIMITED - PLEASE BE AWARE THAT UNFORTUNATELY THERE MAY BE CUTS TO ORDERS**
For Los Angeles' The Black Queen, the depths of isolation and loss have always functioned as a gateway to being born anew. Much has transpired since the band released their cold, cutting debut album Fever Daydream (a record that Revolver described as 'a haunting exploration of the darker side of pop music'). But throughout it all, the trio of Greg Puciato (former frontman of the now-defunct The Dillinger Escape Plan), Joshua Eustis (of Telefon Tel Aviv, Puscifer, and Nine Inch Nails), and Steven Alexander (a tech member for Nine Inch Nails, Ke$ha, and A Perfect Circle) have emerged as triumphant and intense as ever, documenting their journey via the synth-streaked industrial anthems of their sophomore release, Infinite Games.Formed in 2011 after a chance meeting between Puciato and Eustis backstage at a Dillinger show in which they both realized they were huge fansof each other's work, The Black Queen became a labor of love for its members to explore sounds and emotions that they couldn't quite fit into their full-time projects. Injecting a pained, twilit edge into slick new-wave tracks as fit for the dance floor as they are for some imagined dystopian skyline, the trio have managed to channel their scattered, eclectic influences into a surprisingly cohesive vision. 'We've got a pretty weird cross section,' Puciato says of the band's musical chemistry. 'We can go out for food and listen to Power Trip on the way there, then Baltimore club music on the way back, and then talk about how killer Maxwell's Embrya album was, and then get sidetracked and talk about the Celeste video game soundtrack, then all have to be quiet so that we can grab a voice recording of some weird sounding radio interference. It's all over the place and unusually far reaching,and there's a lot of passion for discovery.'After releasing their 2016 debut album Fever Daydream to critical acclaim however, the trio underwent several major upheavals that cast the project in a completely new light. Puciato's main project The Dillinger Escape Plan disbanded. Chris Cornell of Soundgarden killed himself while Puciato was on tour with him. Eustis put out music under his beloved Telefon Tel Aviv monikerfor the first time since his former bandmate Charles Cooper died in 2009. Thetrio's storage space was robbed. Puciato suffered a relapse into crippling anxiety and paranoia. Once again, in the face of tragedy, The Black Queen had to rebuild everything from the ground up.The first step was acquiring a new studio space, which immensely helped the band get back into the rhythm of freely collaborating with one another, and experimenting with sounds for as long (and as loud) as they wanted. The resulting album, Infinite Games, marks a massive leap forward for The Black Queen. Not only are the band's icy R&B instincts more sharply pronounced; they've also rendered their morbid electronics in more lush detail than ever before, filling out the corners of their songs with chilling ambient passages
that create a wide-screen backdrop for Puciato's eerie, tortured vocals. 'I think this album is actually hookier, but more insidious in that it reveals itself over time,' Puciato says about Infinite Games. His choice of words says something about the album's creeping, pitch-black approach to pop music.With this release, the group have also announced a new undertaking in the form of their new label, Federal Prisoner. Resisting the more marketing-centricapproach that feels standard at this point for the record label game, the goal of Federal Prisoner is to provide an outlet for projects that emerge naturally from The Black Queen's own creative endeavors and collaborations with otherartists. In a way, Federal Prisoner solidifies TBQ's commitment to creating music on their own terms, following the same organic sense of inspiration that led them to forming in the first place. As Puciato puts it, 'It's just an expression of passion and individualism in a way that opens more doors for us to create and to own what we create with minimal compromise. It's as much an act of refusal as it is a statement of intent.'Infinite Games, the second album from experimental Los Angeles synth-pop trio The Black Queen, comes out on September 28th
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The return of A Turntable Friend Records starts with an opulent 40 track retrospective compilation of their heydays in the 1909s. Peers of Sarah Records and Slumberland Records but far from copying their style, ATF Records always had their own musical identity allowing for a roster as diverse as Boyracer (with Even As We Speak), Secret Shine, The Claim, The Ropers, the Hellfire Sermons + Lorelei.
This compilation is a feast of highlights from the long-deleted back catalogue plus 8 unreleased tracks from the period. Many of the original 7s & 12s are much sought after collector items and several tracks appear on cd for the first time.
Indie guitar popof the best variety delivered by bands from the UK< USA, Australia + Japan.
The release is luxuriously packaged in a tri-fold sleeve for the triple vinyl, strictly limited to 500 for the world. It includes a 12 x 12 full colour booklet and a download code.
The double cd comes with the same tracks also in a gatefold sleeve with full colour booklet.
This compilation is a fundraiser for the William Wates Memorial Trust in the UK with all profits being donated.
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Shovel Knight began as a modest, yet highly promising Kickstarter project in March 2013. Billed as 'a groundbreaking love letter to 8 bits!' by Indie developer Yacht Club Games, this 2D side-scrolling platform game released in June 2014 to universal praise and accolades. Fans and industry professionals praised Shovel Knight for its charming retro-2D visuals, humorous story, fun characters and strong gameplay design, which all came together to offer a game that is nostalgic yet very modern. The efforts of Yacht Club Games paid off when Shovel Knight was won the prestigious 'Best Independent Game' award at The Game Awards 2014. The game's chiptune soundtrack, composed by Jake Kaufman and Manami Matsumae, is integral to the game's modern-retro identity and has been similarly praised for its outstanding arrangements, memorable melodies and strong technical composition. This definitive soundtrack contains all music from the original Shovel Knight game released in June 2014, with a vinyl tracklist crafted by Jake Kaufman himself. The package cover and inner-gatefold have been designed exclusively for the soundtrack by Hitoshi Ariga; an interview with co-composer Manami Matsumae; and character artwork from the game.
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Last delivered 7 years ago available to reorder, subject to availability
Stanislav Tolkachev is releasing a new double-LP through Krill Music called It Will Be Too Late Then.
The Ukrainian techno artist says he made the album by assembling tracks recorded over a three-year period, and he notes somewhat cryptically, "I think this record represents a phase."
As with most of Tolkachev's releases, the album will feature his own visual art on the cover. Krill Music, a Berlin-based label originally founded six years ago in Buenos Aires, is having it pressed in Argentina to support "the growth of the Latin American vinyl industry."
Tolkachev, who previously appeared on Krill Music with a track on a sampler 12-inch nearly two years ago, just put out a new EP on Mord. Rivet's Pohjola outlet repressed his 2011 ten-inch Why Are You So Frightened. He also recently shared a stream of an electro tune that's apparently coming out Umwelt's New Flesh label next year.
- Chas's very sad passing in September this year has made this release all the more poignant, as he had been planning
it for a while. Here is how Dave describes the LP:
- 'It had been on Chas's mind for quite some time to showcase our more laid-back numbers. A lot of people had never
heard this side of what we do even though our biggest hit - 'Ain't No Pleasing You' - was a ballad. So when the
opportunity came to put together this compilation, it became a labour of love for Chas. In fact, it was the last release
that he was involved with and wrote sleeve notes for. Enjoy listening to our 'other side''.
- The inner sleeve features many photos and Chas's commentary, and the record is pressed on 180 gram white vinyl.
SRSQ (pronounced seer-skew) is the solo project of Kennedy Ashlyn (vocalist/keyboardist of Them Are Us Too). Creative voids aren't filled, but rather holes left that push the edges of the present into new realms of consciousness.
Ambient synthesizers that approach harshness, relentless arpeggiations act together with Kennedy's vocals as a lush weapon, weaving cloudlike fables over orchestration that's familiar and foreign. Trance-like at times, yet always rooted in cadence and structure, the synesthesia of sound and feeling takes cues from the delicate miasma of Cocteau Twins, My Bloody Valentine, or Dead Can Dance, using their example as the ground floor for building a new temple of frequency.
First time on vinyl
10th Anniversary of the Breaking Bad TV Series
5 x 10' vinyl in 5 different jackets, 1 relating to each season
Each 10' is the same colour, Strictly Limited Edition Albuquerque Crystal Coloured (transparent with a hint of turquoise) Vinyl!
Lift off box-set with Breaking Bad logo on front with special drip-off varnish
Exclusive Breaking Bad Poster & Pollos Hermanos plastic ID badge
Booklet with exclusive pictures and extensive liner notes by Thomas, the musical supervisor of Breaking Bad
One run only of this very exclusive BOX-SET
Individually numbered the manufacturing qty for Worldwide is est 4000 with 800 for the UK - we could get some more
PLEASE ORDER BY 12.00 TUESDAY 25 SEPT TO BE GUARANTEED YOUR QTY
Available worldwide
Weight ESTIMATED 950g
All the essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others
Various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more
This release will be heavily promoted on social media, including the social media accounts of Breaking Bad (facebook, over 11 million followers!!!).
MOV proudly presents the OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) 5 x 10' BOX-SET!
A TOP PRIORITY RELEASE with WORLDWIDE RIGHTS!
So far only the score music has been released on vinyl and now finally, for the very very first time, the original soundtrack music is released on vinyl!
Breaking Bad is widely regarded as one of the greatest television series of all time and celebrates its 10th anniversary in 2018.
The legion of fans have been waiting for this to be released for a long time. There will be a huge demand for this exclusive BOX-SET!
This release was never released in any other format (CD, vinyl, digital) before and will only be available on vinyl!
OST - BREAKING BAD (MUSIC FROM THE ORIGINAL SERIES) is presented in a beautiful Lift off box-set with Breaking Bad logo on front with special drip-off varnish. The box-set includes a selection of defining songs, devided in five 10' records on coloured vinyl, each representing a season with accessory artwork. The numbered box-set also includes a booklet, poster and Pollos Hermanos plastic ID Badge. Next to all essential Breaking Bad songs by Badfinger, Calexico, Far East Movement, America, Fever Ray, Apparat, Whitey, Knife Party, The Peddlers and others, the 10' records also include various dialogies by Walter, Jesse, Skyler, Mike, Gus, Saul and many more. The box-set is a ONE-RUN-ONLY and is STRICTLY LIMITED!
Breaking Bad is an American neo-western crime drama television series created and produced by Vince Gilligan. The show originally aired on the AMC network for five seasons, from January 20, 2008 to September 29, 2013. The series tells the story of Walter White (Bryan Cranston), a struggling and depressed high school chemistry teacher diagnosed with lung cancer. Together with his former student Jesse Pinkman (Aaron Paul), White turns to a life of crime by producing and selling crystallized methamphetamine to secure his family's financial future before he dies, while navigating the dangers of the criminal world. The title comes from the Southern colloquialism "breaking bad", meaning to "raise hell" or turn toward crime. Breaking Bad is set and filmed in Albuquerque, New Mexico.
Walter's family consists of his wife Skyler (Anna Gunn) and children, Walter, Jr. (RJ Mitte) and Holly (Elanor Anne Wenrich). The show also features Skyler's sister Marie Schrader (Betsy Brandt), and her husband Hank (Dean Norris), a Drug Enforcement Administration (DEA) agent. Walter hires lawyer Saul Goodman (Bob Odenkirk), who connects him with private investigator and fixer Mike Ehrmantraut (Jonathan Banks) and in turn Mike's employer, drug kingpin Gus Fring (Giancarlo Esposito). The final season introduces the characters Todd Alquist (Jesse Plemons) and Lydia Rodarte-Quayle (Laura Fraser).
Breaking Bad is widely regarded as one of the greatest television series of all time. By the time the series finale aired, it was among the most-watched cable shows on American television. The show received numerous awards, including 16 Primetime Emmy Awards, eight Satellite Awards, two Golden Globe Awards, two Peabody Awards, two Critics' Choice Awards and four Television Critics Association Awards. For his leading performance, Cranston won the Primetime Emmy Award for Outstanding Lead Actor in a Drama Series four times, while Aaron Paul won the Primetime Emmy Award for Outstanding Supporting Actor in a Drama Series three times; Anna Gunn won the Primetime Emmy Award for Outstanding Supporting Actress in a Drama Series twice. In 2013, Breaking Bad entered the Guinness World Records as the most critically acclaimed show of all time.
Strut Present An Exclusive New Compilation Curated By Optimo's Jd Twitch, 'kreaturen Der Nacht', Bringing Together Classics, Rarities And Oddities From Germany's Original Post-punk And Diy Scene. 1979 To 1984 Was An Era Of Particular Artistic Upheaval In Germany As Strong Subculture Scenes Formed In Many German Cities. Emphasis Was Placed On Expression Rather Than Technical Perfection, Artistic Impact Rather Than Skill. Diy Self-organisation Prevailed With The Establishment Of Small Record Labels And Independently Produced Records And Cassettes. Bands Experimented Across Genres And Consciously Abandoned The English-speaking Mainstream With German Band Names And Lyrics. 'although We Had A Small Underground
Scene, It Was Very Vibrant,' Explains Gudrun Gut Of Malaria! 'bands Like Die Haut, My Frst Band Mania D., Malaria!... We Organised Gigs Ourselves Or Friends Would Open A Gallery And
Have Bands Playing. We Hung Around Together In A Handful Of Clubs Like Risiko Or Dschungel And Went To Gigs At So36. West Germany Had Other Regional Scenes Too: Düsseldorf And
Köln Around Der Plan And The Ata Tak Label And There Was The Hamburg Side With Abwärts. Germany Didn't Have A Real Music Industry Like The Us Or England Back Then.'
This New Collection Is A Personal Selection From Jd Twitch, Built Over Years Of Playing The Tracks In Club Sets. 'it Is Not Designed To Tell A Defnitive Story Of What Was Going On In
Germany In This Era,' He Explains. 'rather, It Is Simply An Arbitrary Collection Of Records I Adore From A Specifc Era With A Specifc Attitude That Hopefully Together Sum Up Some
Of The Musical Undercurrents In Germany At That Time.'
The Package Features A Host Of Rare And Unseen Photos From The Period Along With Extensive Interviews With Artists Including Beate Bartel (mania D.), Christoph Dreher (die Haut),
Michael Hirsch (p1/e) And Thomas Voburka (weltklang). All Tracks Are Remastered By The Carvery With Artwork By Optimo's In-house Design Man Andrew Beltran.
Hosono's solo career would take many twists and turns from this point forward, with forays into exotica, electronic, ambient, and techno, culminating in the massive success of techno pop group Yellow Magic Orchestra (YMO), who made their debut in 1978. Admired by artists ranging from Van Dyke Parks to Mac DeMarco, Hosono continues to forge ahead as he heads into his fifth decade as a musician. With the re-release of his key albums for the first time outside of Japan, his genius will be discovered by a whole new generation of fans around the world.
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The unbelievably prolific Haruomi Hosono is one of the major architects of modern Japanese pop music. With his encyclopedic knowledge of music and boundless curiosity for new sounds, Hosono is the auteur of his own idiosyncratic musical world, putting his unmistakable stamp on hundreds of recordings as an artist, session player, songwriter and producer.
Born and raised in central Tokyo, his adolescent obsession with American pop culture informed his early forays into country music, which he would revisit later in his career. Hosono made his professional debut in 1969 as a member of Apryl Fool, whose heavy psychedelia was somewhat at odds with his influences, which leaned towards the rootsy sounds of Moby Grape and Buffalo Springfield. The latter was one of the main inspirations for his next group, Happy End, whose unique blend of West Coast sounds with Japanese lyrics proved to be highly influential over the course of three albums. After the band’s amicable break up in 1973, Hosono began his solo career with Hosono House, an intimate slice of Japanese Americana recorded inside a rented house with recording gear squeezed into its tiny bedroom.
Back in 1995 while living on the West Coast, at the peak of the Rave Experience, Dj Spun and Dhyan Moller recorded a bunch of live tracks, without any sequencer, all direct to cassettes.
Spun aka Jason Drummond, reached out last spring after rediscovering all the cassettes and asked us if we'd be interested in releasing some of the tunes.
Jason shipped us the cassettes and after a good transferring session, we decided we had to release all the tracks under a 3LP set. This stuff is fire. We still love DJ SPUN - and Dhyan Moller!
Five Years After "privileged Life" Was Released P.h.o.r.k. Is Back At It For Opal With Four Hypercolour Tracks Referencing French House, Jit, Uk Funky And All Manner Of Hypnotic, Percussive Goodness.
Opener "my Love" Inverts A Super Tight Duelling Loop Of Voices Against An Increasingly Staggered And Glitched Line Throwing Dancefloors Off Balance Like Cassius With A Head Injury. Title Track "no Afterlife" Sits On A Jerking Snare Pattern While Air Vents Open To Release Plumes Of Steam, Urban Fields And Angelic Drone In A 7-minute Ride.
"get That One Note Jam" Has A Clue In Said Title. The Tracks Bounces Forward On A Super Simple Riff While Modular Percussion Pick Out Spaces In Between. The Track Slow Blends Into Resonating Alloys Of Cyber-kora Offset With Reload Clicks And Abrupt Restarts. The Ep Closes On "love Recirculation' A Cartoon-ish Barrage Of Wooden Perc Just Keeps On Pushing While Synths Wow And Moan All Over The Shop. Killer Minimal Funk Throughout That Is Sure To Build A Smile.
Ryan Parks is a mixed media artist, music producer/performer,
and CEO/founder of critically robust cassette tape label, HARSH
RIDDIMS. He was born in College Park, GA and grew up skating
all around Atlanta, soaking up the dense kaleidoscopic cultural
ooze found both in and outside the perimeter of Atlanta. Aside
from his visual practice, which usually takes shape as mixed
media (Jacob Lawrence/Matisse inspired in my opinion!) collage,
he has been releasing music as FIT OF BODY for seven years. Fit
of Body crafts soulful house ballads that draw on freestyle, Bell
Hooks, old school Detroit techno, jazz, and southern rap passed
through a No Wave paradigm. Fit of Body has previously released
work on CGI, DKA, Ransom Note, and his own label,
Harsh Riddims.
Wan Chai Records is a Hong-Kong based label, specialized in rare Asian records and quality reissues.
After a few years of hard diggin' in Asia, meeting the artists and many local figures of the 60's, 70's and 80's Scene in Hong Kong, Singapore, and Taiwan, they wanted to share their best finds and put them together on vinyl with the best productions ever made in Soul-Jazz, Disco, Funk, Modern-Soul, and AOR.
The result is a selection of 10 totally unknown gems sung mostly in English and Cantonese with amazing covers of classics like Lovin' You', Make Me Believe In You', or Hurt So Bad' in a nice Artwork Gatefold LP.
'Rothschild 12' operated between 2009 and 2017 in the heart of Tel-Aviv, near the bustling intersection of Herzl street and Rothschild boulevard. Located on the ground floor of an elegant eclectic-style building which was built by Mr. Abraham Fogel exactly 100 years before it opened, 'Rothschild 12 began as an art gallery and quickly became a popular relaxed café and bar. While its front terrace faced the hustle and bustle of the city's main boulevard, in its back room 'Rothschild 12' hosted nightly live shows by a variety of established as well as up and coming independent musicians. What started off as improvised jam sessions soon developed into a full program ranging from jazz and rock to world music, hip hop and electronica. Now that 'Rothschild 12 is relocating to a new venue on Herzl street, it is time for a summary - a snapshot of the musical diversity which filled its walls - in the form of the compilation you are now holding. This musical summary of 'Rothschild 12' brings together a modern remix to a pioneering Israeli-Yemenite disco number from the seventies, a bundle of colourful and psychedelic beats,
Southend quartet Ghost Music release their evocative debut album I Was Hoping You'd Pass By Here via Arlen on 19 January. They create careful, considered songs, weaving lo-fi lullabies with gliding guitars and understated arrangements. Influenced by Silver Jews, Flying Nun and K Records, they explore themes of nature, love, loss and a melancholic English romanticism embellished with beautifully spectral melodies and executed with startling subtlety.
Despite this record being their debut, the band has produced a veritable wealth of music over the past 20 years in various guises. Ghost Music revolves around the songwriting partnership of Matt Randall and Lee Hall, who had played together in the 90s with John Peel favourites Beatglider. More recently Randall has received critical acclaim as Plantman, with his three albums Closer to the Snow, Whispering Trees and To The Lighthouse receiving praise from The Guardian, Uncut and Mojo. When Randall and Hall reunited to collaborate on another album together, they brought in the talents of Roy Thirlwall on bass (Melodie Group) and Leighton Jennings on drums (Dark Globes) to complete the band.
The original idea would be that the songs would be 'ghosts' and create 'ghost music' to resurrect and dust off old songs that they had already started. Lee had found the beginnings of 'Home Dog' on a dusty old 4-track and he had recorded 'Strange Love' on his iPhone in 2014, whilst Matt had written 'My Cloud' as far back as 1997 (the night he moved out of his parents' house). As the album began to take shape, the ghostly premise took a back seat, as they began to breathe new life into the songs they found the impetus to write new ones.
Randall explains the songwriting process; 'When we were in Beatglider together and in the past we'd made a 'thing' out of writing long songs with a lot of changes. This time we pared it back a bit and stuck to the melodies more. We really wanted to make a proper guitar record. Lee's my favourite guitarist and it was lovely to see him stretch out on these songs with his diamond fingers.'
Not afraid to wear their influences on their sleeves, Ghost Music's sound is instantly familiar, echoing beloved bands from the 90s such as Pavement ('Home Dog' has a definite 'Range Life' feel), Galaxie 500 ('Blindspot'), Yo La Tengo ('Heart Shaped Holiday' is influenced by the languid YLT songs that peak after a short intro) and even old-school rock'n'roll ('Strange Love' was born out of an appreciation for the instantly engaging opening riff in 50s songs). Yet Ghost Music's work never feels derivative, being instead effortlessly emotive, melancholic and affecting, creating a world of sound that is hugely reassuring and a tonic for the modern age.
Nicole Willis, known for her collaborations with The Soul Investigators & Jimi Tenor produces an album including some of the tracks she composed with the former as well as originals specifically for a fresh collaboration with UMO Jazz Orchestra. Jimi Tenor, who is a multi-faceted artist, has penned all arrangements for the big band and their talented rhythm section. Pete Toikkanen who is a mega-talent guitarist from The Soul Investigators, along with the two, composed those original tracks that highlight their alternative influences. Indie god & personal hero of Ms Willis, Ian Svenonius introduces Ms Willis on the first track and wraps up the LP with a final plea.
- Chris Difford's place in the pantheon of great English songwriters is assured - surely nearly everyone can sing along to at
least one Squeeze song.
- So in anticipation of the new Squeeze album The Knowledge' (and extensiveUK and US tours this autumn), and following
Chris's autobiography and demos album as well as Edsel's CD box set of Difford's three solo albums (I DIDN'T GET WHERE
I AM (2002), THE LAST TEMPTATION OF CHRIS (2008) and CASHMERE IF YOU CAN (2011)), we now present all three albums on vinyl, with outer and inner sleeves, gathered together in a handsome rigid slipcase.
- Of these only the first album has appeared briefly on LP before - The Last Temptation...' and Cashmere...' make their
vinyl debuts.
- The inner sleeves feature all thealbum lyrics, track-by-track sleevenotes and brand new notes by Chris about the writing
and recording of each album.
After what can only be described as a storming start to their label, Luke Hazell, Ben Murphy and Elliott Owen continue the exciting evolution of their brand Music Related with their first vinyl release and it's nothing short of sublime.
This spring, Music Related makes its bold entrance into the ever growing vinyl market with a heavy dose of minimal and house cuts in the form of a 4 track Various Artists, EP. MRRV001 drafts in the talents of Salva Stigler & Dubquest, Pat Ondebaak, Duky and Manuel De Lorenzi, and it's easy to see why as these 4 artist each bring a unique flavour to this well rounded minimal infused record.
The listener is welcomed on the A side by Salva Stigler & Dubquest - 'Dead Men Tell No Tales', which teases dark techno elements with a rolling progressive baseline. Definitely a track for the later hours, this dance floor weapon is sure to send heads tripping with the dark eerie vocals taunting the equally as impressive clicky percussion.
A2 takes a more laid back approach from A1 as Pat Ondebaak's track Matter offers up a low slung dubbed out groove with a sprinkling of crisp skippy high hats and a highly seductive mix of low and high percussion elements setting deep in the mix.
As we flip the record, Deep Tech records head honcho Duky brings an absolute club banger in the form of 'It Takes One'. Built around an old school drum break this hypnotic hard hitting track seduces you with its repetitive vocal stabs only to find yourself slapped hard in the face with the powerful 4 or 5 note synth line. Built for the big systems this high impact track is a certified party starter!
Closing of proceedings we have Manuel De Lorenzi's slightly more house oriented 'Whole Night'. This deep groove conveys a sweet mix of bouncy baseline, heavily swung hats and rides with a spaced out mix of filtered chord stabs and pads. Manuel's warm up vibe really rounds off what is a brilliant entry into the vinyl market for Music Related.
Until he was about 20, Texas-born Melvin Sparks was a rhythm & blues guitarist, backing Jackie Wilson, Curtis Mayfield and Marvin Gaye as a member of The Upsetters. But Sparks gave up his seat on The Upsetters' bus in New York City, where a chance introduction to George Benson led him to a place in soul jazz history. Melvin played and recorded with Lou Donaldson, Leon Spencer, Bernard Purdie, Jack McDuff, Jimmy McGriff, Idris Muhammad, Dr. Lonnie Smith, Charles Earland, Grover Washington Jr., Reuben Wilson and so many more. Even during the quietest years of soul-jazz Melvin stayed relevant through hip-hop and r&b, a quick search at WhoSampled turns up more than 150 samples of his funky chicken scratch. And Melvin's legacy is heard in contemporary soul/funk bands like The New Mastersounds, Soulive and The Greyboy Allstars, all of whom he also guested with several times before his early departure from this realm in 2011.
This release documents Melvin's final band just months before his death. Organist Beau Sasser and drummer Bill Carbone had been working with Sparks for several years, and, despite the power dynamic - they were in their early 30s, Melvin an elder-statesmen of the genre - the unit was sharp, relaxed and performed Melvin's music with a jovial spirit. The trio played the Burlington, VT club Nectar's regularly, but this night featured two "onlys." Per the recommendation of Nectar's agent they used the "Grippo Horns," the only time Sparks used a horn section in the last several years of his life, and they allowed a multitrack recording of the show. Both were strong decisions.
The tracks on this album, lovingly mixed by guitarist, producer and Melvin Sparks fan Eddie Roberts, demonstrate that Melvin played as well in the final months of his life as at any time. Sparks counts "Whip! Whop!" off at what he said The Upsetters called a "showtime tempo," and peppers it, as well as most of the album, with quotes from jazz standards, pop songs and cartoon themes, all woven effortlessly into the bebop-funk dialect he helped create. He unfolds amiable melodies, patiently and methodically, through his several-minute lead on "Breezin'." And Sparks is audibly uplifted by the Grippo Horns helping him perform his 1973 arrangement of "Ain't No Woman" for the first time in decades.
This box contains all four solo albums by Bill Wyman, the first Rolling Stone to release a solo record. The first two (from 1974
and 1976, both issued on Rolling Stones Records) were made the help of a galaxy of musical friends like Lowell George, Dr John,
Joe Walsh, Van Morrison, the Pointer Sisters, Danny Kortchmar, Dallas Taylor, Leon Russell, Bob Welch and Nicky Hopkins.
- The eponymous third album was home to Bill's 1981 big hit single (Si Si) Je Suis Un Rock Star' as well as follow-up hits
Come Back Suzanne', A New Fashion' and Visions, while fourth album Stuff' appeared in 1992, originally in Japan only.
- The albums are now issued on vinyl for the first time since their original release (and 'Stuff' on vinyl for the first time ever),
gathered together in a beautiful rigid slipcase. The new inner sleeves feature all the lyrics and the musician credits.
Tropical Odds is the second album by White Sea, the solo alias adopted by gifted American singer, songwriter and producer Morgan Kibby of M83
Born in Alaska, and now a resident of Los Angeles, Morgan fronted The Romanovs before joining acclaimed electronic music group M83 in 2007, co-writing, arranging and playing keyboards on the albums Saturdays = Youth and Hurry Up, We're Dreaming, as well as completing several world tours.
As White Sea, her first solo album In Cold Blood arrived in 2014, a dramatic debut praised by Billboard for its 'canyon-sized hooks, knowingly grandiose melodies and succulent vocals' and judged 'pop's newest break-up classic' by Flavourwire.
Outside of M83 Morgan has also collaborated with artists such as Greg Kurstin, Panic! at the Disco, Mark Ronson and School of Seven Bells, remixed Ellie Goulding and Britney Spears, and composed the award winning soundtrack to Eva Husson's provocative 2016 movie Bang Gang (une histoire d'amour moderne).
New album Tropical Odds stems from an interactive project launched via White Sea's website featuring digital singles and videos released at regular intervals throughout 2015 and 2016. Explains Morgan: 'Generally being able to create and mix and master my solo material within days has given me the direct freedom to share songs I want people to hear. In short, if I write something that I like, I put it out!'
Now gathered together in album form, the musical moods on Tropical Odds range from the sombre reflections of Gangster No. 1 and Yesterday to the hedonistic rush of Stay Young, Get Stoned and Never a Woman, high drama on Bloodline and Arcadia, and heartbreaking balladry on Secret, One Bad Eye and Lessons.
Adrian Younge presents: The Delfonics is quintessential sweet-soul from The Delfonics lead vocalist William Hart produced by Adrian Younge. From the very beginning, it was Younge's intention to create an old-school Delfonics vibe but offer a very hip-hop-informed perspective. There are distinguishing musical elements that Delfonics fans will recognize, like the electric sitar guitar, the French horn, string arrangements, and the tympani. Recorded and mixed by Adrian Younge at Linear Labs, the preeminent analog studio of Los Angeles, CA.
Metallica will release their eleventh studio album, Hardwired...To Self-Destruct, on November 18th, via Blackened Recordings. The 2 CD / 2 Vinyl set is the Grammy® Award winning Rock and Roll Hall of Fame inductee's first studio album since 2008's multi-platinum Death Magnetic. Hardwired...To Self-Destruct is available on various configurations including: CD, Vinyl, Digital, Deluxe, and Deluxe Deluxe Versions. The album is produced by Greg Fidelman, who engineered and mixed Death Magnetic.
Repress
Solid red 12 vinyl comes accompanied with a limited edition double sided 'Redders' Ep poster (insert). Vinyl purchase includes EP instrumentals as a digital download (Critical Store exclusive)
A man who guested on many a Critical release finally brings his very own EP with the hugeproduction backing of Gorgon Sound, Sam Binga, Hyroglifics and Moresounds. An onslaught of halftime bassline, dancehall and electronic twists in one EP ready to floor the room!
All titles composed by Mark Van Hoen
Recorded in Brooklyn & Woodstock NY USA 2011
All instruments & processing by Mark Van Hoen with additional vocals by Georgia Belmont
Cover art by Stephen O' Malley
out of Stock
Last delivered 14 years ago available to reorder, subject to availability
Dark Entries is ecstatic to announce Terminal Fascination, a retrospective release of the music of Camille O’Grady, subversive artist, leather witch, punk poet, and gender saboteur. O’Grady cut her teeth in New York’s burgeoning punk scene at clubs like CBGB’s, where her band Leather Secrets would share the stage with acts like Television. She became one of the few women to be welcomed into the Mineshaft, Wally Wallace’s legendary Manhattan gay BDSM club. Towards the end of the 70s, she would trek west to San Francisco to be with her partner, performance artist and gallerist Robert Opel, who was tragically killed in 1979. O’Grady would pass away from COVID in 2020, with her voluminous works across various media - text, image, and sound - having been unpublished during her lifetime.
Working with O’Grady’s estate, Dark Entries has assembled thirteen of her finest recordings, including instant classics like “James Dean to the Rescue,” “Tourniquet,” and, of course, “Toilet Kiss.” Two songs, “Angel with a Key” and “Love Comes Like a Cutthroat,” were recorded at a studio in Los Angeles for a 7” release that never materialized, while the rest of the material was recorded live in 1979 at The Ambush, a San Francisco leather club. O’Grady’s songs, often written from the perspective of a gay man, explode like a genderfuck version of Patti Smith, like Buffy St. Marie in leather, like the hedonic utopianism of the 1960s dragged (blissfully) through the broken glass of the 1970s. The release of Terminal Fascination coincides with the publication of ‘A Cross-Worlds Angel,’ a 300-page book of O’Grady’s work by Phillip Zimmerman. The record includes an insert featuring liner notes, lyrics, and photographs. Celebrate Camille O’Grady, the artist Jack Fritscher described as an “earth mother, a leather lioness of the arts.”
Following the success of Denshi Ongaku No Bigaku Vol. 1 and Vol. 2 in 2023, Cosmocities returns in 2026 with two new chapters in its acclaimed compilation series dedicated to the rich heritage and continuing evolution of Japanese electronic music.
Compiled by label owner Matt Soulie, Denshi Ongaku No Bigaku Vol. 4 further explores the depth, sophistication and diversity that have long made Japan's electronic underground one of the world's most inspiring musical landscapes.
Since its inception, the Denshi Ongaku No Bigaku project has celebrated the artists and sounds that have profoundly influenced the Cosmocities vision. Across four volumes, the series has journeyed through ambient soundscapes, deep house, boogie, jazz-infused electronics and forward-thinking club music. Volume 4 shifts the focus firmly towards the deeper end of the dancefloor, bringing together timeless classics, rare gems and sought-after reinterpretations from some of Japan's most respected producers.
Opening proceedings is Kaoru Inoue's remix of Soft's "Art Farmer", a rolling percussive Afro-house excursion rich in hypnotic groove and organic rhythm. XTAL's "Heavenly Overtone" follows with a beautifully cosmic house journey, combining shimmering keys and celestial atmospheres that perfectly capture the compilation's expansive spirit.
On the B-side, Slow Didi's "Follow Me (Hidaway Mix Instrumental)" delivers a deep and hypnotic groove before Tokyo Black Star's "Fantastique Voyage" channels the soulful, sophisticated energy of classic 1990s deep house. The journey continues with Manabu Nagayama and Soichi Terada's "Low Tension", presented here in a sublime instrumental remix by Satoshi Fumi and Yoshi Horino, where warm piano melodies and elegant synth work create a timeless late-night mood.
The final stretch moves into more driving territory. Hiroshi Watanabe's "The Orionids (2025 Revised)" subtly raises the tempo, blending deep house sensibilities with sleek tech-inflected textures. Kaoru Inoue's "Ground Rhythm", reworked by The Backwoods, plunges deeper into hypnotic territory with a heads-down groove designed for intimate basement spaces and low-lit dancefloors.
Closing the compilation is Bitowa and YAMADAtheGIANT's "Forest (Mixtacy Exclusive Version)", a trippy, immersive finale that leaves listeners suspended in a dreamlike state between nature, rhythm and imagination.
A carefully curated collection of deep, cosmic and forward-thinking sounds, Denshi Ongaku No Bigaku Vol. 4 once again showcases the enduring creativity, innovation and global influence of Japanese electronic music.
Born in São Paulo, Caetano Malta embodies the vibrant creative energy of one of Latin America's most dynamic cities. A singer, songwriter, and multi-instrumentalist, he has spent more than twenty years crafting a distinctive musical universe shaped by Brazil's rich and diverse traditions. Tropicalia, MPB, Afro-Brazilian rhythms, psychedelic folk, and contemporary pop blend seamlessly in his work with effortless elegance.
Over the years, he has become a highly sought-after collaborator. Since 2004, he has performed with numerous leading Brazilian artists, including Lucas Santtana, Bixiga 70, Karina Buhr, and many others. After two decades of international touring, he eventually settled in Paris, where he became the guitarist for Flavia Coelho, Luiza, Guts, among others. As a songwriter, he has also co-written with artists such as Lucas Santtana, Wado, MOMO, Rubinho Jacobina, and Arto Lindsay.
With Eterna Juventude, his long-awaited debut solo album, due for release in autumn 2026, Caetano Malta reaches a new artistic milestone. The record reveals a radiant songwriting style where harmonic sophistication, organic rhythms, and instantly memorable melodies come together naturally. Filled with joyful energy and deep tenderness, Eterna Juventude celebrates imagination, movement, and childhood's unique ability to reinvent the world. It is a remarkably accomplished debut, showcasing an artist whose singular voice and musical identity are already fully formed.
Of course everyone knows Kurt Hauenstein aka Supermax. He was one of the few Austrians to shape the sound of late-1970s disco, performing and selling records around the world. Not many know his daughters Judy and Nicola, however, and the fact that they in 1987 wrote a song that they recorded together with their father. Well, here it is: Cracy Coconuts, “Rubberdub Dance” – a true Hauenstein family affair. We are proud to re-release this super rare 7” that proves, once and for all, that Austrians can excel at digi-dub. Timelessly tropical and beautifully bouncy, its vibe is quite different from the iconic Supermax productions. Here, Judy and Nicola’s sweet yet confident vocals replace the moustache-driven sotto voce singing that we love Supermax for. The result is oh-so-catchy and bound to be a hit.
Folksongs and Ballads by Tia Blake & Her Folk-Group, is more than just a “lost classic”. As clear and honest as can be, Folksongs and Ballads is a magnetic record, a refuge like only Nick Drake, Nico, and a few others have been able to create. A graceful, delicately minimalist approach to classic Appalachian and British folk songs.The perfect balance between melancholy and daydream. Originally released only in France in 1971, Ici Bientôt is very pleased to present the first-ever reissue on vinyl.
When she recorded her only album, Tia Blake was nineteen years old and had just arrived in Paris a year and a half beforehand. She spent most of her time at Disco’Thé, a record shop in the Latin Quarter, a free space, peaceful and inspiring, a hub for students as well as the local artistic community.
There, Tia would occasionally sing—when she managed to overcome her shyness. Two young guitarists who were passionate fans of folk music and regulars at the shop began to accompany her, forming “Her Folk Group.” One year later, they cut 11 tracks at Pierre Barouh’s Studios Saravah.
Folksongs and Ballads is composed of traditional tunes that have been covered many times, but they’re not the best-known folk standards. A collection of stories ranging from the Middle Ages to the 1960s, bringing together sublimely doleful ballads, lamentations for a lost lover, and an unexpected, brilliant version of the road anthem “Plastic Jesus.”
Tia Blake's haunting, unaffected voice captivates and comforts us, wrapping us in its cool embrace. Meanwhile, the tasteful, stripped-down, mellow acoustic arrangements provided by the guitarists, reminiscent of Bert Jansch and John Renbourn, occasionally supported by a kena flute, have created the space Tia Blake needed to reinvent these traditional songs.
Folksongs and Ballads is a timeless record, deep and unique, a longtime companion for repeated listening, in the vein of works by Sibylle Baier, Bridget St. John and Vashti Bunyan.
IRST ALBUM IN 10 YEARS.
TOURING WITH TROPICAL FUCK STORM IN NOVEMBER (DATES BELOW).
PRODUCED BY DAN LUSCOMBE (THE DRONES) WHO IS ALSO PART OF THE LIVE BAND.
PREVIOUS ALBUMS ON HARDLY ART/SUB POP AND REMOTE CONTROL.
VERY LIMITED BLACK VINYL AND INDIES ONLY PINK VINYL . NON-RETURNABLE.
‘Jarrod Quarrell, creator of Lost Animal, is one of the most underrated songwriters in Australia and one of our all-time favourites. He creates poetic expressions. His work is very interesting in a highly original way and richly emotional. The songs reveal themselves more over many listens and always feel fresh. His powerful, beautiful, transformative, and unforgettable songs possess the vast depth of the human spirit.’ - GIMMIE GIMMIE GIMMIE ZINE
‘Quarrell has developed a collaged techne that embodies a heart-on-sleeve attitude. Lush melodic delays wash with an influx of lyrics that pierce with uncanny imagery and diction.’ - VICE
It’s not every day you hear about a new Lost Animal album. In fact, it’s been ten years between drinks. The debut Ex Tropical (Hardly Art/Sub Pop) was released in 2011, and followed by You Yang (Remote Control) in 2016. So what happened, and where’s frontman/mastermind Jarrod Quarrell been for the last ten years?
From the horse's mouth, “I don't give a fuck about productivity”. A humbling reply. It confirms Quarrell's MO: here’s an artist as a non-conformist. And when he does see fit to bless us with his unique vision of what music can sound like, it has the ability to completely charm and disarm. Amongst a sea of rock bands, LA is essentially a solo act. Simply put; LA is JQ. But on the other hand, amongst an ocean of solo acts, LA possesses the grandiosity of a full band, punk in spirit, but without being fast, or heavy.
Armed with keys and synths, timbres align more with what a toucan might listen to, as opposed to what's heard commonly throughout Melbourne's gig economy. Strings are gently plucked and horns are tenderly blown. These are the colourful brush strokes that decorate the upper frequencies. They’re the ticket to a far away land;exotic, and potentially very dangerous. If the crew from Hear My Eyes are reading this, consider Lost Animal performing Give Some Get Some as the soundtrack to the next time you screen The Hangover Part 2. Yeah, the one where shit gets super fried in Thailand.
The album examines the underbelly of what a ten year journey might rub up against. As one may expect, a lot of that action is below the belt. Tracks like Do That Thing, and In
Rewinding, a few things have happened in the past ten years that are worth illuminating. Shags is no longer commandeering the bass full time. Though he does make an appearance on a couple tracks. The main difference from present day to yesteryear LA is Dan Luscombe (The Drones). Luscombe has jumped into the role of producer (and also part of the live band). One could say he’s a producer of the Spector-ilk: playing a hands-on approach and assisting Quarrell's song crafting. He may have suggested to add a chorus or two, but the chord progressions remain distinctly Lost Animal. You'll recognise them easily by their beauty, combined with either fragility or rigidity. Luscombe is arguably the defining force that made this album happen. Perhaps he had Quarrell at gunpoint. Yet to be confirmed. Regardless, thank fuck for Luscombe because it may have been another decade.
But the album's defining feature is arguably Quarrell's lyricism. He may not cross-examine where he's been, but his voice does unmask where he is: absolved and reincarnated. The decade-long journey has resulted in him looking inwards and unlocking himself. The album's many mantras suggest that he may be a bird (I'm a Bird Now), or that he is living on another planet (Never is Forever). Whatever and wherever he may be,
Give Some Get Some invites the listener to reflect on their own journey over the past decade. Because the game's got a price. So ask yourself what have you taken, and what have you given? Life ain't a box of chocolates. It's a bowl of berries. And when fruit symbolizes temptation, get some.
IRST ALBUM IN 10 YEARS.
TOURING WITH TROPICAL FUCK STORM IN NOVEMBER (DATES BELOW).
PRODUCED BY DAN LUSCOMBE (THE DRONES) WHO IS ALSO PART OF THE LIVE BAND.
PREVIOUS ALBUMS ON HARDLY ART/SUB POP AND REMOTE CONTROL.
VERY LIMITED BLACK VINYL AND INDIES ONLY PINK VINYL . NON-RETURNABLE.
‘Jarrod Quarrell, creator of Lost Animal, is one of the most underrated songwriters in Australia and one of our all-time favourites. He creates poetic expressions. His work is very interesting in a highly original way and richly emotional. The songs reveal themselves more over many listens and always feel fresh. His powerful, beautiful, transformative, and unforgettable songs possess the vast depth of the human spirit.’ - GIMMIE GIMMIE GIMMIE ZINE
‘Quarrell has developed a collaged techne that embodies a heart-on-sleeve attitude. Lush melodic delays wash with an influx of lyrics that pierce with uncanny imagery and diction.’ - VICE
It’s not every day you hear about a new Lost Animal album. In fact, it’s been ten years between drinks. The debut Ex Tropical (Hardly Art/Sub Pop) was released in 2011, and followed by You Yang (Remote Control) in 2016. So what happened, and where’s frontman/mastermind Jarrod Quarrell been for the last ten years?
From the horse's mouth, “I don't give a fuck about productivity”. A humbling reply. It confirms Quarrell's MO: here’s an artist as a non-conformist. And when he does see fit to bless us with his unique vision of what music can sound like, it has the ability to completely charm and disarm. Amongst a sea of rock bands, LA is essentially a solo act. Simply put; LA is JQ. But on the other hand, amongst an ocean of solo acts, LA possesses the grandiosity of a full band, punk in spirit, but without being fast, or heavy.
Armed with keys and synths, timbres align more with what a toucan might listen to, as opposed to what's heard commonly throughout Melbourne's gig economy. Strings are gently plucked and horns are tenderly blown. These are the colourful brush strokes that decorate the upper frequencies. They’re the ticket to a far away land;exotic, and potentially very dangerous. If the crew from Hear My Eyes are reading this, consider Lost Animal performing Give Some Get Some as the soundtrack to the next time you screen The Hangover Part 2. Yeah, the one where shit gets super fried in Thailand.
The album examines the underbelly of what a ten year journey might rub up against. As one may expect, a lot of that action is below the belt. Tracks like Do That Thing, and In
Rewinding, a few things have happened in the past ten years that are worth illuminating. Shags is no longer commandeering the bass full time. Though he does make an appearance on a couple tracks. The main difference from present day to yesteryear LA is Dan Luscombe (The Drones). Luscombe has jumped into the role of producer (and also part of the live band). One could say he’s a producer of the Spector-ilk: playing a hands-on approach and assisting Quarrell's song crafting. He may have suggested to add a chorus or two, but the chord progressions remain distinctly Lost Animal. You'll recognise them easily by their beauty, combined with either fragility or rigidity. Luscombe is arguably the defining force that made this album happen. Perhaps he had Quarrell at gunpoint. Yet to be confirmed. Regardless, thank fuck for Luscombe because it may have been another decade.
But the album's defining feature is arguably Quarrell's lyricism. He may not cross-examine where he's been, but his voice does unmask where he is: absolved and reincarnated. The decade-long journey has resulted in him looking inwards and unlocking himself. The album's many mantras suggest that he may be a bird (I'm a Bird Now), or that he is living on another planet (Never is Forever). Whatever and wherever he may be,
Give Some Get Some invites the listener to reflect on their own journey over the past decade. Because the game's got a price. So ask yourself what have you taken, and what have you given? Life ain't a box of chocolates. It's a bowl of berries. And when fruit symbolizes temptation, get some.
Apex militant late '70s style here, if you think you are into steppers you should have this one firmly in your sights. One of Mr. Smart's hardest records, this originally appeared only as an album track, but also had some fame as a dubplate played at the time by Jah Shaka and others. We've long had that cut in our sights, and while some nice new re-mixes of this tune appeared in the last few years, here is the real thing from '79 steel. The A-side features the raw dubplate cut vocal, no horns or other adornment, HARD to the point stepping drum and bass style. The B-side features the original Gussie Clarke dub mix aptly titled "Hot Steppers", also previously released only on album. This cut as well was run on dubplate back at the time, a killer mix with full horns but no vocal. Leroy Smart is one of our all time favorite artists and we take pride in having re-released a handful of his all time best records, this one now added to that list.
Joe Fujinoki centered the compositions of his latest album Glass Torso round the idea of the fragility of the human body. Fujinoki described the narrative thread of the album as that of “holding the shape of a human body as if it might shatter like glass”. The precariousness of the body, the essence of the body as defined by Fujinoki as the torso, and the object relations between the boundaries of dialectical exercises pack themselves into his creative process.
Fujinoki recorded Glass Torso exclusively with analog synthesizers, stumbling in and out of structural loops to find space for accidental discoveries. The ten pieces of recorded material feel somewhere on the edge of typified form, feeling like a vascular system pumping in and out its undulating liquidities. Maybe this is the hollowed space held together by Fujinoki’s notion of the torso where you hear a microscopic world, dubby and generative. Fujinoki is adept at organizing this realm of subtle sound sources, giving proper considerations of shared tonal space. Seemingly, this handling of the precarity of sonic material elucidates Fujinoki’s mature attention to detail.
Ambient music genre tropes often affirm the listeners vessel for escape and dissociation. It provides an intoxicating allure by respite from an overwhelming exterior reality far outside the listeners controls. Here this space becomes apolitical, or its protest vocabulary softer and subtle. Fujinoki does not aim to tackle hyperobject topics on how to course correct the world, but he does something increasingly rarer to come across. On Glass Torso an alternative space is created not as shelter, but as a meditation on negotiation and compromise. This twenty eight minutes of audio lays down a foundation for imagination, for imagining how to negotiate the fragility of the self. Zoomed out, the implications of his negotiative sonics can be a playground for broader reflections on distributive care and attention.
Fujinoki says he feels “alert” to his physicality and placement in the world amidst vast digital cultures creating impositions on him and his surroundings. On Glass Torso he creates a concretized space on a vinyl record, where the virtual and the tangible antagonize one another that create the spectacle of the listening experience. This spectacle is a soft one, a considered one, and an utmost enjoyable one. Fujinoki juggles opposing forces brilliantly, and formulates an exquisite palette of soft passing music so he can also help the listener with the exquisite burden of their own Glass Torso.”
It was in the year 2008 when Too Much came out: a 15-track debut that turned Berlin's underground upside down and made excess into a musical principle.
The album sounds like a party that has already gone off the rails - and is getting better because of it. Tobias Jundt's deadpan, heavily accented delivery collides with jagged guitars, rattling bass, vintage synths and restless dance grooves. Rock'n'roll, electroclash and dance-punk blur into something that never quite sits comfortably in any genre.
The songs are deliberately ridiculous, catchy and hedonistic. Too Much is full of party anthems, absurd one-liners and hooks that get stuck in your head whether you want them to or not. The title track itself became one of Bonaparte's signature songs - one of the early Myspace-era tracks that helped turn the band into a genuine underground sensation.
But Too Much was never just a record. Bonaparte's world extended into circus costumes, provocative performances, striptease, queer aesthetics and wildly excessive live shows. What began with illegal gigs under Alexanderplatz quickly moved to the Montreux Jazz Festival, international tours and legendary parties - with the band becoming one of the most distinctive acts to emerge from Berlin in the late 2000s.
Now Too Much returns on vinyl. A document of a particular Berlin moment - chaotic, funny, sweaty and impossible to ignore.
15 songs. Zero restraint. Still too much.
Blume presents two pieces composed in 1970 by the American pianist and composer David Tudor (1926-1996), one of electronic music's most important pioneers, for the Pepsi-Cola Pavilion, a unique artist-designed and programmed space for Expo '70 in Osaka, Japan, created by Experiments in Art and Technology (E.A.T.). Pepsibird and Anima Pepsi deploy electronic technology as a means to experience sound in ways that are anything but matter of fact, rendering liberated environments within and through which one might democratically express and commune. Viewed through the lens of what was, is, and might have been, they offer the tools for time travel: an unmediated encounter with radical, optimistic ideas that gave way to the complex cultural landscape of our time.
Initially trained on organ and then piano, Tudor emerged as a leading figure within New York's musical vanguard after his groundbreaking 1950 performance of Stefan Wolpe's Battle Piece and the American premiere of Pierre Boulez's Second Sonata. Within less than a year he had joined the Merce Cunningham Dance Company as its accompanist, a role he kept until his death, and began one of his most lasting creative relationships with John Cage, who would state that his entire output between 1951 and the end of the 1960s was written with Tudor in mind. Christian Wolff, Earle Brown, Morton Feldman, Sylvano Bussotti, Mauricio Kagel, and Karlheinz Stockhausen all wrote works for him during the 1950s and '60s. Through indeterminacy and chance-based methods, Tudor was noted for radically intervening with the works he played, often making them entirely his own, and it was this same singularity of vision that led him to gradually abandon the piano in favor of electronic process, through which he began working as a composer in his own right.
His engagement with electronics dates to the early 1950s and Cage's Project for Music for Magnetic Tape. By the following decade the pair had moved to live electronics, with Tudor rendering works like Cartridge Music and Variations II through contact microphones and complex systems of feedback and amplification. Before modular synthesizers existed, he designed and built his own electronics, often with engineers from Bell Laboratories, producing dozens of unique instruments and processing tools that helped lay the groundwork for the technological needs embraced by most electronic musicians ever since. A clear marker of his emergence as a composer came in 1966 with 9 Evenings: Theatre and Engineering, where he premiered Bandoneon! (a combine), turning the cavernous performance space into a feedback instrument and a total environment. The event led directly to the founding of E.A.T. the following year by the engineers Billy Klüver and Fred Waldhauer, alongside Robert Rauschenberg and Robert Whitman.
Among the most ambitious of E.A.T.'s projects was the Pepsi-Cola Pavilion, for which Tudor composed four pieces between March and April 1970: Pepsibird, Anima Pepsi, Pepscillator, and Microphone. Together with Forrest "Frosty" Myers, Robert Whitman, the sculptor and filmmaker Robert Breer, and the architect John Pearce, he was tasked with the design and function of the building: a 120-foot diameter steel and polyvinyl dome, shrouded in mist and fog and lit in the evenings by a square of intense blue-white xenon light. Tudor worked with Gordon Mumma and Fred Waldhauer on a unique sound system capable of processing and variable distribution through 37 speakers, controlled both by automated means and by the performer, and with Lowell Cross on a sound-activated laser deflection system inside the pavilion's mirrored performance hall.
Both pieces are an advanced form of musique concrète: libraries of tape recordings, live mixed and processed through the pavilion's sound console and distributed through 8 channels of stationary and rotating patterns designated by Tudor's instructions (small circle, great circle, large rhomboid, spiral, small triangles, small ovals). Pepsibird is focused upon a physical interiority, its source tapes being recordings of the brain wave activity of humans and animals: cat's eye, nerve firing, bats, EKG, alpha waves, a modified nightjar. Recorded in situ in 1970 and mixed down to stereo, it retains a striking sense of the space and ambience that Tudor achieved in performance. For more than eighteen minutes he merges subtle textures and pulses, at times resembling birdsong, within a blanket of vast, resonant ambience of subaquatic density, foreshadowing the relationship to the natural world of later works like Rainforest IV (1973).
Anima Pepsi is centered on the exterior: field recordings that Tudor made of animal and insect sounds (mosquitoes in a jar, a fly on flypaper, a wasp chewing, a beetle walking) and a mix of human and animal sounds that he called the "funny tape". Where Pepsibird deploys interior sounds in ways that allude to the natural world, Anima Pepsi pushes the sounds of nature and humanity toward the otherworldly through the clear presence of electronic sounds and processing, moulding detailed, pointillistic patterns of abstract sonority into gauzy blankets of ambience and space.
The collaboration did not last: less than a month after the opening, Pepsi withdrew its support, fired E.A.T., and disregarded Tudor's tapes, which according to accounts had to be smuggled out by staff, playing its own soundtrack in the pavilion for the rest of the Expo. Heard today, Pepsibird and Anima Pepsi anticipate many territories of later electroacoustic practice, from field recording to live processing, while the terms on which they were made, radically unpredictable, indeterminate, and experimental to the core, reconfigure what we've come to expect from electronic process, making one wonder if the past was ahead. Issued by Blume in a highly limited vinyl edition of 300 copies on red vinyl, with a 20-page LP-size booklet containing You Nakai's essay and newly commissioned liner notes by Bradford Bailey.
Put your hands together and please welcome Linda Lo to Shall Not Fade's Time is Now imprint. The LA producer/DJ's new 12" EP "Masa" drops 23rd Oct 2026 and f**k is it sick.
Linda Lo fuses* mambo, samba, and salsa with UK garage, dubstep, and club rhythms to make guaranteed rewind material that is gonna light up the dance…
* imma talk about this fuses sh*t in a minute.. First we need to get a bit philosophical. Cos rewinds and fusions aside, this EP is alive. It's part of something bigger and cyclical, without a start or an end. It is music. It was part of someone else's music before and it will be part of other people's music in the future. Right now though, it's Linda Lo's music.
Too esoteric? Let me elaborate and, let's talk about fusion. There is the fusion that is – steal a bit of genre X and culture Y, chuck it on the grid and strut about professing fusion – and then there's actual fusion: Music that is something "new" and real and genuine. Music that you end up describing excitedly as a "fusion of" things (even if it inevitably ends up doing it a disservice). Music that is simultaneously one thing and not that thing, and also something else and not that something else too. Music that is just "music" to the creator but is also part of the progression and evolution of music for others. Mala wasn't making "dubstep". Skream & Benga ended up not making Garage. Like many before and after they were making their music and Linda Lo is making her music so let's hear from her about it. Big up Linda. This is real.
Notes from Linda:
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“Like Croydon by way of Havana”
“Masa, or corn-based dough used to make tortillas and tamales, is a traditional staple food for many in Mexico and throughout LatAm. In the Maya worldview, people's flesh is made out of masa. In order to make masa, corn must be dried, nixtamalized, ground, and mixed (often by hand) to create the right textured dough. I find much of my music work is a collision and a mixing of many elements, all worked into one product. In this way, I've worked these songs, transforming raw rhythms and sub bass into hand-mixed tunes. ‘Masa - EP' presents four delicious heaters. The title track explodes with a fiery double-time dubstep groove. Mambo horn stabs bite through a bass inferno. ‘Cenote' looks down upon a subterranean pool of sound—still on the surface but impossibly deep. ‘Minifalda', pure flirt and gyration, calls in cuica and other voices from a samba bateria. Finally, claves stitch across ‘Mestiza', a fusion of blooming lush orchestration and jagged 2step rhythm.
Around 1960, my grandparents were regular dancers at the Palladium in Los Angeles: young, Mexican, and falling in love to dance music, specifically big band mambo. My mom, consequently, is a fantastic dancer, and her mambo collection along with my dad's exotica records formed the base of my own vinyl collection. When I first discovered garage and dubstep, there was something indescribably familiar to me, something mambo-like about the syncopated offbeat hits and drama. Later, as I began stitching together mambo claves and 2step drums, I assumed I was trying out something totally new. The farther I go, the more I see that I was wrong.
Dubstep, garage and jungle share a parental lineage back to dub reggae, originating from Jamaica. Mambo hails from Cuba, and sister genres of salsa to NYC & PR, and bachata and meringue to the Dominican Republic. Yet, these musical genres of the Caribbean have not developed in isolation. Reggae, mambo, dancehall, salsa, even son jarocho from Veracrúz, Mexico (where my family is from), all developed together, influencing each other fundamentally. Ultimately, all musics of the Caribbean have come from West African polyrhythmic musical heritages. Garage, mambo, dubstep, and salsa are points in time along one musical continuum.
I feel very honored to be a selector working in Los Angeles (and elsewhere!). I hope I can share some music for the next generation of young people to fall in love to. "
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I'm moved by what Linda writes here. #1 Doing what you love, and finding you are part of something bigger. Creating for yourself freely and hoping to inspire others with healthy amounts of care, humility, freedom, self awareness and enjoyment. (It is inspiring and I'm honoured we are now a part of sharing Linda's music). #2 There's something wonderful about finding connection and a sense of place. A place physical, spiritual and in time. Music can help us all find connection and be part of a place. Wheel it up wherever you are.
It's been called " A lost classic of the Acid Jazz Era" and has been featured on Compilations and even Bootlegged.
Onward International "Foot In The Door" has earned it's place as one of the Foundation Stones of the Influential Acid Jazz Scene of the 1980's and 1990's. It’s Horn based intro is a Siren Call to fill floors and has been for over 40 years!
Recorded one Magical Night in the same studio and around the same time as Sade’s “Diamond Life” by the cream of London’s Session Musicians (who all later performed on Working Week’s Debut album.)
The title track was named when finally, after taking the master round to every record company in London, a door opened and a release deal was agreed.
The Airto Styled Batucada Beat Brazilian Boogie “Samba Doo Bonnay” is one of the other standout tracks from that now rare and ever more expensive Brit-Funk meets Acid Jazz E.P. and is now available digitally for the first time ever! And for Mambo Jazz Perfection Roberto Pla’s 21st Floor Mambo rounds off things nicely!
DAYBREAKERS continue the journey through Fred Everything's archives with a second collection of previously unreleased recordings. If the last release captured the early years, this next chapter moves into the period between 2008 and 2015, uncovering more forgotten gems from one of Montreal's finest.
Fred Everything is one of those producers whose influence runs deep. From his early releases on 20:20 Vision through to decades of essential music on Lazy Days and beyond, he's built a catalogue that's earned the respect of DJs and dancers across the world, always staying true to his own sound.
Once again, Fred opened the vault, revealing another batch of unheard productions that had somehow escaped release. This time the sound leans a little further into the dancefloor, with warm grooves, rolling basslines and the kind of understated musicality that's become synonymous with his name.
These recordings may have been made between 2008 and 2015, but they've lost none of their spark. Timeless, understated and effortlessly classy, they remind you why Fred Everything remains one of deep house's most consistent voices.
Three more lost gems, finally finding their place.
The Malian virtuoso, indisputably one of the most creative talents of his country, deserved his solo career decades ago. In May 2026, we released his debut solo album SOBRA DANCE featuring his wife Mariam Kouyate on vocals. The groovy and variated electric album, went straight to the top lists of World Music Charts Europe and Transglobal World Music Chart as well as selected for TOP OF THE WORLD by SONGLINES. Gaoussou's solo debut got several 5 star reviews.DJANGO BLUES is a tribute to Gaoussou's father and childhood teacher, who's nickname is Django. On this album the talented guitarist and composer goes deeper into the roots of Malian Dessert Blues, with the variations from the Arabic soundscapes from the north.In Senegal, Gaoussou is nick named "The new Ali Farka Toure". But even though Ali Farka was one of Gaoussou's greatest inspirations, Gaoussou has developed an unmistakable style of his own. He breathes music and goes to his studio every day to work. He uses his composing to reflect, and as a ventilator when things are hard -they often are in his country of contrasts- and as a love declaration to life itself. He is a true Mandingue, a Griot, peaceful and kind, as the philosophy preaches.Accompanying such legends like Toumani Diabate and Kasse Mady Diabate, Gaoussou Kouyate, with his beloved village 'Sobra' as his middle name, has long proven his level. Yet his name has been relatively undiscovered. The trio performed a memorable concert at Dakar Music Expo, led by their producers, Dudu Saar and Lucy Duran. What started being noticed internationally through this exceptional trio was Gaoussou's composing skills.The electric SOBRA DANCE album was released first, to contrast and give space to the acoustic GUITARI BARO album. Now comes the time for DJANGO BLUES. This great album features Gaoussou's band as well as an exceptional Moroccan Ribab- Amazigh violin master and singer, Aziz Ozouss.
Ossie lands back on Heist after his 2025 hit ‘Are U still smiling?’ with a 4 track EP featuring Miraa May.
How on earth do you follow up your debut when that record got dancefloors moving across the world and picked up radio & dj plays from dance music’s finest selectors?
Many producers would get instant writer’s block, but not Ossie. His new EP on Heist is full of joyous melodies, catchy vocals and euphoric dancefloor moments. Across 4 tracks, Ossie takes us on a trip through rolling electronics, catchy UK sounds and big room anthems.
His Heist debut in 2025 did not go by unnoticed, and Ossie kept a busy calendar since, with regular shows in London and Hï Ibiza with Skepta’s Mas Tiempo crew, his own Supercali imprint as well as his appearance alongside heavyweights Louie Vega, Kerri Chandler, Cinthie and more on Heist’s ‘House of House’ much celebrated compilation.
The Motivation EP kicks off with a bumpy UK track that somehow reminds us of Bicep early day hit ‘Vision of love’. Where the Bicep boys went for a big sample, Ossie landed a surprise studio session with Algerian born-London native Miraa May where they wrote ‘Motivation’ in a single session. The track is stripped back to its core with catchy scats and chants from Miraa May and keys that’ll stick with you far after the track is over. If you’d need any extra motivation for your daily routine, to get out of bed or to go out dancing, this is your jam.
‘Can it get any better’ is a loopy house affair with soulful vocal chants, hints of disco and a subtle piano theme that drives the track into big room territory. It’s energetic without ever getting over the top; a thin line Ossie navigates effortlessly on this record.
On the flip, we’ve got ‘Left side’; a deep groover built around a synth & disco loop and cleverly sampled vocals singing ‘I believe… oooh yes I do’. This one is definitely a lowkey banger, where Ossie turns that one simple loop into a powerful theme made to ignite dancefloors.
The EP closes with the heavy warehouse groove of ‘Don’t stop’. A cavernous low end, rough percussion and chopped synth stabs all come together on this beast of a track. Ossie cleverly plays around with vinyl backspins, vocal chops and small changeovers to keep things interesting, while the groove just keeps on going.
Ossie’s ‘Motivation’ EP has dancefloor written all over it and with all its forward energy, there’s no doubt you’ll be hearing this one a lot in clubs all over the world.
There's a moment during every great dance floor experience when the music takes over and everyone becomes part of something bigger. "SHOUT!", the latest release from 2SoulFusion Presents Ascension, captures that feeling in its purest form. Featuring the powerhouse voices and ad-libs of Dames Brown and Dawn Tallman, along with an all-star ensemble of master vocalists including Josh Milan, Rahsaan Patterson, Lisa Fischer, Cindy Mizelle, Audrey Wheeler, Ramona Dunlap, and Lea Lorien, this joyful anthem is an invitation to let go, lift your spirit, and celebrate through music.
Produced, written, arranged, and mixed by 2SoulFusion—Louie Vega and Josh Milan—"SHOUT!" draws inspiration from the communal spirit of gospel while embracing the energy and freedom of house music. Driven by simple yet powerful affirmations—"Shout," "Sing," "Move," "Love," "Get Up On Your Feet," "Listen Up," and "Let This Music Take You Higher"—the song transforms into an experience where every voice becomes part of the celebration. It's a journey of anthemic hooks, soaring harmonies, infectious grooves, and unforgettable melodies designed to ignite dance floors, uplift hearts, and remind us that music has the power to unite people through rhythm, joy, and love.
The inspiration for "SHOUT!" was born from a creative exchange between Louie Vega and Charaf Tajer, founder and creative director of the internationally acclaimed fashion house Casablanca. Introduced by longtime friend Joseph Capriati, Charaf shared a bold vision—to bring together the worlds of fashion, gospel, and house music for one unforgettable Casablanca runway presentation in Paris.
Louie Vega recalls: “Charaf was introduced to me by my friend Joseph Capriati, who said Charaf was looking to meet me about an idea he had. His vision was to marry fashion, gospel, and house music within Casablanca's collection. At first, he wanted me to DJ and play gospel house music. I said, 'Instead of playing existing music, why don't I create an original song with a gospel house flavor?' I immediately got together with my 2SoulFusion partner Josh Milan, and together we came up with 'SHOUT!'”
That vision came to life during Casablanca's spectacular Paris presentation inside a breathtaking cathedral, where Louie Vega premiered the original twelve-minute and nine-second composition live. As the music echoed through the cathedral, Dames Brown joined the London House Gospel Choir in a soul-stirring performance while the models walked the aisle on Casablanca's carpet made of their signature green color and a dashing vibrating giant mirror echoing the runway visually. Renowned DJs Luciano and Chloé Caillet were among those who walked the runway, while friends of Charaf Tajer and special guests—including Jaden Thompson, Folamour, Dimitri From Paris, Kapela, and many others—were in attendance, making it an unforgettable gathering where music, spirituality, fashion, and culture merged into one extraordinary experience.
Inspired by that magical evening in Paris, Louie Vega and Josh Milan returned to the studio to expand the original composition into the powerful recording heard today. Built around rich live musicianship, Josh Milan's keyboards, organ, piano and synth bass provide the foundation alongside Axel Tosca's expressive grand piano recorded live, Sherrod Barnes' soulful guitar, and Gene Perez's unmistakable bass groove. Together they create an infectious, organic driving sound that allows the vocals to soar while delivering the unmistakable musical depth and musicianship that define 2SoulFusion.
Leading the celebration are Dames Brown and Dawn Tallman, whose commanding performances are elevated by an extraordinary choir of world-class vocalists. Dames Brown's spirited sermon and ad-libs, and Dawn Tallman’s powerful ad-lib vamping out together with the soaring harmonies of Lisa Fischer, Cindy Mizelle, Audrey Wheeler, Rahsaan Patterson, Ramona Dunlap, Lea Lorien, and Josh Milan, recreate the feeling of a joyful gospel congregation—not confined to four walls, but alive on dance floors around the world. Every chorus encourages listeners to get up, listen up, feel it, sing, move, love, and become part of the experience. Recorded between Honeycomb Studios in Pennsylvania, The Hub Ibiza and Manhattan Center Studios, New York City, and mixed at The Hub Ibiza, "SHOUT!" reflects the continuing vision of the Ascension project, where spirituality, musicianship, community, fashion, and dance music become one.
Blume presents The Days Pass Quickly Immersed in the Shadow of Eternity, a new work by Lea Bertucci commissioned by the ZKM Center for Art and Media Karlsruhe and premiered in Karlsruhe in November 2025. Written for, and created in collaboration with, the flutist Norbert Rodenkirchen, it draws on his collection of Renaissance, Medieval, and Neolithic instruments, harnessing sounds that have been largely absent from the modern world. What does it mean to employ one of humanity's oldest known technologies, the flute, appearing in human hands tens of thousands of years before the advent of the wheel, within an experimental, electroacoustic composition that is inherently forward-thinking?
Since her emergence within New York City's Noise scene during the early 2010s, Bertucci has balanced a fierce dedication to the DIY ethos and immediacy of the underground with a refined sense of creative rigor and ambition, moving from brittle, challenging compositions for saxophone, electronics, and tape toward investigations of acoustic phenomena, site-specific resonance, and complex harmonic interplay. Following her return to the rural environments of Upstate New York where she was born and raised, her work has entered a more introspective phase, with an expanded instrumental, technical, and vocal palette that has found her increasingly composing for others, as on 2023's Of Shadow and Substance and on Fata Morgana, a work for organ released earlier this year.
The piece grew from a meeting with Rodenkirchen after a performance by the early music ensemble Sequentia, to which he belongs. Struck by his ability to conjure "spirits from deep within human memory, as a clarion call into the present", Bertucci began a series of conversations that led the pair into the studio at ZKM in the summer of 2024. Conceived for ZKM's 42.4 speaker system, grouped into 8 discrete outputs before being mixed down to stereo, the work aligns with the collaborative process she has honed alongside her solo efforts, in duos with Ben Vida, Lawrence English, and Olivia Block: a dialog with personal and responsive agency offered to both musicians.
It carries forward her inquiry into the fundamentally human aspects of listening ("I am looking for sounds that call from somewhere deep within the listener and that tap into archetypal human knowledge and feeling") and her investigation of psychoacoustic phenomena and otoacoustic emissions through a meticulous alignment of pitches and timbres. Where many of her most celebrated efforts played, and played with, the room, this one is rooted in an implied space: the flutes recall and blur the boundaries between the eras and environments in which those instruments were originally played, from acoustically engineered Renaissance and Medieval halls to the naturally reverberant caves of the Neolithic, and those of the present.
Bertucci is not the first to bring ancient sound sources into experimental music: Harry Partch's instruments drew on Greek, Chinese, and Japanese precursors, Alvin Curran regularly plays a conch shell, and Walter Maioli has spent decades working at the borders of experimental music and archaeology. Her piece occupies a more rarefied position through its hybridity, combining advanced technology with archaic sound sources while sidestepping the exoticism and romantic primitivism that can hobble such efforts. Compared with its closest cousin, Phill Niblock's Four Full Flutes, where the instruments are manipulated beyond clear recognition, here the flutes remain recognizable and embrace the layers of history they carry. The result is an electroacoustic work that largely forgoes the auditory signifiers of the idiom: it could easily pass for a live ensemble, and only attentive listening reveals that it could only have been made through advanced technology.
As Rodenkirchen's playing interweaves with Bertucci's computer-facilitated arrangements of flute samples, ranging from pulsing clusters to dense combinations of sustained tones, timbres, and distances, the piece draws connections with folk and spiritual traditions across human history: Medieval polyphonic ecclesiastical music, Sardinian canto a tenore, Pygmy vocal music, Buddhist chant. By conjoining one of our earliest known technologies with our most advanced, Bertucci proposes that our tools are not the message, but rather the unending continuum of humanity itself. Issued by Blume in a highly limited vinyl edition of 300 copies on transparent light blue vinyl, with newly commissioned liner notes by Bradford Bailey.
Ian Pooley returns with a brand-new collection of original productions, delivering exactly what you'd expect from one of house music's true craftsmen.
Road-tested throughout his recent live shows, these tracks have already proven themselves where it matters most: on the dancefloor. Staying faithful to his unmistakable MPC-driven approach, Ian delivers groove, feel and musical restraint in equal measure. Crisp drums, warm sampling, infectious basslines and subtle arrangements come together in a way that only he can deliver.
No overproduction, no unnecessary breakdowns, no gimmicks-just pure, functional house music built for DJs. Timeless, stripped-back and effortlessly effective, this is another reminder why Ian Pooley remains one of the genre's most respected producers.
This is more a relic than a record. A token of respect to the music that made me who I am. Everything I do starts here — the urge to pull songs I love into the club shape I play today, for one reason only: to make someone else feel what I feel when I hear them. Two techno improvisations, ANG and OSC, built on two songs that mattered enormously to me and to electronic music — bands that started their own revolutions, in their own time, mostly off to the side of the mainstream.
These came out too good to keep to myself. Vinyl only. 300 copies. No repress, ever. First come, first served. Bandcamp and selected stores. No digital, no promos — this one stays sealed.
2026 Repress
Originally released in South Africa in 1983, In The Music......The Village Never Ends is one of those holy-grail African records that barely needs any introduction. Featuring the enormous 'Nomalizo', it's a record that aficionados around the world have been waiting many years for. Now, Be With Records proudly presents the hugely anticipated vinyl reissue of this bonafied classic.
This release is officially licensed and has been lovingly mastered for vinyl by Simon Francis (Claremont 56 mastering engineer) It has been pressed on audiophile 180gram vinyl for the first time and features the original, rarely seen artwork.
South African singer Letta Mbulu possesses one of the most beautiful voices the world has ever known. Her immaculate voice emits a sweetness that radiates from deep within, brimming with a joy of life and inspiring a spirit of hope and happiness. On this album, her voice soars over a strident musical force that veers between disco, soul and pop music of the most incredible kind. The gleaming guitars recall disco's finest hours while the thump of the beats anticipate 80s British soul.
News of this limited reissue has already been causing a significant stir amongst those in the know so do not sleep on this - you have been warned!
Phenomena begins with two artistic voices that seem to speak different languages. Barcelona-based producer R-010 (Lucas Rojo) approaches composition through rhythm, space and electronic transformation; Madrid-born vocalist and multidisciplinary artist Venerandi through texture, breath and the expressive possibilities of the human voice. By the time the album reaches its final moments, that distinction has quietly disappeared.
Rather than functioning as a meeting point between two individual practices, Phenomena gradually
becomes a third language—one that belongs to neither artist alone. Voice no longer sits above the music
but moves inside it, dissolving into layers of synthesis, percussion and guitar until performance itself
becomes another malleable sound source. Likewise, electronic production never behaves as a fixed
environment; it constantly adapts, absorbs and responds, allowing acoustic gestures and digital
manipulation to reshape one another in real time.
This continuous transformation defines the record more than any particular genre ever could. Echoes of trip hop, bass music, psychedelia and experimental electronics drift across its surface, yet they are never
presented as stylistic markers. Instead, they appear as temporary states within an ecosystem that remains
in constant motion, where dense rhythmic passages collapse into suspended atmospheres and moments
of stillness carry as much weight as those driven by pulse.
The presence of Matteo Caro (guitar and percussion), Pablo Gorostiaga (guitar) and Alessio Rodolico
(percussion) further expands this dialogue. Their contributions are not decorative additions but structural
ones, gradually dissolving the distinction between composition, improvisation and production. Instruments
emerge, mutate and disappear inside the same sonic fabric, making it increasingly difficult to distinguish
what was performed from what was transformed.
With Phenomena, Lapsus Records presents a work that feels less interested in crossing genres than in
questioning the borders between artistic identities themselves. The album never asks the listener to decide
where the human ends and the machine begins. Instead, it quietly suggests that, after enough careful
listening, the question itself may no longer matter.
Built with the immediacy that comes from limitation, iPhone Grime is almost exactly what it says on the tape case. Pulled directly from the portable communication device of Front Left Life's Louis Payne, iPhone Grime is the perfect distillation of raw ideas through a simple medium. When producers can drown in the infinite possibilities of the DAW vortex, a simple phone app can steer you swiftly to the sharpest results. Snippets of real world sound captured on the mic ground these quick-fire beats in a time and place, dynamic and street-level like grime and early dubstep was when it was being imagined on PlayStation games and filmed on ropey phone cameras.
Payne is undoubtedly bringing perspective to his sketches, having forged a connection with London's club scene through his part in the widely hailed Front Left Life parties in Catford, at Venue MOT and elsewhere. With a roll call of guests that cuts a sharp line through the best of bassweight club music right now, his taste and knowledge precedes his first steps into the production arena. Rather than puzzling out the path to a thousand likes for a hardware jam reel, he's opted for a direct line between his brain and the beat at the end of it.
You can hear the naivety behind vocal loops like the one nagging away on 'Follow That', calling to mind the first time you ever tried making a Fruity Loops beat. But these are no amateur throwaways — the technology has moved on and Payne's instincts guide him towards legit constructions that could easily do damage in the club. Sometimes they exist as no more than an eight bar loop, while others like 'Wind It Up (Dream Dealers Version)' or 'Extra Dimensional Being' stretch an idea out. Throughout it all, the looming throb of square wave bass glues the record together and anchors the grime dimension of Payne's job lot of phone jams.
Payne's work is all his own, and the snatches of real life around the beats anchor this music in his own London life. But, like previous shifts in technology and accessibility, iPhone Grime also raises an important prospect—that anyone with one of these apps, a Bluetooth speaker and an idea can bring music out of studios and into the world. History has already proven, when that happens the possibilities become thrillingly unpredictable.
Layne & Chang might not be household names to everyone, but in the underground they’re long-established fixtures. Chang—who’s released music under a string of aliases over the years—was tipped by Urb magazine as one to watch back in the mid-’90s and has been embedded in dancefloor culture ever since. Alongside him, Layne Fox (formerly San Francisco, now back in Florida) brings deep disco credentials, having helmed the cult-loved Disco Dimensions label and recording as 40 Thieves—best known for the underground anthem Don’t Turn It Off. In short, the boogie lineage on this record runs deep.
And that’s before you even get to Dan Tyler. As one half of the Idjut Boys and co-founder of Noid Recordings, Tyler helped lay the groundwork for London’s edit culture long before it became a global phenomenon. His involvement here only strengthens the package.
“Shake Your Body” opens the release with a locked-in, funk-driven groove—swirling melodic lines, subtly acidic textures, warm vocoder touches, and tight, punchy drums all dialed for peak-time movement. On the A2, “In The Desert” shifts the mood into something more transportive: a hazy, late-night burner equally suited to open-air parties, after-hours sessions, or home listening with the lights low.
Flip to the B-side and Dan Tyler delivers two cosmic reworks that push things further out. Psychedelic, elastic, and built for serious systems, both cuts hit that sweet spot between heady and physical—already circulating among a handful of tastemaker DJs and primed for heavy rotation as festival season ramps up.
A strong, floor-ready release that sits comfortably in the Whiskey Disco catalogue—rooted in disco, but reaching well beyond it.
Among the most influential hip-hop artists to emerge in the rapid creative expansion of the early 1990s, Queens duo Organized Konfusion helped reshape rap's aesthetic horizons with the 1991 release of a groundbreaking self-titled album. A dizzying display of lyrical dexterity and forward-thinking production, Organized Konfusion helped lay the foundation for what would become underground hip-hop, with intricate wordplay and cerebral rhyme structures. Both Pharoahe Monch and Prince Po shine throughout the album, revealing
the immense talent that would later establish Monch as one of hip-hop's most revered voices and spark Po's collaborations with producers like Danger Mouse, Madlib, Large Professor, Oh No, and more. From playful nostalgia to sharp social commentary to surreal linguistic explorations, the duo navigates chaotic drum breaks with dense rhyme patterns, vivid imagery, and ever-shifting narratives. After decades of limited availability and unofficial bootlegs, this is the first official vinyl reissue of Organized Konfusion since its1991 release. Featuring three rare bonus tracks, this 35th anniversary edition is available on 2LP and CD, giving a long overdue spotlight to one of hip-hop's most important albums.
We worked closely with surviving members of The Nerves, Paul Collins and Peter Case along with Jack Lee's daughter Cynthia to bring The Nerves - Best Collection to you.
Unlike previous releases that often relied on secondary copies or rips from vinyl and CDs, we were able to locate the original source recordings and have Warren Defever master/remaster them at Third Man Mastering in Detroit for this release. This is what makes this record so special—it features the definitive versions of these tracks as they were originally intended, some have not been heard since the day they were recorded. We hope you enjoy it.
We worked closely with surviving members of The Nerves, Paul Collins and Peter Case along with Jack Lee's daughter Cynthia to bring The Nerves - Best Collection to you.
Unlike previous releases that often relied on secondary copies or rips from vinyl and CDs, we were able to locate the original source recordings and have Warren Defever master/remaster them at Third Man Mastering in Detroit for this release. This is what makes this record so special—it features the definitive versions of these tracks as they were originally intended, some have not been heard since the day they were recorded. We hope you enjoy it.
Both Kix Brooks and Ronnie Dunn had already started promising solo careers in the 1980s, but something special happened when Tim DuBois suggested they record together. Brooks & Dunn was not just a temporary collaboration, but the beginning of one of the most impressive and successful stories in country music.
The men were unstoppable. Their debut album delivered four number one hits on the Billboard Hot Country Songs chart, going seven times platinum in the US (seven million copies sold) and three times platinum in Canada. "Boot Scootin' Boogie" was the album's biggest hit and single-handedly revived line dancing in the 1990s. This undeniably shows the album's cultural significance. Finally, this classic gets the LP treatment it deserves.
Brand New Man is available as a 35th anniversary edition on smokey marbled vinyl and includes an insert with lyrics.
![Shawty Pimp - Still Comin' Real [Cassette Version]](https://www.deejay.de/images/l/1/7/338717.jpg)
